ENNEAGRAMM is a prevalently instrumental composition for three drum sets, three
electric basses and three electric guitars set up in a circular formation.
public will be seated on the floor, on cushions or a rug within the circle, but
it will be able to move freely around the entire space, which will be
illuminated by the light of numerous candles.
musician will have a speaker either behind or above him/her (in addition to the
amplifier in the cases of the bassists and guitarists) from which only the part
that the musician is playing will come out, allowing the public a
three-dimensional listening of the composition, a diversification in the sound
space in respect to the visual collocation of single executors (lit from the
bottom upwards by a single spotlight).
music exploits, on various levels, the resources offered by this type of
formation: the juxtaposition of various harmonious and rhythmic planes, the
construction of sonorous masses of varying weight and dimension, the mutation in
the architecture of the sonorous masses and of the empty spaces, intertwined
dynamics between the instruments and the apparent movement of these masses in
the space, beyond a metamorphic musical discourse in the presence of elements
already presented at the listening with new elements.
the execution, scenic actions of varying types will take place (a sort of shaman
which revolves around the public playing a rain stick, some musicians hidden
among the audience that stand up performing improvisations, false signals of
nervous disorders, a fake fight, people dressed in dark clothes that streak
through the audience like fireflies until they are outside the circle of
musicians, spotlights fading according to the music etc.) for which the details
will be indicated in the music score.
the center, metaphorically and literally speaking, of this sound and visual
experience is the audience, nearly obligated to be a part of this machine
and subject to the pressure of a listening that goes beyond both the
bi-dimensionality of the stereophonic system and the normal technical,
behavioral and cultural praxis of live music; not only because the disposition
of the musicians is unusual and the music surrounds the ears of the people
instead of striking them only from the front, but also for the intention of
convincing the public (by deliberately breaking the listening habits and scenic
actions that open the visual and corporal dimension of the music) to react to
public is the actor in a change of perspective and an amplification of
perceptions, not only as spectators of an aesthetic objected created in a
particular perspective and conceived to be the object of particular perceptions.
in this same sense, each reference to modern new-age practices inspired in the
enneagram is radically ironic: more interesting the alchemical interpretation of
the figure as the numeral schematic diagram of perpetual motion.
"Six parts from Electric Enneagramm", audio rough draft:
panning for stereo recording:
L D3 G3 B3 G1 D1 B1 G2 B2 D2 R
TRACK WAS BADLY RECORDED WITH DIFFERENT INSTRUMENTS DURING DIFFERENT TIMES
READING USE ONLY
intention, in addition to the aesthetic, is, from certain points of view,
anthropological and pedagogical. Starting
with a critique in process on the language and cultural contexts of popular
music, we could arrive at the proposal of a sort of supercession model of the
common perception of a given reality, which does not act on a symbolic level as
representation in music of this model, but makes a particular experience in
music the method through which to act directly upon the ears and psyche of the
public, offering it a renewed perception of something that already recognizes
and provokes a critical reaction. Like
a reverse electrical shock, this experience attempts to stimulate intellectual
development and invites a deeper knowledge of reality.
In this sense, the choice to use instruments, sounds, and musical
language pertaining to rock music is functional to the surrender in evidence of
this model of an obsolescence in perception, going along with the strong
contrast between the popular habits of writing, listening, and musical creations,
and the break of these same habits in this performance.
In a contemporary classical music context, that already a priori places
itself beyond these habits, the contrast would be greatly blurred if not
inexistent and the action upon the collective unconscious would result in
practically nothing. Parting from the listening of a normal, abused trio of bass/guitar/drums,
the public is gradually accompanied to the exploration of new and more vast
perspectives of listening and of experience of musical reality, slowly so that
the musical language is thickened, the sonorous masses assume configurations and
spatial movements that are more and more complex around the listeners, and
extra-musical elements arrive to remind the public of the immanence of the space
of the experience, the sense of reality, the being here and now and becoming,
when music is forgotten in a continuous and irreversible evolution.
RECEPTION | RELEASES | LIVE | THE SOMNAMBULIST | JANE WALTON | INFINITE MONKEY SHOW | LIEBE MACHT FREI | THEATRE | SOUNDS | TEXTS | VIDEO | ELECTRIC ENNEAGRAMM | BEYOND | CONTACT