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莱昂内尔·马凯蒂 – 23个弹性结构 / 颜峻 – 惟一的真迹
Lionel Marchetti – 23 FORMES EN ELASTIQUE / Yan Jun – The Only Authentic Work
书+CD;中英双语,121页,四色印刷,硬皮精装;限量500
book + CD; Chinese and English, 121 pages, 4-color print, hardcover; limited 500 copies

试读 | preview

淘宝
listen & order

《23个弹性结构》
法国具象音乐家莱昂内尔·马凯蒂的新作。全长超过77分钟。计23曲,素材来自1987-2011历年的收集和创作,于2011年完成。
这是莱昂内尔·马凯蒂迄今最为精彩的作品之一,也是最有弹性、最精于留白的一次。作者像魔术师一样,用磁带机玩出经典的变速、拉伸,也演奏出提神醒脑的噪音,更不用说他在世界各地收集的田野录音片段。经过数年的筹划,从双CD压缩到一张,最后是23次完美的声音事件。
《惟一的真迹》
莱昂内尔·马凯蒂曾邀请颜峻创作另一张CD,以合作形式同时出版。颜峻决定以文字回应。此文灵感来自莱昂内尔·马凯蒂的音乐,计23段,2万余字,配图19幅,王立秋英译。
这是一次以音乐方式进行的写作冒险。内容涉及颇广,从具象音乐到文人画,从居伊·德波到亚里士多德,从安托南·阿尔托到嵇康的《声无哀乐论》,从《追忆似水年华》到《锁麟囊》,从鲍德里亚到格伦·古尔德,从本雅明到乾隆和马三立……与其说是论述,不如说是引用、采样和调变,在文体和理论上挑战写作的界限。

23 FORMES EN ÉLASTIQUE
New work of Lionel Marchetti. 23 tracks. Length more than 77 minutes. Materials went through last 23 years of his field recording, composition, experiments and musiques concrètes composition studies. A backward looking by a forward creating. By this CD Lionel Marchetti built a labyrinth of elasticity, empty space, reality and its metamorphose. A material world of sound.
The Only Authentic Work
Yan Jun’s writing with inspiration of Marchetti’s music. 23 essays on music, literature, art and everything. The writing has a musical style as it also sampled and modurated sentences, thoughts and works of Gerhard Richter, Guy Debord, Pythagoras, Pierre Schaeffer, Cioran, Baudrillard, Glenn Gould, Duchamp, Foucalt, Proust, Maurice Blanchot, Rimbaud, Aristotle and Artaud…

设计:冯昊 | Design: Feng Hao

研究系列——具象音乐作曲,1987-2011
Série d’études — musiques concrètes composées entre 1987 et 2011

01, 流星 | Météores – 3’35
bandcamp

digital form of Marchetti’s music
Marchetti at Spiritual Archives
http://lampe-tempete.fr/
Marchetti at ubu.com
www.yanjun.org

review by Brian Olewnick:
The basics: a book and a CD. The book is a very handsome object, hardcover, a soft grayish-green, very sensual texture, with an obi. It contains a series of short texts by Yan Jun, with illustrations, The first half of the book is in Chinese, the second half, the English translations, the same illustrations repeated in each half. The CD contains 23 tracks by Marchetti, 77-minutes worth, composed between 1987 and 2011. I think some, perhaps all, have been previously published, though I’m not sure about this; I have a number of Marchetti works and while I don’t immediately recognize anything, it wouldn’t surprise me to find out I have some tracks here and there. Maybe not.

Yan Jun’s writings range from personal stories to philosophical musings, often involving self-reference and occasionally wryly amusing. He opens with a wonderful account of the origin of Lao Yang’s untitled release, consisting of a steel saw blade in a CD case, and the willfully naive insertion of same into a computer drive by the poet Hsia Yu. Much of the writing deals with Marchetti and related musical/theoretical ideas including musique concrète, collage, Godard, Blanchot, classic Chinese art and much more, ending with a blissful evening spent in a seedy bar in Suzhou, with scant patrons and extraordinarily noisy drilling coming from next door. It’s open, honest, sometimes thought-provoking and a pleasure to read.

I think it’s been a while since I’ve really heard anything substantial from Marchetti but, given the caveat above, this might be my favorite sampling of his work. Very wide-ranging in sources, there’s a tendency toward the quiet (if often rough) and relaxedly contemplative, though it begins with a rather harsh, primitively mechanical, repeating sound (“Météores”). Shards of tape collage mix with voices, found music, a woman’s voice listing years, slowed speech, scratches, blurred rockish extracts (“Mysteria”), accordion dirges and countless other aural snapshots that manage to work themselves into a stream that flows by almost comprehensibly. It’s difficult to describe in other than cinematic terms, a free-associative documentary consisting of concrete, if skewed, images arranged in a sensitively poetic manner that conveys elusive meaning. I should just say I like it a lot spent much time immersed in the sound, imagining the contexts, immediate and wider, connecting it back to Yan Jun’s texts.

A fine release all-around–search it out.

review by soundtraag:
“I really love listening new musical works by Lionel Marchetti. In my opinion, he is one of the most respectful composers / poets / philosophers of our days, experimenting with musique concrèteand electro-acoustic musical forms. His discography is a long list with many interesting solo works and many collaborations, a lot of them with his friend Jérôme Noetinger (Metamkine). Some years before, when I start searching about his work, I really stuck on Marchetti’s collaboration with dancer / choreographer yoko higashi, a great combination of electroacoustic music and modern dance.

Yan Jun is a Chinese musician and writer. I am not familiar with his work as a musician neither as a writer. In fact, I don’t know much about Chinese improvised scene. Sometime I was really curios about it, but unfortunately I lost contact, while I notice that Sugar Jar, the only independent record store in China, was closed permanently. Its fanny cos Yan is referring on Sugar Jar and his owner Lao Yang in his first essay in this book, something that make me more curious about his texts. While I was reading the 23 essays of Yan I can say that I start re discover not only the Chinese way of thinking but also the France history of avant-garde. Yan Jun is interesting on Marchetti’s work and he is inspired of it, letting his thoughts be led by the music. He likes chatting/writing in a very informal but quite thoughtful way about musique concrète, literature, poems and the “authentication of work of art”. It was very interesting for me to read his texts, while I was listening on the “23 Formes En Elastique” by Lionel Marchetti. This new work by him is including 23 tracks, length more than 77 min of music. This is a pure sample of musique concrète and electro-acoustic music, keeping a beautiful balance between real time composition and improvisation. Marchetti works with a narrative perspective, using pickups, tapes and field recording. Also, silence plays an important role here, helping you be more focused on sound.

I really enjoy of this release not only musically but also as a concept. I like the book format. It made it more welcome!”

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