- Digital
Moritz von Oswald
Opaco
Tresor Records
- Cat No: Tresor339S3
- Release: 2023-10-20
Moritz von Oswaldの〈Tresor〉からのニューアルバム「Silencio」の先行となるシングルリリース。エドガー・ヴァレーズ、ジョルジュ リゲティ、ヤニス・クセナキスなどにインスピレーションを受けていると紹介されている１６人の合唱団をフィーチャリングした「声」をテーマにした作品。
Track List
-
1. Moritz von Oswald - Opaco
08:55 -
2. Moritz von Oswald - Opaco (Version)
01:54 -
3. Moritz von Oswald - Opaco (Acapella)
10:05
16bit/44.1khz [wav/flac/aiff/alac/mp3]
What are the differences and similarities between human and artificial sound, between oscillations generated by vocal cords and synthesizer voices, voltage amplified by speakers? On Silencio, his latest album for Tresor Records, Moritz von Oswald works with a 16-voice choir to explore this concept.
Drawing from the ensemble works of long-standing inspirations Edgard Varèse, György Ligeti and Iannis Xenakis, von Oswald and Vocalconsort Berlin delve into the space between sounds, creating a deeply textured collection that shifts between light & ethereal and dark & dissonant.
As masterfully demonstrated in the early work of von Oswald and Mark Ernestus' influential Basic Channel project, repetition and reduction are key elements here, much in the tradition of techno and minimalism. The vast dynamism of the human voice adds to the profound weight of electronics while offering up a rhythmic source and sonic noise palette unexplored in von Oswald's repertoire. In Silencio, von Oswald dredges a dank murk, pulling clouds over a distant pulse. It hangs, ready to take on new forms.
The compositions were written in von Oswald's Berlin studio on classic synthesizers, such as the EMS VCS3 & AKS, Prophet V, Oberheim 4-Voice and the Moog Model 15. These abstract recordings were transcribed to sheet music for choir by Berlin-based Finnish composer and pianist, Jarkko Riihimäki and performed by Vocalconsort Berlin in Ölberg church in the city's Kreuzberg district, only few metres down the road from where Dubplates & Mastering and Hard Wax opened their doors for music enthusiasts for many years so long.
The recordings of the choral versions were then incorporated into the synthesized parts of the album and brought into anew electronic context; in Silencio, the focus is not on using one means to imitate the other, but to sonically discuss the tensions and harmonies between the two worlds and create a dialogue between them.
The relationship between von Oswald and Tresor Records goes back thirty years, all the way to Blake Baxter's Dream Sequence in 1991 - which von Oswald engineered alongside Thomas Fehlmann. The collaboration with Fehlmann lived on, seeing the duo team up as 3MB with Eddie Fowlkes or Juan Atkins. More recently, the Detroit-Berlin connection continued as Juan Atkins & Moritz von Oswald present Borderland.
For von Oswald, Tresor Records and also the participating guest musicians of the choir, this release brings together audiences from other musical areas, cross-pollinating; Silencio is an album that stands for itself beyond the musical genre boundaries.
Drawing from the ensemble works of long-standing inspirations Edgard Varèse, György Ligeti and Iannis Xenakis, von Oswald and Vocalconsort Berlin delve into the space between sounds, creating a deeply textured collection that shifts between light & ethereal and dark & dissonant.
As masterfully demonstrated in the early work of von Oswald and Mark Ernestus' influential Basic Channel project, repetition and reduction are key elements here, much in the tradition of techno and minimalism. The vast dynamism of the human voice adds to the profound weight of electronics while offering up a rhythmic source and sonic noise palette unexplored in von Oswald's repertoire. In Silencio, von Oswald dredges a dank murk, pulling clouds over a distant pulse. It hangs, ready to take on new forms.
The compositions were written in von Oswald's Berlin studio on classic synthesizers, such as the EMS VCS3 & AKS, Prophet V, Oberheim 4-Voice and the Moog Model 15. These abstract recordings were transcribed to sheet music for choir by Berlin-based Finnish composer and pianist, Jarkko Riihimäki and performed by Vocalconsort Berlin in Ölberg church in the city's Kreuzberg district, only few metres down the road from where Dubplates & Mastering and Hard Wax opened their doors for music enthusiasts for many years so long.
The recordings of the choral versions were then incorporated into the synthesized parts of the album and brought into anew electronic context; in Silencio, the focus is not on using one means to imitate the other, but to sonically discuss the tensions and harmonies between the two worlds and create a dialogue between them.
The relationship between von Oswald and Tresor Records goes back thirty years, all the way to Blake Baxter's Dream Sequence in 1991 - which von Oswald engineered alongside Thomas Fehlmann. The collaboration with Fehlmann lived on, seeing the duo team up as 3MB with Eddie Fowlkes or Juan Atkins. More recently, the Detroit-Berlin connection continued as Juan Atkins & Moritz von Oswald present Borderland.
For von Oswald, Tresor Records and also the participating guest musicians of the choir, this release brings together audiences from other musical areas, cross-pollinating; Silencio is an album that stands for itself beyond the musical genre boundaries.
『作曲は、モーリッツ・フォン・オズワルドのベルリンのスタジオで、EMS VCS3 & AKS、Prophet V、Oberheim 4-Voice、Moog Model 15などのクラシック・シンセサイザーで行われ、これらの抽象的な録音は、ベルリンを拠点に活動するフィンランド人作曲家兼ピアニストのヤルコ・リヒマキによって合唱のための楽譜に書き起こされ、ヴォーカルコンソート・ベルリンによって、ベルリンのクロイツベルク地区にあるオルベルク教会で演奏された。肉声と生成された音、声帯から発せられる声と生成された声のアンプ増幅の違いや共通点を探りながら制作されている。』(インフォから) 西洋のスピリチュアルと声明のような東洋の感じも垣間見れる。凄い領域です。 (サイトウ)