Jan 272019
 
The first OM tape of this
year will be released on 31/01/19 – the second part in our ongoing
Echonomy Split Series, which might be only a split of sorts this time:
Le Mépris/Le Mépris. 

40 tapes + DL-Code, artwork, as always, from
Dicey Studios.

Look and listen:
https://otomatikmuziek.bandcamp.com/album/echonomy-split-series-2

Echonomy Series is looking to select works already released
in small editions or download-onlies and to recontextualise them. The
recordings put together here are from one and the same artist – or
are not, considering that 10 years have passed between sides A and B
and Le Mépris might be rather a means for creating music than a real
person.

Around 12 years ago, when a crowd mostly socialized
with electronic music discovered classical instrumentation and new age
composition, Le Mépris was subject to a minor media hype. The persona
Reiko Matane was too good to be true: a young, fragile japanese woman
with an alias from a Godard film creating exquisitly solemn piano
miniatures, replacing Tokyo’s constant humming with solitude,
creating a music as fragile as expected from a girl and as cool as any
given dude’s selected classical ambient vinyl collection. No one
wondered.

Back then, the real person behind Reiko and me sat
down over a drink on a few occassions and wondered, but mostly, I was
happy that my friend’s music got the attention it deserved, because
nonetheless, Le Mépris‘ music is one of a certain solemnity and sad
elegance. Its melancholy is excessive in that it leaves no room for
any other feeling, it is cleansing; a kind of no-prisoners-taken
ambient music you have to listen to, even if you attempt not to.

Now, Le Mépris is back. The two new pieces premiering here as a
counterpart to a selection of previously released tracks find Le
Mépris crawling deeper down into the dark realms of solitude; gone is
the innocent pop appeal of the former releases. While delay and reverb
were accompanying voices in the past, leaving ghostly traces of piano,
these dynamics have vanished in favour of effect-laden dirges where
the piano of ten years ago is more like a mirroring input for a
growing, self-feeding system. These new transmissions are recalling
the old recordings, they are a recorded memory, an ancient organism:
lowest possible movement, polyphone rustling and humming, a music
working on getting silent.

Marc Urselli

www.marcurselli.com
info@marcurselli.com
+1 (917) 470 1170

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Other sites by Marc Urselli:
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WIND for KITESURFERS: www.marcurselli.com/wind
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EXPERIMENTAL MUSIC MAGAZINE: www.chaindlk.com

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