Éliane Radigue’s peerless series of acoustic compositions yields its mesmerising 4th instalment, exactingly performed by leading contemporary musicians Bertrand Gauget, Yannick Guédon, and Carol Robinson.
Since 2011, pioneering minimalist Éliane Radigue has shifted her attention from electro-acoustic phenomena, as explored in her seminal ’70-’80s works with the ARP 2500 synth and tape - arguably some of the c.20th’s greatest - to focus purely on the instrumental and acoustic realms. The results have been documented in her ‘Occam Ocean’ volumes since 2017, with each entry opening and invoking thee most curious harmonic relationships and timbres thru meticulous performance of strings, wind and voice. They are necessarily durational works, allowing the time needed to gauge both the nuance and the bigger picture of her work, each limning new horizons of minimalist drone which really only come into view with requisite time and committed listening (better yet with eyes shut).
While it’s really not ambient music, as in wallpaper sound, the effect may well evoke somnambulance to many, as the music’s sustained and ultra-subtly gradated transitions between tones can lure ears into space and most beautifully defocus the mind in key with Éliane’s Buddhist impetus, conjuring states of mind that we rarely achieve with other music. On ‘Occam Ocean Vol.4’ we hear regular collaborator Carol Robinson’s voix merged uncannily with Viola de Gamba, Alto Saxophone and Birbyné, a Lithuanian wind instrument in ways that caress and buzz our frontal lobes on ‘Occam Delta XIX’, while ‘Occam XXII’ is a stunning piece of Tibetan-style throat singing with masterfully intense overtones performed by Yannick Guédon, and we feel her patented sandman traction most strongly in Bertrand Gauget and Carol Robinson’s duet for Alto Saxophone and Bass Clarinet in ‘Occam River XXII’, where they conjure genuinely remarkable, unreal tones in the final parts that could easily be mistaken for coming from electronic sources.
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Back in stock. CD comes with 66 page booklet featuring photography of the work in progress, and notes in French, English & German.
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Éliane Radigue’s peerless series of acoustic compositions yields its mesmerising 4th instalment, exactingly performed by leading contemporary musicians Bertrand Gauget, Yannick Guédon, and Carol Robinson.
Since 2011, pioneering minimalist Éliane Radigue has shifted her attention from electro-acoustic phenomena, as explored in her seminal ’70-’80s works with the ARP 2500 synth and tape - arguably some of the c.20th’s greatest - to focus purely on the instrumental and acoustic realms. The results have been documented in her ‘Occam Ocean’ volumes since 2017, with each entry opening and invoking thee most curious harmonic relationships and timbres thru meticulous performance of strings, wind and voice. They are necessarily durational works, allowing the time needed to gauge both the nuance and the bigger picture of her work, each limning new horizons of minimalist drone which really only come into view with requisite time and committed listening (better yet with eyes shut).
While it’s really not ambient music, as in wallpaper sound, the effect may well evoke somnambulance to many, as the music’s sustained and ultra-subtly gradated transitions between tones can lure ears into space and most beautifully defocus the mind in key with Éliane’s Buddhist impetus, conjuring states of mind that we rarely achieve with other music. On ‘Occam Ocean Vol.4’ we hear regular collaborator Carol Robinson’s voix merged uncannily with Viola de Gamba, Alto Saxophone and Birbyné, a Lithuanian wind instrument in ways that caress and buzz our frontal lobes on ‘Occam Delta XIX’, while ‘Occam XXII’ is a stunning piece of Tibetan-style throat singing with masterfully intense overtones performed by Yannick Guédon, and we feel her patented sandman traction most strongly in Bertrand Gauget and Carol Robinson’s duet for Alto Saxophone and Bass Clarinet in ‘Occam River XXII’, where they conjure genuinely remarkable, unreal tones in the final parts that could easily be mistaken for coming from electronic sources.