1. For Tichý 2. Mer En Os 3. On the fabric you shine, latern 4. The spine of the pink + the snow of the poles
5. The seat of the spirit 6. Amilec 7. The others get dressed in insect 8. Giphantie = Tiphaigne 9. The key is here, the Gate is Elsewhere 10. Nest (for D+R) 11. Where the toothing-stone resounds 12. Saulteau 13. Ulna
'Gravity Controls Our Myths' presents a collection of short works that were created during a two year time frame.
Mixed at the Wooden Spine Box 2009
Material used: bowed metal, pine cone, dried plants, mouse skulls, Sebastien feeding, crickets, piano, bells, bullets, boiling water, children's toy, vinyl, bowed zither, glass bottle, water tank, spring, fly, insects, shells, xylophone, hydrophone and field recordings
Artwork By: Herbert Pfostl
Mastered By: Corey Fuller
Piano On 'nest' By: Rachel Marston
Album Title By: David Ruhlmann
format: CD in DVDBOX ltd. 500
Price: €14.00 - worldwide incl shipping
Рулманн - канадский художник и музыкант, дебютировавший на лэйбле Натана МакНича Petite Sono]. После этого его альбомы издавались лэйблами Mystery Sea, taalem, Afe Records, S`agita, Gears Of Sand и собственном Somne Recordings. Его музыка изначально создавалась для аккомпанемента к видеоработам и представляет собой тихий дроун-эмбиент с элементами электроакустики. Плотное полотно с глубокой перспективой сформировано из 13 коротких треков, записанных в течение последних двух лет. Матье использует массу акустических источников звука - металл, сосновые шишки, высушенные растения, фортепиано, колокола, кипящая вода, детские игрушки, винил, журчание воды и жужжание насекомых, ксилофон, гидрофон и т.д. Любителям органичного звучания альбомов таких мастеров натуралистической атмосферики как Michael Northam и John Grzinich данный CD станет лучшим подарком, тем более что выпущен он новым лэйблом Сергея Суховика - музыканта Five Elements Music и владельца лэйбла Still*Sleep. Лимитированное издание в DVD-боксе, тираж - 500 копий.
Российский лэйбл Semperflorens продолжает открывать нам мэтров электроакустической, экспериментальной и эмбиентной музыки. Первыми двумя релизами были работы признанных мастеров: Джефа Джермана (Hands To, City Of Worms) и Майкла Нортхэма (ранее издававшегося под псевдонимом MNortham). Третьим релизом стал альбом не менее именитого композитора – Мэтью Рульмана. Работы канадского саунд-художника издавались на таких лэйблах, как Mystery Sea, AFE иGears of Sand, кроме того в его дискографии присутствует совместная работа с дуэтом Celer. Все это говорит о том, что творчество Рульмана достойно самого пристального внимания.
Этот факт доказывает и рецензируемый релиз. Аккуратный Drone, который медленно разливается по структуре аудиополотна, сотканным из всевозможных полевыми записей. Как обработанными, так и сырыми. Пение птиц, шорохи насекомых, голоса людей и прочие звуки создают неторопливо развивающееся, но очень живое пространство. Конкретные звуки окружающей среды переносят сознание слушателя в какие-то далекие страны, музыка приглашает совершить воображаемое путешествие. И, в данном случае, это не просто аудио отчет о собранных и выстроенных неким образом звуковых материалах, но также и глубоко эмоциональное и тонкое произведение. Призрачные и мягкие гулы наполняют пластинку меланхоличными настроениями, какой-то неясной тоской. Лично мне “Gravity Controls Our Myths” напомнил пластинку “V” московского проекта Cisfinitum. Но не по своей структуре и звучанию (V более абстрактен и наполнен тревожными моментами, тогда как музыка Рульмана более ровная и спокойная), но оба альбома вызывают какое-то чувство ностальгии по чему-то давно ушедшему. Впрочем, это очень субъективные ощущения. Несомненно, же то, что перед нами образец очень тонкого drone ambient. Говоря о стилистике, также стоит заметить, что это не тот drone, который играют Maeror Tri/Troum. Это музыка совсем из иных сфер. Сфер, практически, в нашей стране неизвестных и неизведанных. Посему, стоит отдать должное лэйблу Semperflorens, который взялся знакомить нас с подобным творчеством!
Gravity Controls Our Myths is the latest in a series of enigmatic metaphysical utterances from the subdued and mystical electro-acoustic composer Mathieu Ruhlmann. His transformation of sound sources is extensive, masking and concealing all behind layers of intrigue, occasionally allowing blurred fragments of the familiar to leak through the cold sonic mist. His titles are littered with clues; colours, weather, stones, keys, gateways, insects and bird life; and the cover hints at the mystical vision of a saint who may be seeing the face of Jesus in the sky as she prays. Ruhlmann is like a more abstracted and opaque version of Joe Frawley, in that he assembles his materials with the same consummate care, but plays down and muffles the narrative aspects of his sound-stories. And like Frawley, his music is also filled with beauty and wistful longing for unattainable things.
At face value, there's nothing inherently disrespectful about referring to Mathieu Ruhlmann as a drone builder. Part of his international renown is down to two widely acclaimed full-lengths on specialised Belgian imprint Mystery Sea after all and both are deeply steeped in the serene magic of sustained tones: While the colossal swamp of „Broken Vessels“ was an almost archetypal vision of the outfit's philosophy, last year's „tsukubai“, a refined and all but impenetrable system of subterranean field recordings and emotional metaphors, congenially kickstarted its new Unfathomless sister label. Both works were daring and highly personal efforts, portraying Ruhlmann as a sensitive man without fear, but they also limited the scope of his audience to a small niche. On „the earth grows in each of us“ (released 2007 on Afe) or, more prominently on his much-applauded collaboration with Celer („Mesoscaphe“), he has meanwhile extended his antennae into more open territory. A second side of his oeuvre was budding, contrasting the ultraprecise, über-alert and almost surreal third-ear-sonorities of his environmental acoustics with a lyrical and naive tendency for melody and harmony. This gradual development has now reached an exciting denouement: With the arrival of„Gravity Controls Our Myths“, only the most stubborn will be able to ignore this aspect of Ruhlmann's talents.
Conceptualised as a collection of short, to-the-point tracks realised over a two-year-period, the album is not just a major artistic progression, but also a sort of temporary magnum summum concentrating various strands and ideas into a grand, coherent statement: The association with the visual arts, genetically imprinted through brother David's profession as a painter, is once again an integral part of the creative package, as three of Herbert Pfostl's works are layered into equally charming and disturbing textures on the DVD-box-size cover. Family ties play an important role in general, with David contributing the album title and his fiancée Rachel Marston performing Piano on one occasion. Field recordings hark back to various works from the past, with aquatic and gravelly, granular textures proving especially popular. Meanwhile, the juxtaposition of captured audio and natural micro-noises with lush and luxurious chords and themes is taking center-stage. It is a cocktail which underlines how successful Ruhlmann has been in establishing a recognisable sound in a genre exceedingly filled with perfectly realised but essentially identical productions – even his unpitched materials reveal a distinct and unmistakable signature, expressions of a fondness for a world usually hidden from human perception.
And yet, „Gravity“ also points forward, to new horizons, powerful potentials and different directions. Ruhlmann's motives are composed of tender, lovable ellipses, often comprising no more than two or three tones which gently invite the listener to fill in the missing notes inside his or her own mind and observe how the quiet impact of these melodies is creating fine ripples on the surface of silence. Instead of overtly developing his themes or chord progressions, he carefully changes their sonic angle, as if they were softly chiming in place while a transparency of undulating field recordings were mellowly moving underneath them. „Mer En Os“ is a point in case, dreamily scented drones looping in infinite cycles, while figments of a fragile Piano are floating through corridors filled with bright, iridescent light – a Mediterranean moment of carefree bliss, forever suspended in time. „The Seat and the Spirit“ is an even more minimal affair, a slowly breathing duo of bass swells counterpointing a hushed Harp, whose classical echoes appear to be mysteriously oscillating between fore- and background subject to sparse sounds crackling and clicking at the vestiges of tonality. Just as in his epic soundscapes, there is no beginning nor end to these pieces, which always seem to move laterally rather than on a clearly defined linear timescale.
In effect, Ruhlmann is returning to the notion introduced by impressionists like Debussy, that for music to take into account the sonic mysteries of pure sound, melody and harmony need to become a single, unified texture. On „Gravity controls our Myths“, he's however not content in merely copying this approach. Instead, the album adds a third layer of concrete sound events to the equation, resulting in an associative, complex, deep and persistently shifting acoustic stream. Within this continuum, all elements are equally important, from the puniest of particles to the most expressive of motives, resulting in a style which is both immediately appealing and ripe with discoveries. On „Saulteau“, Ruhlmann culls a hypnotic undertow and maximum of variations from a tonally restricted Piano theme, placing it in an eery surrounding of tactile scratchings and cavernous resonance. Rarely have the worlds of electronic Sound Art and Contemporary Composition been this close – and rarely has the cliche of Mathieu Ruhlmann being an clearly classifiable drone artist seemed as disrespectful as here.
A fascinating title introduces the latest outing by Canadian Mathieu Ruhlmann, who’s been active for many years in the sonic fields where fading memories, concrete elements and awareness of the impossibility of changing a life’s destiny meet, often with deeply affecting results. This is an ideal case in point, an impressive work where everything is more or less recognizable but we can’t really put a finger on what’s being listened to. Gravity Controls Our Mythsdiffused its fumes incessantly this afternoon: unobvious messages directed to the archive of consciousness that keeps discoloured postcards of mournful reminiscences inside, ready to be taken out as a certain scent or a particular reverberation emerge.
This music is like a sizeable rock held in the hands of a kid standing in front of a deep sea. You keep observing it under the sun and it’s a familiar enough object, then – once thrown down in the water – the contour gradually loses definition, rapidly becoming an unevenly blurred vision. The same happens with the sequences of images that Ruhlmann presents: they may be starting from the most normal activity – sounds that you’re sure of knowing, yet still don’t attempt to describe in fear of a poor figure. Human and animal components are definitely predominant - even the sighs emitted by an infant inserted amidst nocturnal faunas and all kinds of manual tampering, environmental and urban echoes and domestic banality functioning as magic powder for foggy evocations (“On The Fabric You Shine, Latern”, “Nest”).
Simple fragments of melody played on a slightly detuned piano are accompanied by a sort of indistinct chorale in “The Sea Of The Spirit”, among the album’s absolute tops, also shaped by additional natural materiality and distantly echoing drones that come and go from the mix. Such a kind of piece is what convinces me that this is one of the finest statements released by this composer, a reminder of individual vulnerability if we ever needed another. It surely deserves a responsive audience, comprising those who can appreciate the value of an open wound.
Usually in the musical world of Mathieu Ruhlmann and people like him, a release means releasing one or more long tracks on a carrier of sounds. Usually not more than three. But much to my surprise this one has thirteen tracks, in some forty minutes, which one could think that this is Ruhlmann’s popalbum. Of course its not. Its just an album of shorter pieces, maybe sketch like, but to use the term ‘sketch’ is not something I’d like to do for this music. You may all too easily think, the pieces on this album are not fully worked out, which is not the case. They are well rounded, shorter pieces of electronic and electro-acoustic music. Ruhlmann uses “bowed metal, pine cone, dried plants, mouse skulls, crickets, piano, bells, bullets, boiling water, children’s toy, vinyl, bowed zither, glass bottle, water tank, spring, fly, insects, shells, xylophone, hydrophone and field recordings”, which is indeed a long list of sounds and perhaps not always as such to be recognized here, but Ruhlmann finds a great balance between sounds we do recognize (water, piano) and those we don’t – which I assume to be slightly processed versions of the other mentioned sounds. Its probably more difficult for people like Ruhlmann to do a shorter pieces than a longer one (odd as that may sound), but he does he a great job here. His music didn’t change, it just became a bit more tighter here. Its good to see someone like him change the structure behind his music, trying out to get the same results but then within a shorter time frame. Ruhlmann succeeds wonderfully well at that. His highly atmospheric music still stands firm, with a great, intelligent use of environmental sounds and objects into a great varied bunch of tracks. Very nice.