sábado, 27 de novembro de 2021

another view from another place


Pedro Chambel

Another View from Another Place

  1. elect + ste 000 + ste 002 – 2
  2. sine + st003 + w voic
  3. elect+ st 00 +st 001o
  4. elect + w v + 002+001-4

Pedro  Chambel - sax alto, electronics, tape.


If you want to buy it or download go to: https://pedrochambel.bandcamp.com/release


Pedro Chambel's solo work has been reviewed here at Vital Weekly - 1213 / 520 - This is his late Frans dest effort, number five in twenty years. No guitar this time since he has taken up the alto sax. And my guess is due to being able to use a different sound source. There are four pieces, all over ten minutes long. The basic principle here is a continuous drone in one form or another with one or more combinations of small motives, trills, growling and breathing: in one track, a sine wave at a relatively high pitch - avoid listening to this track at a high volume on headphones at all costs - and underneath that, sounds made by his voice and pressing down the keys on his alto; in another glitchy microtonal manipulation in different frequencies of his playing alto, combined with longer runs, sometimes echoed with similar runs, as if three saxes are playing at different volumes. All in all, this is an interesting release, with each track a distinctly different sound design to keep your attention, apart from that annoyingly high sinewave for the duration of almost eleven minutes. But maybe that was the point. Frans de Waard,http://www.vitalweekly.net/1313.html http://www.vitalweekly.net/1313.html

Quatre titres de 11 à 12 minutes : 1/ elect + ste 000 + ste 002 – 2 , 2 / elect + w v + 002+001-4, 3 / elect+ st 00 +st 001o, 4 / sine + st003 + w voic. Pedro Chambel est crédité saxophone alto, électroniques et bande magnétique et joue seul sur toutes les pistes qui ont été assemblées dans un collage réparti en deux faisceaux. Des boucles – pulsations électroniques polyrythmiques avec des grooves croisés et imbriqués et des lambeaux mélodiques au saxophone parfois doublés dans le premier morceau. La formule devient plus fragmentée et bruissante dans une tentative assez réussie de disruption de la cadence et de l’imbrication des boucles dans le morceau 2 et sax free qui figure parfois sur deux pistes concurrentes. Univers plus radical avec des faisceaux de procédés sonores différents qui trouvent une homogénéité entêtante, se contredisent ou se subvertissent. Boucles désarticulées de scories sonores sur lesquelles le souffleur multiplie les coups de langues et effets de souffle dans les pistes inachevées qu’il écarte d’un coup bref pour laisser chuinter des grésillements ou rassemble à nouveau. Une forme d’utopie expérimentale, hybride qui insuffle à ces éléments parfois hétérogènes d’autres significations… imprévues... par leur imprévisible juxtaposition. Le dernier morceau avec sine wave et vibrations bruissantes et crachotantes de la colonne d’air sont nettement plus inquiétantes … Une volonté créative non conventionnelle s’affirme dans ces collages étranges, « faussement » hésitants ou mystérieux. Souhaitons à Pedro Chambel de continuer plus avant ces investigations sonores en développant ses idées encore plus à fond.J

Featuring Pedro Chambel on electronics, alto saxophone and tape, Another View From Another Place is quite different from Os passos. The minimalist tendencies are still there, but Another View has a lot more nervous energy. The pulses are quicker and glitched. Many of the sounds, especially in the opener, elect + ste 000 + ste 002 – 2, are muddy. The saxophone is more discernible from the other elements. It sounds urgent, even. Indeed, this other view and other place capture a very different feeling, as the second track’s ringing sine-wave opening and the gurgles and growls that back it suggest. If Os Passos offers some sort of relief in the act of carving sonic pathways and reflection – is the message really in the self or, to bastardize Marshal Macluhan, is the message really the mirror which contains the reflection? – Another View offers more energy, but also more literally and figuratively static. There is simply less motion in these four pieces that fluctuate and change, sometimes drastically over the course of each track, but that are tethered by a single underlying tone, whether a sine-wave or oscillating soft locust buzz or fluttering synthesized tones. The saxophone fills out each of these tracks and they are all the richer and more nuanced because of that acoustic and human element. Still, this is somewhat more entrenched, at least until the final cut, elect + w v + 002+001-4, when Chambel uses his sax to rise above the electric chain, which nevertheless outlasts Chambel’s agitated flusters.

Nick Ostrum: https://www.freejazzblog.org/2022/07/three-from-sound-artist-pedro-chambel.html

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