Laughter

the human race has one really effective weapon


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Review: Jacques Lejeune, “Parages and Other Electroacoustic Works 1971-1985” (Robot)

Robot Records’ three-CD retrospective of Jacques Lejeune’s music from the early 1970s and 1980s contains over three hours of heady electronic noise, surreal acoustic transformations, deconstructed field recordings, and disorienting aural splutter. It is a collection that spans 14 years and six electroacoustic compositions: one composed for ballet and inspired by Snow White, another inspired by the myth of Icarus, and others by landscapes, symphonic form, and cyclical movement, among other things. They flash with theatrical flair, jump unpredictably through minute variations, and churn chaotically, tossing fabricated scree and instrumental slag into the air. A 28 page bilingual booklet filled with photographs, drawings, and program notes accompanies the set, along with a 32 page booklet of interpretive poetry. In them, Lejeune, Alain Morin, and Yak Rivais offer up remarkably precise interpretations for each of the pieces, but the writing works much better as a rough guide to the visually evocative clamor of Lejeune’s electric transmissions.

Jacques Lejeune’s musical career began auspiciously, at the famous Schola Cantorum de Paris, a private music school in the city’s Latin Quarter whose alumni include Edgard Varèse and Erik Satie. From there, he moved to the Conservatoire National Supérieur, where Adolphe Sax had once taught and where Igor Wakhévitch would eventually study, and labored under the tutelage of Pierre Schaeffer. He finished his education with François Bayle at the Groupe de Recherches Musicales, then joined the GRM in 1968 and became director of the Cellue de la Musique pour L’Image, or The Department of Music for Images, responsible for the production of sound and music for both theater and television.

By 1971 he had finished his first major composition, Cri, which premiered at the Royan Festival in 1972. It was Lejuene’s introduction to France and the first indication that his stint in the Images Department at the GRM had been as formative as the rest of his education.

Early on, Cri delivers brief, sometimes confounding glimpses of particular places and circumstances. Those images are held in focus just long enough to be recognized and then swept away: a marching band stomps through a busy street in the first movement, then disappears into the sound of French horns warming up before a performance; frogs croak in concert with crickets as sheets of tape noise flutter by imitating the sound of water; people laugh and conversations crash against bursting radio signals and gusts of analog distortion. In the second movement entire sentences survive, accompanied by reverse audio and a small gaggle of test tones. Exclamations leap out of the commotion and a radio transmission about Pakistan and the United States floats smoothly by, like a small town seen from the window of a passing train.

Read more… (at Brainwashed, includes sound samples)

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The Monthly List: April’s Top 10

photograph by Kevin Baird

Solar Eclipse – “Ring of Fire” – photograph by Kevin Baird

The only new album on the list this month comes from the Phil Minton/Audrey Chen Quintet on Sub Rosa. Everything else is a reissue or a new collection of older music.

Impulse’s release of John Coltrane’s complete Sun Ship sessions snuck in right at the end of April, but didn’t make the list because I was too busy listening to MeditationsCrescent, and Interstellar Space to notice. Coltrane has been almost the only thing I’ve wanted to hear for the last two weeks and I don’t see any sign of that streak ending. Repeat plays of Crescent and Meditations were broken only by Human Ear’s reissue of Michael Pisaro’s Tombstones and Machu Picchu’s re-release of Inside the Shadow. Both are essential and I highly recommend seeking them out.

The first half of the month was also dominated by reissues. Recollection GRM’s Xenakis LP is outstanding, as is MCR’s treatment of Where’s My Towel/Industry Standard from Austin’s Big Boys.

As always, formats posted are the ones I own. Others may be available. If you like any of the samples I link to, please buy the album. You can find numerous retailers carrying these titles at the bottom of this page.