Label: Room40

やはりこの人物の世界観は激ヤバです！！仏Sonorisより6枚組アーカイヴCDボックスも出版されている、ピエール・アンリ、ベルナール・パルメジャーニら自国の巨匠の影響下にありつつも独自の世界を作り続けてきたフランスの作曲家リオネル・マルケッティ。同Room40が2018年に発表した[The Last Days Of Reality]と同じく、自身監修のもとオーストラリアの室内楽アンサンブル"Decibel"と共に作り上げた新作コンクレート[Inland Lake]。あえてスコアを作らずにディスカッション、リスニング、実験を重ね導き出したというアンサンブルのアコースティック録音。それらを自宅スタジオにて全てが溶け込む様なイメージで抽象音像化したという傑作コンレート長編。シンプルな構造が激シブです。モノクロプリント、エンボススリーブ仕様、インサートカード付き。



Matte laminate, monochromatic printed and embossed sleeve + insert card.

From Cat Hope
This is the second Room 40 release of collaborations between Australian chamber ensemble Decibel, and French music concrète composer Lionel Marchetti, after ‘The Last Days of Reality’ in 2018. This release consists of two pieces: Inland Lake (le lac intérieur (2019), and La Patience (2020). Working with Lionel is magical.

Inland Lake was devised with the ensemble when Lionel visited Australia in 2019. As he sometimes does, he came with an ‘partition concrète’ that was part score, part ensemble member, part fixed media. The music is coaxed from the ensemble, without score, but with discussions, listening and experiments. In the live performances, Marchetti efficiently and imaginatively positions speakers in strange directions, heights and places and somehow, the sounds melt together, intertwining and indiscernible - as on this recording. Marchetti adapts the partition concrète after first rehearsals and performances, integrating recordings of the acoustic instruments with synthesizers, tape and electronic manipulations in his home studio.

The recording of Inland Lake occurred in two places at once: at the Digital Hub, Sir Zelman Cowen School of Music and Performance at Monash University, Melbourne and Soundfield Studio in Perth, Western Australia. Marchetti joined from France. Determined to make this recording despite the ongoing border closures within Australia and the world, the group came together telematically – using software to reduce the perception of latency and improve the sound quality ‘down the line’ for the performers. The ensemble was split in half between the east and west coasts of Australia, listening together over the Internet, recording locally. Marchetti later mixed and mastered the track in his own studio. Listening to the piece once the recording and mixing process was complete was like hearing it for the first time, again.