| $11.66
back in stock as of
july 3rd, 2008
first in stock on
december 29th, 2007
threads:
musique-concrète
electro-acoustic-composition
field-recordings
sound-poetry
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| | | intransitive (usa) #int 031 cd lionel marchetti / seijiro murayama “hatali atsalei (l’echange des yeux)” compact disc - hatali atsalei (l’echange des yeux) (1) (1:19)
- hatali atsalei (l’echange des yeux) (2) (10:30)
- hatali atsalei (l’echange des yeux) (3) (13:34)
- hatali atsalei (l’echange des yeux) (4) (7:26)
- hatali atsalei (l’echange des yeux) (5) (0:13)
| | click the play button to hear an excerpt of "hatali atsalei (l’echange des yeux) (4)" |
| december 2007 release; a collaborative piece by electro-acoustic composer lionel marchetti and drummer/vocalist seijiro murayama (one half of legendary mid-80s duo absolut null punkt / a.n.p.)
starting with murayama’s lone henri-chopin-esque throat-warble, the piece progresses through a series of scenes; evoking ancient outdoor rituals (the distinct timbres of fire, rain, distant chanting, & tumbling, de-tuned percussion act as the main leitmotifs throughout)...
as always, marchetti’s acute ability to preserve/present sound & mold it into such fine, narrative arrays is impressive; the intimately recorded sound-events practically leap out of the speaker (rather than continually rehash “classic” concrète techniques/fidelities, he seems to push the detail further and further with each leap in field-recording technology...)
an excellent disc of state-of-the-art musique concrète ; highly recommended !!! |
| | intransitive press release... |
| int031 lionel marchetti & seijiro murayama - hatali atsalei (l’echange des yeux) cd
for his second album on intransitive, lionel marchetti returns to his favorite subject: music as an essential element of ritual and ecstatic trance states. unlike his knud un nom du serpent cd (to be reissued in spring 2008), which offered a critique of avant-garde and popular music as an extension of the transcendental impulse, hatali atsalei is more literally an experience of ritual.
using percussion, wind instruments, field recordings of natural sounds, and most importantly the voice of collaborator seijiro murayama, marchetti once again gives us a multi-leveled engagement with the elemental urge to converse with nature and to use sound as a means to achieve altered states of consciousness. referencing narrative radio art, musique concrete and acoustic ecology, hatali atsali is a fascinating work that reveals more layers with each listen.
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hatali atsalei is a rather faithful piece to the ideal of ancient greece ritualistic music and, as such, proves to be quite recalcitrant to contemporary musical expressions. water, soil, air, fire: the necessary elements to any alchemy are present. one should recognize in it, just like for a berg or a stravinsky, an imaginary motivation of musical form. facing the fire, or in it, the suspension of breath calls for an almost "classical" expression (which awaits its harmonic resolution by the anharmonic effusion or by the simple tonality of the beginning). from the start, the voice is percussion, then bark. the recorded percussion becomes a lasting sound. we travel in time: the low sounds of tambourines, the phrygians melodies played on aulos and the clamors of women would form the perfect instrumentarium that would have translated, 2500 years ago, the ritual of hatali atsalei. we must also talk of the friction in air, of the tapered object, the bull-roarer (consisting in an airfoil made out of bone or wood with a hole in which passes a long cord one holds between his thumb and index to whirl the instrument. bullroarers were always used in mysteries because their sound produced dread or frenzy.1) the "racket and frenzy"2 are only apparent; any writing of the ritual only at times introduces transe. it densifies it by limiting it. one thinks of the “nothing too much” of the stoicians of which nietzsche practically made an aesthetics ...
the vocal adventure of the beginning will only transform into something strident after the arrival of basses and other materials allowing a form to tear itself apart. (however, after hapax, a bass drum will appease the cycle.) once this vocal matter "torn apart", one enters a mouth - indeed, just like in imaginary geographies, there are on earth such bouches d'ombre, such chtonians cradles, multiples cumanian caves where oracles fullfilling the listening and predicting future are issued. a new voice adds itself to the counterpoint or, rather, to the invention which already held together, in time, the voice, the vegetal, the hit skin ... and like in any art of the support, the syncopated coma of the striken microphone (in reality, the very end of the piece attests of this double access: a rubbing is as much what one records as what by which a sound is recorded). densifying by limiting: a great law that any musical composition shall not ignore. the thunderstorm transmitted by waves and cracklings owes as much to the very real loudspeaker as to the fartherdistant horizon of recorded streams. metaphorically, we shall say that the talking bouche d'ombres is the organ which at the same time drinks from the springs and gives back its own water. as one becomes aware of upon listening, the music of hatali does not want to be the narration in a reproductive or imitative sense of an archaic ritual. this music is in itself a ritual, perhaps because the very act of listening, by taking place in time, makes us similar to the music that moves us or stops us.
1. anne bells, "musique et transc dans le cortege dionysiaque" in transe et theâtre, cahiers du gita. nº4. december 1988, pp. 55-60.
2. ibid, p. 23. |
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