Rhapsodia / Battements solaires
Michèle Bokanowski
Rhapsodia / Battements solaires
Boomkat Product Review:
The GRM are on their top game with a jaw dropping electro-acoustic wonder by Michèle Bokanowski - a student of Eliane Radigue and Pierre Schaeffer - revealing a visionary compositional talent.
Making introductions, where necessary, to Bokanowski’s small but perfectly formed catalogue, Parisian institute the GRM pair two works created by the french artist in 2008 and 2018 to bring us up to speed with her solo studio work and her sidestream of sound for film, specifically an award winning flick by her husband, Patrick Bokanowski. Despite studying since the ‘70s, and appearing on releases including Michel Chion’s ‘Requiem’ in 1978, this is the first time that her music has crossed our ears, and certainly won’t be the last, as we find ourselves totally snagged in her furling loops and brooding tonal depths, and very eager to encounter everything she’s done so far.
A quick bit of research tells us Michèle Bokanowski has previously issued an overlooked side on Donato Epiro’s excellent Canti Magnetici in 2019, and a haul of CDs between the early ‘90s and 2014, so this LP effectively serves to give some scope of her practice between that period and now. Recorded in 2018, ‘Rhapsodia’ offers a remarkable first meeting with her music for many heads; ushering 17 minutes of gently scudding, windswept loops and laminal strings redolent of Gas at his most stately, but tempered with her own, etheric temporality and fathomless space that leaves us in awe of the magick at play.
For contrast, ‘Battements solaires’ plays to her stream of soundtrack composition for her husband’s film of the same name (winner of Best Film Award, 20009 EXiS Festival, South Korea) and reveals a rare, exceedingly sound sensitive gift for gloaming, parallel dimensional atmospheres and sublime tension guided by supremely heightened intuition and ability to displace time.
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Boomkat Product Review:
The GRM are on their top game with a jaw dropping electro-acoustic wonder by Michèle Bokanowski - a student of Eliane Radigue and Pierre Schaeffer - revealing a visionary compositional talent.
Making introductions, where necessary, to Bokanowski’s small but perfectly formed catalogue, Parisian institute the GRM pair two works created by the french artist in 2008 and 2018 to bring us up to speed with her solo studio work and her sidestream of sound for film, specifically an award winning flick by her husband, Patrick Bokanowski. Despite studying since the ‘70s, and appearing on releases including Michel Chion’s ‘Requiem’ in 1978, this is the first time that her music has crossed our ears, and certainly won’t be the last, as we find ourselves totally snagged in her furling loops and brooding tonal depths, and very eager to encounter everything she’s done so far.
A quick bit of research tells us Michèle Bokanowski has previously issued an overlooked side on Donato Epiro’s excellent Canti Magnetici in 2019, and a haul of CDs between the early ‘90s and 2014, so this LP effectively serves to give some scope of her practice between that period and now. Recorded in 2018, ‘Rhapsodia’ offers a remarkable first meeting with her music for many heads; ushering 17 minutes of gently scudding, windswept loops and laminal strings redolent of Gas at his most stately, but tempered with her own, etheric temporality and fathomless space that leaves us in awe of the magick at play.
For contrast, ‘Battements solaires’ plays to her stream of soundtrack composition for her husband’s film of the same name (winner of Best Film Award, 20009 EXiS Festival, South Korea) and reveals a rare, exceedingly sound sensitive gift for gloaming, parallel dimensional atmospheres and sublime tension guided by supremely heightened intuition and ability to displace time.
Boomkat Product Review:
The GRM are on their top game with a jaw dropping electro-acoustic wonder by Michèle Bokanowski - a student of Eliane Radigue and Pierre Schaeffer - revealing a visionary compositional talent.
Making introductions, where necessary, to Bokanowski’s small but perfectly formed catalogue, Parisian institute the GRM pair two works created by the french artist in 2008 and 2018 to bring us up to speed with her solo studio work and her sidestream of sound for film, specifically an award winning flick by her husband, Patrick Bokanowski. Despite studying since the ‘70s, and appearing on releases including Michel Chion’s ‘Requiem’ in 1978, this is the first time that her music has crossed our ears, and certainly won’t be the last, as we find ourselves totally snagged in her furling loops and brooding tonal depths, and very eager to encounter everything she’s done so far.
A quick bit of research tells us Michèle Bokanowski has previously issued an overlooked side on Donato Epiro’s excellent Canti Magnetici in 2019, and a haul of CDs between the early ‘90s and 2014, so this LP effectively serves to give some scope of her practice between that period and now. Recorded in 2018, ‘Rhapsodia’ offers a remarkable first meeting with her music for many heads; ushering 17 minutes of gently scudding, windswept loops and laminal strings redolent of Gas at his most stately, but tempered with her own, etheric temporality and fathomless space that leaves us in awe of the magick at play.
For contrast, ‘Battements solaires’ plays to her stream of soundtrack composition for her husband’s film of the same name (winner of Best Film Award, 20009 EXiS Festival, South Korea) and reveals a rare, exceedingly sound sensitive gift for gloaming, parallel dimensional atmospheres and sublime tension guided by supremely heightened intuition and ability to displace time.
Boomkat Product Review:
The GRM are on their top game with a jaw dropping electro-acoustic wonder by Michèle Bokanowski - a student of Eliane Radigue and Pierre Schaeffer - revealing a visionary compositional talent.
Making introductions, where necessary, to Bokanowski’s small but perfectly formed catalogue, Parisian institute the GRM pair two works created by the french artist in 2008 and 2018 to bring us up to speed with her solo studio work and her sidestream of sound for film, specifically an award winning flick by her husband, Patrick Bokanowski. Despite studying since the ‘70s, and appearing on releases including Michel Chion’s ‘Requiem’ in 1978, this is the first time that her music has crossed our ears, and certainly won’t be the last, as we find ourselves totally snagged in her furling loops and brooding tonal depths, and very eager to encounter everything she’s done so far.
A quick bit of research tells us Michèle Bokanowski has previously issued an overlooked side on Donato Epiro’s excellent Canti Magnetici in 2019, and a haul of CDs between the early ‘90s and 2014, so this LP effectively serves to give some scope of her practice between that period and now. Recorded in 2018, ‘Rhapsodia’ offers a remarkable first meeting with her music for many heads; ushering 17 minutes of gently scudding, windswept loops and laminal strings redolent of Gas at his most stately, but tempered with her own, etheric temporality and fathomless space that leaves us in awe of the magick at play.
For contrast, ‘Battements solaires’ plays to her stream of soundtrack composition for her husband’s film of the same name (winner of Best Film Award, 20009 EXiS Festival, South Korea) and reveals a rare, exceedingly sound sensitive gift for gloaming, parallel dimensional atmospheres and sublime tension guided by supremely heightened intuition and ability to displace time.
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Boomkat Product Review:
The GRM are on their top game with a jaw dropping electro-acoustic wonder by Michèle Bokanowski - a student of Eliane Radigue and Pierre Schaeffer - revealing a visionary compositional talent.
Making introductions, where necessary, to Bokanowski’s small but perfectly formed catalogue, Parisian institute the GRM pair two works created by the french artist in 2008 and 2018 to bring us up to speed with her solo studio work and her sidestream of sound for film, specifically an award winning flick by her husband, Patrick Bokanowski. Despite studying since the ‘70s, and appearing on releases including Michel Chion’s ‘Requiem’ in 1978, this is the first time that her music has crossed our ears, and certainly won’t be the last, as we find ourselves totally snagged in her furling loops and brooding tonal depths, and very eager to encounter everything she’s done so far.
A quick bit of research tells us Michèle Bokanowski has previously issued an overlooked side on Donato Epiro’s excellent Canti Magnetici in 2019, and a haul of CDs between the early ‘90s and 2014, so this LP effectively serves to give some scope of her practice between that period and now. Recorded in 2018, ‘Rhapsodia’ offers a remarkable first meeting with her music for many heads; ushering 17 minutes of gently scudding, windswept loops and laminal strings redolent of Gas at his most stately, but tempered with her own, etheric temporality and fathomless space that leaves us in awe of the magick at play.
For contrast, ‘Battements solaires’ plays to her stream of soundtrack composition for her husband’s film of the same name (winner of Best Film Award, 20009 EXiS Festival, South Korea) and reveals a rare, exceedingly sound sensitive gift for gloaming, parallel dimensional atmospheres and sublime tension guided by supremely heightened intuition and ability to displace time.
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