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
Série d’études — musiques concrètes composées entre 1987 et 2011
01, 流星 | Météores – 3’35
02, 深渊书简 | De Profundis – 1’52
03, （表面，支撑） | (surface, support) – 2’49
04, PR 99 – 1’28
05, 一个真实的故事 | Una Vecchia Storia – 3’01
06, HHH 1967 – 2’43
07, AB-PEM 468 – 4’36
08, 奥秘 | Mysteria – 3’14
09, 灰色想法 | Idée Grise – 0’21
10, 第二个灰色想法 | Seconde Idée Grise – 0’35
11, 第三个灰色想法 | Troisième Idée Grise – 0’24
12, 第四个灰色想法 | Quatrième Idée Grise – 1’07
13, 电台光阴 | Radio Days – 8’51
14, 玉兰 | Magnolia – 6’13
15, 唱歌吧让我安睡 | Sing Me to Sleep – 3’20
16, 歌咏嘉年华！ | Cantare la Fiesta! – 2’10
17, 夜 | Nocturne – 5’20
18, 撒旦 | Satan – 7’27
19, 第五个灰色想法 | Cinquième idée Grise – 0’29
20, 第六个灰色想法 | Sixième idée Grise – 0’28
21, 第七个灰色想法 | Septième idée Grise – 2’30
22, 我的梦，我的长音（最后的） | My Dream, My Drone (final) – 14’37
23, 死亡之门 | Porte de la Mort – 0’13
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!”