Tagged: voice

Raw Vision

Very impressed by Modus Of Raw (EVIL RABBIT RECORDS ERR 24), the first solo record by the violinist Biliana Voutchkova. She has surfaced before in small group collaborations, for instance with Michael Thieke in 2013, and with viola player Ernesto Rodrigues and the woodwinds player Micha Rabuske in 2015. She’s played with an impressive number of international musicians, including free improvisers, but this solo approach is clearly an area where she thrives. The press call it a “highly individual musical language”, which is true, but there’s also a strong sense of emotional strength, of independence; she doesn’t need others, and might be happy speaking into the void. The void in this case was a studio in Switzerland; she recorded the set herself, and proceeds with utter conviction, nothing distracting her from her pursuit of her elusive quarry.

In terms of technique, a musician like Voutchkova has nothing to prove to the world; a gifted child prodigy who’s been playing since age four, she’s already been through the classical repertoire thing during a distinguished career, involving awards, scholarships, residencies, and international travel. A long time in the USA; she now resides in Berlin. I’d like to think she’s moved to a higher plane already, by the time we tune into the sounds on Modus Of Raw; transcending classical, composition, improvisation and other modes, to arrive at a completely unique way of playing. It seems to my superficial ears to be a rich combination of things – classical / improvised techniques and methods, a mixture of musical and non-musical sounds (drones, noise, melodies), and above all the development and articulation of her private language. Sometimes she works away at a repeated phrase in a deliciously nagging manner, determined to reach some core of meaning, that might be hidden like a nut in a shell, prising it loose. She vocalises, too, by the way; her wordless and whispered extemporisations add a great deal to the performances, though this remains principally an uncategorisable violin record.

As to content and ideas, Biliana Voutchkova strikes me as one of those profound and insightful artists who deals in silence, precision of thought, and a taut compacted mode of expression; only these taut-lipped approaches are suitable for the complex content she’s attempting to delineate, where there are clearly a lot of unknowns, and you need a degree of courage to get to the heart of the matter in these dark truths. Titles like ‘Songs of Anxiety’, ‘Memory Imprints’ and ‘Chaos & Beauty’ may give use a glimpse into what she’s driving at, but listen to the powerful, abstract elusiveness of the music and be guided where she leads us, if you can follow. Take a long hard look at some unknown corners of the world, and savour the fragile beauty of Biliana Voutchkova’s strange music. From 11th October 2016.

Strip the Lining

Jason Kahn
Songline
SWITZERLAND EDITIONS 004 2 x LP (2015)

It must take a bit of dogged self-belief to release a weighty 2LP of one’s own vocal improvisations when a) one is not, by trade, a vocalist and b) one lacks the urgency to make as good a session of it as might happen during an adrenaline-fueled live set, but this is exactly what the prolific, multi-disciplinary journeyman Jason Kahn has done on Songline: four sides of vinyl, four GPS-free vocal improvisations that do what the tin says, or in this case the heavy card sleeve with symmetrical daubings of neon orange poster paint – a primitivist mosaic that as good as informs listeners that while Kahn’s vocal palette may be limited, his strokes are bold and appealingly rough-round-the-edges.

Hiding himself away like some hermit in the main room of a former Swisscom telephone relay station one winter evening in 2015 – the glass-sealed solitude broken only by gurgling from ‘deep in the bowels of the building’ – Kahn bulldozed his voicebox through the twilight with the tenacity of a magic(k)ian intent on invoking and capturing intact guileless, demonic beings. Sealed in the darkness of each groove is a complete idea or expression of a single ‘thematic and technical area’ as he puts it, entering swiftly with side A’s graveyard of gruelling and grievous groans, which reveal some prodigious lung capacity. Some might register death bed exhalations, but they’re more like the respiratory warm up a corpse might carry out when returning to a state of stunted animation. Trying to ‘sing’ along to it soon proves to be an effective exercise for the listener as well, which perversely introduces an audience element into an explicitly one-sided equation. Side B shapes A’s emphysemic pallor into more robust and sustained vowel chants that course through the air like stretched and flattened yodels that get right into the skull if one strays too close; beaming across space like some post-apocalyptic, long-distance communication device. Side C graduates through great globs of glottal, feline hiss and longer pauses between these attacks (on his own throat as much as the now-terrified audience) onto D, where he exhibits his widest range yet of anguished groans, growls, yowls and other tokens of his prolonged discomfort.

By Kahn’s own admission, the recording process was largely an exploration of his vocal limitations; of pushing himself ‘towards the brink of failure… exploring new ground, reaching for the cracks in my vocal chords’ with as best an approximation of the spontaneity one might achieve before and audience. And it’s this same self-aware spirit that makes Songline so easy to return to. There’s a time and a place for the developed comic strip vocalese of your Phil Mintons and Henri Chopins, but Kahn has the good grace to pursue each of his simple ideas to fruition over a full side of vinyl, investing in his performance a level of concentration only possible in a distraction-free environment, where the pursuit of novelty might otherwise derail each train of thought. Kahn makes no claims to grandeur, and in this modesty lies a dash of intrigue.

The Whole World Is An Enigma

Christopher Chaplin is an English composer who formed a connection with Hans-Joachim Roedelius, dating from the time when he did a live performance of his work in Austria. The pair seem to have enjoyed a number of collaborations since, starting with an appearance on the Late Junction radio show, and then the release of the King Of Hearts album in 2012. John Norman noted that release here, finding it a somewhat hit-or-miss experience, but when it did succeed the music impressed with its “secret mutterings of the insides of things” and strange juxtapositions of sonic elements. Today we have before us Je Suis Le Ténébreux (FABRIQUE RECORDS FAB58CD), a new Chaplin composition for the Viennese label Fabrique Records. That’s him on the cover looking like a strange reverse-Messiah figure, a glint of madness in his wide-eyed glare. Once again contributions are featured from the veteran Cluster-Harmonia genius, who adds piano and synths, and his voice. There’s also spoken word and narration from Christine Roedelius, the French soprano-actress Judith Chemla, and the poetess Claudia Schumann, who also supplies texts that are central to the theme of Je Suis Le Ténébreux.

As to this theme, it’s based on the so-called “Enigma of Bologna”, an epitaph written in Latin on a Roman tombstone, sometimes known as The Aelia-Laelia-Crispis Inscription. The tombstone was discovered in the 16th century (the album erroneously claims it was written in the 16th century), and since then has grown into something of a puzzle; some 18 lines of text packed with paradox and contradictions, alluding to a figure that’s neither male nor female, nor hermaphrodite. By the late 17th century, anguished scholars had already come up with 43 different solutions to the riddle, claiming variously it was a description of “the rain, the soul, Niobe, Lot’s wife, or a child promised in marriage that died before its birth.” Another view said it described an animal (a mule or donkey) rather than a human being. Later interpretations have found elements of alchemy, psychology, spiritualism and philosophy buried within this compacted text; Jung wrote about the Enigma, and so did the French writer Gerard de Nerval 1, in two tales Pandora and Le Comte de Saint-Germain; de Nerval is further referenced (however briefly) by Claudia Schumann’s poetry on this album.

As befits this “enigmatic” theme, Chaplin’s record is music that’s shrouded in darkness and layers of hinted meaning, and vague allusions scattered throughout the texts which are sung, spoken, whispered, or otherwise handed over to the listener in packages that themselves must be unwrapped and decoded. English translations of Latin and German are provided in the booklet (whose pages, by the way, are all black backgrounds) to help with the decoding process, but it’s likely that Chaplin wishes to protect the mystery of this strange riddle. The music, a studio-bound assemblage of synths and pianos, is mostly a sort of complex and progressive electronic drone with highly sinister connotations, but carefully structured to avoid any sort of conventional musical resolution. Each piece just continues to march grimly through a void, shrouded by veils of unknown blackness, with no clear end or destination in sight. Yet there’s still a sense of drama; in places, as though we’re hearing a stripped-down version of a Purcell opera, recast for post-modern times with a huge dose of irony and stripped of all context.

“Not much can be said about the enigma, other than it holds a certain fascination”, writes Chaplin in his sleeve note. I wondered why I found myself slightly disappointed with this apparent blithe indifference of his. Perhaps I’d be happier if he showed the same sort of feverish obsession with his text as those early scholars who devised 43 different interpretations of it. At times Claudia Schumann seems more engaged with meaning than he is, especially on the final track ‘The Enigma (Reprise)’, where the solemn intonations of both the Roedeliuses add a certain weight to the texts. There’s also much to be said for the other Roedelius contributor, Rosa Roedelius, who supplied the art pieces which are photographed on the covers. They resemble little raviolis of various size, and are no doubt intended as puns on the female genitalia. If The Enigma Of Bologna does indeed contain themes of sexual ambiguity, Rosa’s sculptures seem to have hit the target first time, and more effectively than Chaplin’s cautious, measured treading. Even so, this is an unusual item which you may wish to investigate. From 20 September 2016; also available as a double LP.

  1. The French romanticist who took lobsters for a walk. ↩

Hearing Voices

We are quite keen on Star Turbine, the duo of Sindre Bjerga and Claus Poulsen, whom we last heard on their album for Attenuation Circuit which came out in late 2013. Here’s another six tracks of their craft on Nothing Should Move Unless You Want It To (FROZEN LIGHT FZL 043) on the Russian label usually dedicated to sinister dark ambient music. The pieces here represent snapshots of the duo’s live work between 2014 and 2016, captured in various European and UK locations (I make the distinction advisedly). I think they do it with electronics and radios and perhaps some amplified objects, and what emerges is a low-key chatter and hum sound, but one which is rich with layers, detail, and textures. It’s strangely affecting and enjoyable to get these disembodied, fractured voices drifting out across a gently lapping sea of non-descript noise. Far from being aggressive or loud, Star Turbine propose that we float for a while in this semi-abstract space and use our ears to explore. As I may have said before, this is one rare instance where the unfinished, meandery approach to sound generation really pays off. Limited and numbered edition CD. From 7th September 2016.

Long Lunch Break

Yannis Kyriakides
Lunch Music
NETHERLANDS UNSOUNDS 55u CD (2016)

Writing in 1971 about William Burroughs’ then-latest book The Wild Boys, reviewer Albert Kazin 1 could easily have been anticipating this novel collaboration – almost five decades on – between Cypriot electroacoustician Yannis Kyriakides, Dutch percussionists-for-hire Slagwerk Den Haag and ‘contemporary vocal specialists’ Silbersee, when he remarked that Burroughs ‘gets astral kicks by composing in blocks, scenes, repetitive and identical memories galvanizing themselves into violent fantasies, the wild mixing of pictures, words, the echoes of popular speech’. In fact, he might as well have written this very review.

Though based on Naked Lunch’s dense and confounding narrative fugue, in Lunch Music Kyriakides has taken stock of the many ‘straight’ accommodations of Burroughs’ work over the years and sent them packing: no samples set to trip-hop nor dour thespian recitals here: ‘Smell Down Death’ signals this fact by mulching WSB’s dry croak into a queasy quicksand in the opening minutes, from which state it never quite recovers. He follows suit with the text, filleting all ‘rational’ syntax into words, syllables and vibrations in a ‘polyphony of voices’ that’s expected to approximate a reading of the book. In a pleasing convergence of scientific method and artistic inspiration, this digital arbitration was achieved by applying a frequency analysis algorithm to the text to determine its most commonly used nouns. No prizes then for predicting that lexical items like ‘boy’, ‘ass’, ‘cock’ and ‘death’ form the book’s rhythmic foundation and thus that of what we hear.

‘Words, horrid isolate words, those symbols of our enslavement, are replaced by the a-b-c of man’s perception of simultaneous factors–the ability to drink up the “scanning pattern”.’

Silbersee, like a well-lubricated (soft) machine, regurgitates this as grammarless glossolalia with a honeyed bounce to their vascular lyricism; chewing on words with the gusto of nightmarish Beach Boys on Groundhog Day. Their repetition of solitary words annuls all connotation and supersedes much of Slagwerk Den Haag’s physical percussion, as in ‘Boy’, where the eunuch mantra-fying of said signifier magnifies the grotesque comedy of the subject. ‘But repetition, that fatally boring element in Burroughs’s “cut-ups,” turns the coupling into an obsessive primal scene that never varies in its details’.

Compounding such in(s)anity, ‘La La La Terminal State’ closes the set as the heat closes in: the moribund choir locked in a loop of unlovely ‘La’s while a world driven mad by insectoid whirring and kosmiche ascension squeals to a stop; while mumbles of WSB-as-godhead make one last attempt to corrupt corporeality. Along the way, electroacoustic processing is pitted against Kalahari work songs; radiant radio static rains from open windows onto chattering street urchins; shotgunned spraycans reform in reverse time. Any part of this corroded tableaux might have been spliced into a Moroccan marketplace in Naked Lunch – the chaos is discomfiting, but reassuringly authentic.

In the spirit of reverent desecration, Kyriakides spears the mutant barbershop crooning with snippets of ‘50s pop hits like The Brothers Four’s ‘Greenfields’, which dissolves and devolves likewise into a vomitous assemblage of fruitless plucking and digital churn. Kazin diagnosed what is ‘essentially a reverie in which different items suddenly get animated with a marvelously unexpectable profusion and disorder. Anything can get into it, lead its own life for a while, get swooshed around with everything else’. As if part of a throbbing organism with the connectivity of Interzone’s gelatinous membrane walls, the voices speak ‘through one another’ in one glutinous mass: words within words within words – a vehicular pile-up process Kyriakides terms ‘mediumship and possession’.

To outward appearances, such shamanism is a messy business, where qualitative distinctions become indistinguishable ‘…like the embroidery of a cruel dream’. Naked Lunch is an uncomfortable read at the best of times, and Kyriakides is due kudos for neither concealing this fact nor reducing his interpretation to a linear event, as did David Cronenberg’s film adaptation. Whether for legal reasons or those of reverence though, his decision not to name the project directly after its subject does suggest a lack of conviction in his methods, which are experimental at least by the standards of others who’ve burrowed into the same works. By filching the master’s methodology – ‘inserting one scene into another, turning one scene into another’ – and remixing the text as a collage of suprasegmental sound, Kyriakides cuts to the novel’s filthy heart the way others haven’t.

  1. This and all subsequent quotations are taken from the same review. ↩

Thou shalt like an airy spirit go

Another release from the Norwegian label 2L (Lindberg Lyd) again spares no expense in bringing us the work printed on a Blu-Ray disc and an SACD in a single package. This time it’s a new work by Maja S.K. Ratkje, our favourite Norwegian genius all-rounder, who has now set herself the challenge of composing new music that showcases her own voice, as as she puts it “include my sound as a voice performer”. In case you need reminding about her skills in this area, we have noted a few examples of her astonishing work as part of the all-female group Spunk, for instance on Das Wohltemperierte Spunk, Adventura Botanica and Live In Molde, not to mention her work with Slugfield, and on Treasure Hunt…but it’s one thing to do the voice extemporising thing in a free-improvisation context. Today’s record, And Sing…(2L-124-SABD), shows the possibilities afforded by performing with the Oslo Sinfonietta and with CIKADA, an Oslo-based ten piece chamber ensemble led by Christian Eggen.

The second piece on the disc, Concerto For Voice (Moods IIIb) has its origins in an earlier piece from 2004, in fact her first composition for working with a large ensemble and pitching her voice against it. This was commissioned by Radio France; she solved one basic problem by amplifying her voice, so it could be heard over the orchestra. But it also allowed to play with the differences between acoustic and amplified music; if she could make her own whispering be heard against the sound of a loud orchestra, it might go some way to “explore the mismatch between what one saw and what one heard”. Ratkje revisits the piece for this recording; she tells us about the elements that form the composition, which include “spectral chords”, which she arrived at by analysing the sound of a tenor saxophone; and a motif based on certain common frequencies found in multiphonics. On top of this “harmonic backdrop”, we have orchestral noise and percussion doing its best to interfere with the smooth progress of the piece, and introducing rhythmic patterns.

This dry description tends to confirm that Ratkje sees composition as a way of handling forms and putting elements in the right place. What’s interesting to me here is that she would say she’s doing traditional composition, following the “orthodox form” for a voice concerto which simply pitches a soloist against an orchestra. It doesn’t quite prepare you for the wild and eerie sound of Concerto For Voice (Moods IIIb), whose dynamics are extreme and whose contents are explosive; the orchestra sways and flies around like a gigantic atonal beast, an ancient sailing ship fully-rigged with a cargo of unknown dimensions. Maja’s contributions to the controlled storm consist of strangled gibberish and throatal squawks…unbearably high-pitched squeaks and howls…and sometimes more contemplative murmurs, introverted sighs, and wordless expressions of emotion. To round it all off is the sound of a typewriter being used on stage as a percussion instrument, clacking in at certain quieter moments. But also it’s used with the express intention to say something about the human voice itself; she sees that typewriter as her “sidekick”. What does that mean? Perhaps she’s inviting us to read its mechanical chatter as a form of speech. Or a machine producing letters and words, that are on the way to being vocalised.

It really is an astonishing combination, both as a technical tour de force (her impeccable vocal skills) and as an intense musical experience, which at times borders on the terrifying. I have the impression that Stockhausen, himself no stranger to using voices and choral music, would have given his right arm to arrive at such a successful formalised expression of ideas as this. He could have got there, but it would have been a lot of hard work on his part, writing, composing, thinking. I don’t know much about Ratkje’s working methods, but this music feels natural, unforced; I’d like to think it comes to her quite easily.

The disc contains another long piece “And sing while thou on pressed flowers dost sleep”, a detailed analysis of which defeats me at the moment. My superficial impression is that it’s no less complex and demanding than the above, and it seems bent on slowly winding up tension in the listener to boiling point. All I’ve gleaned from the notes is that the voice element is done by loudspeaker playback (Maja herself was not present) and that the title comes from Shakespeare, though that may not be important. It may seem at first glance that is music is more about form than content, but I’m not sure that’s the case; I think meaning, emotion, and depth just pour out of Maja S.K. Ratkje, whether she’s performing or composing, but (unlike some windbag male composers of the 20th century) she just doesn’t feel the need to explain it to us in words.

As with the other 2L release, the exceptional quality in the sound recording and playback is well worth your attention, and hopefully may set a new benchmark for the recording and pressing of classical music releases. From 8th August 2016.

Robert Filliou Sings Marquis de Sade: oddball spoken voice recording whose rationale is unclear and deliberately ambiguous

Robert Filliou, Sings Marquis de Sade, Goaty Tapes, cassette #73 (2016?)

Here comes one of those obscure oddball recordings that’ll have most of us worrying for the state of mind of their creators, wondering whether they really are as serious as they appear to be on the recordings themselves, are performing with their tongues rooted firmly in their cheeks, or have some ulterior sinister, possibly dangerous motive behind their choices of subject matter to inform their art. Sole performer Robert Filliou’s background is as intriguing as this recording, found in someone’s old basement and until now never considered part of his corpus of works: born in France in 1926, he fought for the French Resistance during World War II and later emigrated to the US where he worked at a series of low-paid jobs while studying for a master’s degree in economics at UCLA. He worked at the UN and embarked on his artistic career in 1960 as a member of the Fluxus movement, creating theatrical and film performances, sculptures and happenings. He later moved to Canada with his wife in 1977 and spent the last three to four years of his life living in Les Eyzies in southern France where he died in 1987.

Singing completely a cappella, Filliou performs excerpts in English translation from the various writings of that notorious late 18th-century libertine novelist / theatre critic the Marquis de Sade. Filliou takes us on a tour through time and space of the divers excruciating tortures and punishments that humans have inflicted upon one another, often under the pretence of carrying out justice. The artist isn’t a bad singer at all and with some training could have led his local church choir if the rector had been prepared to overlook his former French Communist Party membership or any fascination with the more lurid apocalyptic visions of the Book of Revelations. Starting with the Irish, the Norwegians and the ancient Celts, Filliou ticks off the bucket list of nations past and present and their particular associated brutal torture specialties: be it crushing people’s skulls with thick staves, disembowelling victims and filling up the cavities with salt, or feeding prisoners to horses crazed from starvation, Filliou dutifully covers most modes of punishment (thankfully, not in much detail) in a moderately high-pitched chanting voice that’s as deadpan grim and matter-of-fact as can be for this material. (Strangely he misses out on the infamous Chinese punishment known as the Death By A Thousand Cuts or the various imaginative Japanese tortures – but then Sade died a long time before he could have heard any of Merzbow’s music.)

Hear enough of this solemn monologue and you can’t help but giggle at the ambition and determination behind it. The most remarkable aspect of the recording is that Filliou manages to plough through Sade’s exposition of the most astonishingly devious and callous punishments ever to spring out of the human imagination without collapsing in fits himself. His voice becomes ever more trance-like and somnolent as if he were reading through the daily grocery shopping list for the hundredth time.

The cassette’s packaging limits itself to Filliou’s name, the title of the work and a swirling background of pale colours such as might be seen when blowing soap bubbles, so the rationale behind performing these texts (most of which is not attributed to any particular work or works by Sade) remains unknown. Listeners must decide for themselves what to make of this recording and what to take away from it. I personally chalk it down to Filliou being mischievous, taking the mickey out of himself and confounding people’s expectations of him and his opinions. On another level, Filliou’s performance and his impassioned summary at the end about what he has just done leave listeners uncertain about his view of Sade and human nature: does he support Sade’s pessimistic view of humanity, that humans are incapable of moral or spiritual improvement, or is his performance a critique of Sade’s philosophy and outlook? One also has to admit that Sade in his own way was brutally open and honest about the extent of human depravity, above all how much it is a natural part of the human expression, however much we fear it and try to deny or justify it.

Will Not Split

Two more cassettes from Kassettkultur are by Maja Ratkje and Bjørn Hatterud, both made at the same time and only ever sold together as a pair; “will not split” is the familiar rallying cry of antique dealers who hold a fine pair of ancient jugs. With the jury’s permission, we will mention them here together.

The first of these, Focus Foucault Foccaci (KULT 014), is not much more than a cassingle, and contains two tunes at five mins apiece. On one side the duo – appearing here as Solveig Kjelstrup & Maskinanlegg – appear to be adopting a quasi-ethnic stance with a performance based on percussion and a shenai-like reed instrument, to produce something Sun City Girls might have belched up as an interlude on one of their earlier ethnic forgery LPs. Or maybe it’s intended to remind us of Don Cherry and his bamboo flutes when he played with Ed Blackwell in 1969. At any rate it’s recognisable as music, which is more than you can say for the puzzling flip side. A nightmarish take on a patriotic song from the 1930s that was never written, or a national anthem for the smallest non-existent country in Europe, is put through the tape-processing treatment until it acquires a nasty and vaguely disturbing patina. The singing voice especially is something that creeps up your spine like a jellyfish. Not that the singer sounds especially menacing, but you don’t want him hanging around your house for long. Limited edition of 30 copies for this surreal slice of pie. Maja Solveig Kjelstrup Ratkje, to use her full name, is a genius composer, improviser and noise maker who never ceases to surprise me with the ease, expertise, and commitment with which she takes on each new and wholly unexpected project. Bjørn Hatterud should be notorious to all as a member of the Norwegian collective Origami Republika, a sprawling project of weirdness whose aim was to overthrow the known world through subversive, absurdist antics; it’s impossible to tell how many records they made, as they kept changing their name, and so evaded the confining boundaries of officialdom, keeping everything fuzzy around the edges. It’s a strategy that always pays off.

The second tape, featuring the same personnel, is called Malleus Maleficarum Maximum, and with its monochrome cover, gothic styled lettering, and supernatural title, it may fool some Black Metal fans into buying it. Boy, will they be in for a surprise! One side is a short fragment of ingeniously compacted music, perhaps using tape loops, that feels like a distillation of all 19th century classical music and opera that ever dared to flirt with a “heroic” theme (and thus drove its composers mad or deaf, or both). It becomes a nostalgic view of an imaginary past that never existed, now somehow transplanted into our ironic modern times for hipsters to wonder at. That’s the power of time-travel with which I credit these two deadly magicians. Part 2 is even more alarming. Voice elements are detectable here and it feels like human beings made this noise at some point, but it also feels like monsters and wild beasts were involved at some point. The ingenuity lies in the simple layering together of elements that don’t fit, and relentlessly bringing the thing in for landing against all the laws of sanity. I’m feeling unhinged just thinking about it…maybe there really is a “black magic” thing going on after all. As you all know, Malleus Maleficarum refers to “The Hammer of the Witches”, a 15th century guidebook for how to expose witches and then put them on trial, supposedly issued by the Catholic church. God alone knows what your basic witch-hunter would have made of these two musicians, if he’d been forced to endure this mind-melt of a cassette.

The Smile You Send

Another segment from the Stille Post (BÔŁT RECORDS BR R010 / MONOTYPE RECORDS mono100) box set by Alessandro Bosetti. CD03 is called A Collection Of Smiles. This is another piece for WDR, dating from 2011. Listening to this one “blind”, it seems at first like a stream of rather banal chatter from the mouths of a pan-international set of middle-class people (Australian, Europeans), not saying very much of substance to each other. In fact, the reality of the event wasn’t far from that. Bosetti set up a “situation” where a group of people would meet in the studio and told to speak to each other for one hour, without any directions as to what they should talk about. Some of these people knew each other, some of them were total strangers. Since the artist was recording every speaking voice on a separate input, at the end of this social experiment he now had in his hands a collection of voice elements which he could splice and rearrange as he saw fit. This is what ends up on A Collection Of Smiles. What may start out as something resembling a document of idle restaurant chatter soon turns into a form of vocal music (the repetitions of certain phrases become evident very quickly, creating a song-like effect with verses and choruses), or a form of abstract sound poetry as the voices pile up in rapid-fire collision edits, resulting in pleasing effects of near-gibberish. Meanings are altered subtly, as unrelated sentences are glued together. Although we might stress that there’s no processing of the sounds; Bosetti isn’t out to transform these voices into monstrous groans, for instance, which could be done by time-stretching. The rapid-fire effect, I’m slowly coming to realise, may be one of Bosetti’s trademarks; he likes a rush of information delivered in a dense parcel, and he expects us to keep up with these changes.

The other major dimension to A Collection Of Smiles is the musical score. Bosetti has noted down certain cadences and changes in timbre in the way his subjects speak, and annotated them, transforming them into a musical score. This score is then played back at certain junctures by a small chamber ensemble, in which I can hear piano, guitar, and I think some woodwinds. The precision and ingenuity with which these musical passages are matched against their spoken-word sources is uncanny, yet Bosetti doesn’t even call attention to it; he does it effortlessly, and weaves the passages into the fabric of the work without us even noticing at first that it’s even happening. The first time I heard an instance of a musician doing this was Harry Partch and his Bitter Music, where he was able to document speech patterns of people he met during his hobo years in America, and recast them as musical phrases. (See the third disc of Enclosure 2, INNOVA 401, 1995)

This leaves us with the possible task of “decoding” the content or meaning of A Collection Of Smiles. But I’m not sure if there is any. On the surface, the work feels like a 50-minute musical approximation of a Twitter stream. There’s something relentlessly upbeat about the self-satisfied tone of these individuals and their jabbering that prompts this observation, and the shallowness of their observations is only increased the more it’s repeated under Bosetti’s editing knife. As directed conversations go, this is clearly of quite a different order to the stoned freaks sitting under a tarpaulin with a piano set up by Zappa for his Lumpy Gravy album. However, the record does once again display Bosetti’s remarkable talent for fashioning dense and complex statements from his source materials, and the “different and ever-changing constellations” he is able to build in mosaic fashion clearly delights him.

The Non-Existent Knight

The cassette Sharp Intake Of Breadth (TUTORE BURLATO #07) by Lovely Honkey is the next item I’ve pulled from the big July bag sent here by Tutore Burlato. This surreal and queasy mess is another recording which seems very much like something Ezio Piermattei would favour, and seems to occupy similar areas of strange humour and indigestible noise, arrived at by means of tape manipulation, layering, and juxtaposition of unrelated elements. Plus there’s the grotesque voice, which on more than one occasion resembles someone being seriously ill – groaning, howling, and clearly on the point of vomiting out their intestines. Lo-fi noise, broken electronics, damaged cassette tapes, and heaven knows what else – the detritus of modern consumerism is meat and drink to Lovely Honkey in his quest to reduce all around him to absurdity. What always impresses me about this sort of thing is the deliberation and poise with which the lunatic in question goes about their task, proceeding slowly and carefully through the rituals of their inexplicable antics. Thick, acoustic porridge noise-spew results, a potage which lays heavily on the belly of the listener. One other aspect of the Lovely Honkey plan is to ridicule pop music history to an extreme degree, and the singer’s nightmarish deconstruction of Black Lace’s ‘Superman’ (an easy target if ever there was) on side A here is not something you will forget in a hurry. The cover artworks also contain insights into the warped, visceral humour of this creator – look closely at the front cover to examine the background to this knight in armour, and you may do a small double take. Can’t find out much factual information about Lovely Honkey, although he has performed and recorded with Neil Campbell and may in fact be half of Acrid Lactations; other releases have surfaced since 2008 on Poot Records, Total Vermin, and Chocolate Monk.

One of nine cassettes received 4th July 2016 from Ezio Piermattei.