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a r t i s t : Mace
t i t l e : Circulations
d a t e : 2005
l a b e l : Sub Rosa [SR240]
g e n r e : Other
r l s. d a t e : July/2005
t r a c k s : 04
b i t r a t e : VBRkbps
s i z e : 75.1 MB
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Circulations is an instrumental album in four sections, for four
instruments: drums, guitar, harp and clarinet. And tape. Which we'll
explain in a second. First though, let's just say: this is so GREAT. But
it's been tough to review. 'Cause there's a lot of explaining to do. And
it's the sort of thing where, yup, the construction of the music IS
interesting, but reading about it sorta might make it sound like an
academic exercise. Which it may be, in part. But our point is, that even
if you don't know how it came about, academics aside it's a really
really great listen! Like a crazy soundtrack, sort of (a lot of this
would be perfect for some freaky '70s Italian horror/sci-fi/suspense
flick). Sometimes bewilderingly dense, at others beautifully melodic and
simple. There's a chaotic tangle of sounds but it's carefully crafted,
moving through (and returning to) many moods.
You'll encounter moments of heavy distorto-percussion frenzy that sound
not unlike Village of Savoonga, This Heat or Dead C. Passages of pretty
melody carried by the harp or the clarinet. Intense, echoing drumscapes.
Shimmering textures, loud stabs of skronk guitar, placid strings,
stirring arpeggios, glitchy stutter. It's very dynamic indeed. Sometime
simple and serene, sometimes seriously scrambled and spliced. A complex
assemblage of sounds constantly morphing and mutating...
But let's give the background on this, 'cause we're sure that some of
you will be intrigued. Basically, the deal here is that young French
composer Pierre-Yves Mace (who has one other album out, on Tzadik),
wrote out four solos for the four instruments (drums, guitar, harp,
clarinet). The musicians in question recorded these solos. Then Mace
took those recordings and created four processed tape-collage backing
tracks to accompany each of the original individual solos, which were
then slightly revised and performed again over the tapes that Mace
created. Thus four movements, created in four stages, for Percussion/
Tape, Guitar/Tape, Harp/Tape, and Clarinet/Tape. (It says "tape" here,
so we will too, though we suspect a computer was involved at some point,
not just old-fashioned cut and splice procedures.) The 'solo' instrument
is the focus of each track, but you'll hear from all of 'em throughout
the disc. Fortunately, Mace's talents extend beyond this disc's
conceptual framework, however interesting. While it's fun to listen and
try to pick out the sounds from each solo that have been processed and
transposed and otherwise recontextualized in the taped accompaniment
(you'll be cross referencing from one movement to another, looking for
traces of a guitar lick or clarinet motif heard elsewhere), the end-
result music is just as interesting and enjoyable without even thinking
about how it was created.
It stands on its own as a highly-charged, detailed and often gorgeous
instrumental piece of music, which could be a brilliant electro-acoustic
improv session, kinda like Ground Zero or Supersilent or those Spring
Heel Jack improv projects, that blend live instruments with live
electronics and sampling (self-sampling in this case). But with a 20th
(21st?) century classical feel. And it's definitely composed and
purposeful. Very impressive. There's certainly been a few great releases
lately from the Belgian label Sub Rosa (Tibetan Buddhist Rites, Mitchell
Akiyama's Small Explosions That Are Yours To Keep) and now this.
Recommended!
http://www.aquariusrecords.org/bin/search.cgi
_______________________________________________________________________
01-1st Movement For Percussion/Tape [14:45]
02-2nd Movement For Electric Guitar/Tape [15:57]
03-3rd Movement For Harp/Tape [11:28]
04-4th Movement For Clarinet/Tape [10:17]
-------
52:27 min