Label: Relative Pitch Records

再入荷出来ました！！レア盤となっている極小の正規LPを入荷！！トニー・コンラッド & アーノルド・ドレイブラットの影響を上手に落とし込んだ極上のミニマルミュージック！！大推薦！！Christer BothenやMartin Kuchenといった本国スウェーデンのマニアックな怪物達の音源を手掛けるthanatosis produktionを主宰、Mats Gustafsson率いる"Fire! Orchestra"、"Trondheim Jazz Orchestra"など超大所帯集団にも参加しつつ、独自のピアノ作品の追及にも勤しむピアニストにしてコンポーザーのAlexander Zethson。この人物が率いるスウェーデンとギリシャを拠点とする13人のミュージシャンで構成された集団Alex Zethson Ensembleの1st作。ゴング、ピアノ、ドラムを軸に使いガムランとクラウトロックを変則的に融合させたクールな反復パターンを創出。その構造はメチャクチャ催眠的であり、2曲目のパターンはトニー・コンラッド & ファウストの[Outside The Dream Syndicate]を思わせます。





As a musician, I've been curious for many years of how collective musical practices can provide a sense of weightlessness, as well as how a focused interplay can blur the lines between musicians and sound sources and create reconfigurations of the relations between the two. I have also tried to explore these observations in depth in some of my composed music: during 2015-2017 I experimented with ways to surprise and destabilise myself in the solo format within the compositional framework of pole of inaccessibility (released as THT1, 2016), by way of using an unprepared piano and a Korg MS20 synthesizer.

In the piece featured on this release — Some Of Them Were Never Unprepared — I wanted to explore similar processes but in the context of an ensemble. Influenced by, e.g., gamelan, krautrock, and the music of Tony Conrad and Arnold Dreyblatt, I wrote the piece during 2020 and 2021 and it premiered at the Stockholm festival Svensk Musikvår in March 2021.

I tried to create an environment wherein each of the performing musicians would attain a state of intense focus (on their own striking, plucking and bowing tasks). At the same time, I wanted the musicians to be somewhat forced to listen closely to the whole, and possibly to get lost in the sound of the ensemble.

The compositional method that I used was to structure most of the rhythmical and tonal material in unison or in a few groups, and mainly use instruments with preparations (which in some cases would gradually move on the strings). My ambition was that this would create a difficulty for the musicians to distinguish all sound sources (not least their own ones) at all times, and that this uncertainness would establish a particular kind of concentration and collective bond that in turn would result in a sound world that would feel open and non-proclamative to a listener.

The music was especially composed for, and arranged and performed by an ensemble consisting of 13 musicians, based in Sweden and Greece, who are active on the scenes of experimental jazz, contemporary classical music, folk, rock noise and various forms of improvised music. Their musicality and devotion have been crucial in order to make the piece come alive and to sound like it does; their performance and presence provide the flesh and blood that is needed. The album was recorded and mixed by Niclas Lindström at studio Atlantis Grammofon, and mastered by Mell Dettmer, both to whom I am very grateful.

I imagine two lines in this music: one is horizontal, it has no defined start and it goes on forever, ad infinitum; the other one is vertical, it starts with the human flesh attached to various sound sources (plucking, bowing, striking them) and it stretches upwards, carried by the sound.