Music Reviews

Artist: VV.AA.
Title: Traces Three
Format: 12"
Label: Recollection GRM/Editions Mego (@)
Rated: *****
The series "Traces", which collects authentic pearls from more or less unknown pioneering scholars of the legendary Groupe de Recherches Musicales, come to the third act and strenghtens the remarkable appeal that Recollection GRM, Editions Mego's auxiliary label whose main aim is to dig into GRM archives in order to spread forgotten artifacts of this group of proper innovators of sonic science, is inspiring between more demanding listeners. Besides the choice of grouping four different composers and sound engineers from four different corners of the planet, who attended this memorable community, the four works cover a period between 1975 and 1979. The first one in chronological order is maybe the more "conventional" track of the selection: "Hypnos" (1975), an extract from Slovenian composer Janez Maticic's "Trois Visions", is a set of really hypnotical sonic paregoric from masterfully steered oscillators, which are going to carry listeners into an entrancing parallel universe that could resemble that branch of ambient which got spread by Cascone's Silent years later. The immersion of a plenty of concrete resounding objects (metallic hits, helicopters, cars, grumbles, engines, rotors, breaking glass and maybe some captured goblins as well) into a magnetic pool of white noises on "Impresiones Fugitivas" (1976) by Venezuelan composer Servio Tullio Marin evokes those sund effects that featured many horror movies of the 70ies, while the opening "Ruptures" (1978) by French scholar Charles Clapaud could let you think to some obscure abstract sonic material where sudden bursting manages to make the listening experience more adventurous and somehow creepy that many contemporary electronic musicians keep on spreading today. The final "Moulin Diabolique" (French for "Evil Mill") (1979) that Polish composer Eugeniusz Rudnik dedicated to his daughter Kamila Maria rebroadcasts the anti-military spirit of late 70ies by a brilliant assemblage of six different sequences, where the semantic contrast between its weird sonorities and the ludicrous cornerstone and intrinsic stiffness of military logic has been brilliantly rendered: according to Rudnik's own words, "the basic material of this work consists of military orders in different languages and of the sounds (voices) of a human group (soldiers). through editing, the sense of military discipline was removed from the ordering sentences, thus enhancing the grotesque and terrible content of the order itself".

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