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The Possibility of a New Work for Aquaserge
The Possibility of a New Work for Aquaserge in Bloomington, MN
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The Possibility of a New Work for Aquaserge
is the French avant-prog band's contribution to
Crammed
's long-running composer series
Made to Measure
, which has typically focused on music that could be used for other forms of media, including film, television, advertising, and performances. Earlier entries in the series included
John Lurie
's soundtracks for
Jim Jarmusch
's breakthrough films, as well as
Yasuaki Shimizu
's
Music for Commercials
and albums by
Hector Zazou
,
Fred Frith
Harold Budd
, and many others. On this album,
Aquaserge
pay tribute to
Giacinto Scelsi
Gyoergy Ligeti
Edgard Varese
, and
Morton Feldman
, through a mixture of original homages and interpretations of the 20th century composers' pieces. The results are distinctly Aquasergian, with some of the pieces radically altered to match the band's sensibilities, while others are more reverential to the original compositions.
Varese
's "Un grand sommeil noir" is transformed from a solemn, operatic piece into more of a fractured chanson, segueing from a cool yet fractured rhythm to more weightless sections, joined together by the dual lead vocals of
Audrey Ginestet
and
Julien Gasc
. "1768°C," an original piece dedicated to
, is more exciting, particularly the mesmerizing section near the middle for electric guitar, woodwinds, and bass, as well as the main rhythm that the group constantly returns to. The band's homages to
Scelsi
Ligeti
are extended drones, the
piece is tense and at times shrill, while "Nuit terrestre (a Gyorgy Ligeti)" is soft and glacial, fusing the entire ensemble into what sounds like a single instrument. By contrast, the much shorter "Nuit alteree (a Gyorgy Ligeti)" sets the tense horns and bells to an almost New Orleans-style drum rhythm. The
Feldman
pieces include two versions of "Only," a solo voice composition based on a
Rainer Maria Wilke
poem, as well as the freewheeling original "Comme des carres de Feldman," a gleefully twisted noise rock improvisation based on a graphic score. Throughout the album,
demonstrate how the pioneering techniques and ideas of the visionary composers can be adapted into contemporary avant-rock settings, and how they've influences the band's own approaches. ~ Paul Simpson
is the French avant-prog band's contribution to
Crammed
's long-running composer series
Made to Measure
, which has typically focused on music that could be used for other forms of media, including film, television, advertising, and performances. Earlier entries in the series included
John Lurie
's soundtracks for
Jim Jarmusch
's breakthrough films, as well as
Yasuaki Shimizu
's
Music for Commercials
and albums by
Hector Zazou
,
Fred Frith
Harold Budd
, and many others. On this album,
Aquaserge
pay tribute to
Giacinto Scelsi
Gyoergy Ligeti
Edgard Varese
, and
Morton Feldman
, through a mixture of original homages and interpretations of the 20th century composers' pieces. The results are distinctly Aquasergian, with some of the pieces radically altered to match the band's sensibilities, while others are more reverential to the original compositions.
Varese
's "Un grand sommeil noir" is transformed from a solemn, operatic piece into more of a fractured chanson, segueing from a cool yet fractured rhythm to more weightless sections, joined together by the dual lead vocals of
Audrey Ginestet
and
Julien Gasc
. "1768°C," an original piece dedicated to
, is more exciting, particularly the mesmerizing section near the middle for electric guitar, woodwinds, and bass, as well as the main rhythm that the group constantly returns to. The band's homages to
Scelsi
Ligeti
are extended drones, the
piece is tense and at times shrill, while "Nuit terrestre (a Gyorgy Ligeti)" is soft and glacial, fusing the entire ensemble into what sounds like a single instrument. By contrast, the much shorter "Nuit alteree (a Gyorgy Ligeti)" sets the tense horns and bells to an almost New Orleans-style drum rhythm. The
Feldman
pieces include two versions of "Only," a solo voice composition based on a
Rainer Maria Wilke
poem, as well as the freewheeling original "Comme des carres de Feldman," a gleefully twisted noise rock improvisation based on a graphic score. Throughout the album,
demonstrate how the pioneering techniques and ideas of the visionary composers can be adapted into contemporary avant-rock settings, and how they've influences the band's own approaches. ~ Paul Simpson
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