Drone Records
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Format: CD
Label & Cat.Number: Phonomena PAAM-030CD
Release Year: 2006
Price (incl. 19% VAT): €14.50

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Nach vielen Jahren etwas neues von OSSO EXOTICO, die auf Drone Records 1999 mit der " VII " (DR-37) brillierten. "Folk Cycles" zeigt sie in Zusammenarbeit mit VERRES ENHARMONIQUES, das sind EMMANUEL HOLTERBACH und SOPHIE DORAND. Enthalten sind hier knapp 60 Minuten "handmade Drones", d.h. auf verschiedensten Instrumenten & Objekten (hauptschlich auf Glsern) eingespielte, uneffektierte langgezogene Tne und Flchen, die eine hohe Resonanz- und Obertonedichte aufweisten. Man hrt dabei auch manche mechanische Nebengerusche, z.B. vom Harmonium, was eine ganz besondere Atmo heraufbeschwrt....nostalgisch, reduziert, mitunter fast "folkig", aber im positiven (fliessend-flchig-experimentellen) Sinne....

Drone Records-artist OSSO EXOTICO is back, with a great collaboration-project formed by SOPHIE DURAND and EMMANUEL HOLTERBACH. Organic drone-beauty improsived in real time.
"....Humming, sustained sounds, working the overtone area of the sound spectrum, with minimalist changes, make this a through delight to hear. As said, one could only wish some tracks to be longer, to let the full beauty come, but it's throughout a great CD. And let's hope this is a true come-back, and that there is more to come in a shorter time span." [FdW / Vital Weekly]
'It was a funny encounter back in 2002. At the end of the year I was in Krotrijk, Belgium, for some work, and Osso Exotico were playing live there. By the time i was realy into Church Organ Works and Circumscrita. The big surprise was that they did a show with glass instruments : tuned wine glasses, glass table, etc As Sophie and I had just started to work on our enharmonic glasses*, it was a beautiful coincidence. Soon after the show we start talking, they seemed to be curious about our instrument, so I gave them some recordings A few months later we were in Lisboa, starting to work on some collaboration work. Lisboa is the only european capital city so close to the Atlantic ocean. The gigantic mouth of Tage river opens an amazing flat landscape at its shore. Seen from the hills of the town its giant horizon is overwhelming, and looking at clouds drawing moving shade shapes on its surface was my favorite contemplative game.
More obviously, the 25th of April bridge spaning the river produces this enormous drone miles around its architecture that no one could miss, and airplanes are constantly flying over the city. To my ears, Lisboa was realy droning and inspiring Our collaboration work started with David's obsession with Mbius stripe, inside surface becomming outside, circular paradoxe It slowly became a composition process, made out of concentric time cycles. Playing the music was like throwing stones on a quiet water surface, playing circles within circles, within circles, etc What we were strongly sharing was this fascination for acoustic phenomenons, beatings, harmonics This is an important part of our work on enharmonic glasses, and, as usual, what did Osso Exotico with classical and exotic instruments still sounds amazing to us. In some of these pieces, one could hear things like electronic treatments, but in fact there are none. To my opinion experimental music isn't a fantasy of imagination, or a quest for new sounds or sthetic. Neither is it an edge of western culture. It is a major aspect of western culture. Mass media and the conservative forces of our civilisation have totally fucked up the perception of our culture, discharging continuous flows of shiny colorfoul lies. Very often the sincerity of certain experimental work in music sounds like evidences. If we compare certain aspect of what we call sometime avant-garde to extra-occidental musical traditions, nothing sounds that strange or provocative. Moreover it seems like this interest for continuous sounds form, harmonics contemplation, glissandi, non-chromatic tunings, non-chronometric rythms is like a common poetic basis for the whole humanity, and appears in different kind of shape in so many musical traditions all over this globe.
Western minds are obsessed with logic, rationality, measure, control but more and more all this sounds like death, and seems to lead us to disasters. While composing this music we never tried to control the sounds, we just choose our favorites and gave them a frame for us to be able to play and listen to them carefuly. It was a surprise when the music that appeared then was almost like songs, and from the drones were emerging unexpected melodies. May be were we playing, without knowing it, a secret, real, folklore of our strange time All this happens back between april 2003 and september 2004, by the time we choose the name of our instrument as a band name: Verres Enharmoniques. Since then we have found a name that sounds perfect for our work: Orbes, where it's still question of cycles." [Emmanuel Holterbach, August 2006]