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When I reviewed “Bar Sachiko” on these pages, I used a Barnett Newman painting as a visual analogy for how one might read the set of three sine tones presented on that disc. It may be unfortunately symptomatic of the way I approach these things, but while listening to “Salon de Sachiko”, an entirely different sound world, I couldn’t help but think of Cy Twombly. Now to be sure, Twombly’s been in my consciousness much of this year, not only because of the extraordinary MIMEO recording but also due to my having only a month and a half ago experienced the room devoted to him in the Philadelphia Museum of Art, in which his “Fifty Days at Ilium” is exhibited. Something that struck me while admiring those paintings was the way he managed to get “white” backgrounds to not look so white, to somehow tinge them enough subtle texture that the scribbles and washes laid atop seemed to float on a bed of some substance, however thin. It was white, but not sterilely so, like a white sneaker after having been randomly scuffed.
While the sounds Sachiko generates here aren’t as “large” as many of the forms found in the Twombly’s, their scratchy calligraphic nature and the way those sounds are placed into that vaguely unsterile space hit something of the same chord in me. In fact, I often thought of these sounds as aural equivalents of the ink spatterings you can obtain with old-fashioned fountain pen nibs, the marks arrayed on fine, subtly textured paper. She uses two oscillators here and while the overall dynamic quality is rather quiet, she fills up much of the space, the silences between squiggles generally lasting only a few seconds or less. The variation in the sounds is minimal, ranging from ticks to sputters, chirps to slightly elongated high tones, about as much as you’d find between densities and lengths of pen scrawls. It clearly comes down to the placement of those sounds on her hour-long canvas, the degree of artlessness she can achieve and I imagine her perceived success will vary widely for individual listeners. It worked for me and actually worked better the more I listened. Whatever logic she’s employing convinced me. Expanding her field from quasi-similar endeavors on earlier discs, including one or two of the 3” releases, actually seems to have enhanced her focus.
I should add that I don’t find it evocative of any sort of bleak metaphysics either. I don’t hear anything Beckettian going on here and never have in Sachiko’s music. More simply a concentrated, calm intelligence simultaneously discovering sounds and placing them in a context that develops as she works. She’s more of a poet, a transcendentalist as far as that goes. When she’s in top form, there’s something about her art that separates it from the pack. Guessing, I’d say it has to do with her willingness to stay with one idea for extended lengths of time, allowing the music to come into being on its own rather than forcing it down a given path and being confidant enough that, at least sometimes, it’s going to blossom. It does on “Salon de Sachiko”, a very beautiful, thoughtful recording.
Available from erstdist
Posted by Brian Olewnick on December 2, 2007 1:17 PMA beautiful and thoughtful review Brian.
I am still slowly processing this myself. Its clearly a really strong disc, enjoying it a lot.
Posted by: Richard Pinnell at December 2, 2007 9:48 PMThis just arrived in the post this morning, and I'm listening to it right now, and enjoying it a lot (while transcribing a Jukebox of a certain guitarist Brian's rather fond of for The Wire magazine)
Posted by: Dan Warburton at December 3, 2007 6:12 AMI just got the new Twombly catalog for the Gagosian show that is up now in NY in the mail a few minutes ago. I am really trying to hold back on getting a redeye to go see it for a day.
The catalog is incredible, and well worth $100.
http://www.gagosian.com/exhibitions/21st-street-2007-11-cy-twombly/
When making our personal connections between art forms it is interesting how different they can be. I have always thought Twombly's work related very directly to sound, but more to Kowald's work than EAI.
Although I can also see that connection making sense, but more with something more lush like Mersault or 4g.
I was able to see that room in Philly last year, it was incredible.
I hope to see "Lepanto" in Germany next year if possible.
Kowald --> Twombly for sure. Good observation.
That exhibition looks fantastic. The Twombly space in Houston is killer.
Posted by: clifford at December 3, 2007 2:15 PMVery good review in my opinion. I think the connection with painting is absolutely necessary. For once, the expression "painter of sounds" doesn't sound like a cliché.
Also, it is nice to read something about Sachiko M discussing the music itself and not the way it is done (the no-input dogma / pose / whatever it is). It is somewhat fitting that what was not so long ago considered as a "no memory" artform is now finding its place among other art forms and memories. I believe this change in perspective is proof enough that what Sachiko M does is vital, contrary to what I have been hearing over the last few years.
Also, the line "I should add that I don’t find it evocative of any sort of bleak metaphysics either" pleased me much. Indeed, "Salon de Sachiko", from the sleeve to the sounds, is... well, fun !
Posted by: Julien Skrobek at December 5, 2007 2:23 PMfinally got this one friday, very impressed even suprisingly so, sonce reading all the praise here i think i was in some werid way expecting to be dissapointed.
my question for brian, or anyone else but i think brian is only one on the planet who can answer, is what would you say if i said the album salon de sachiko most remind me off, both in superficial sound and amount of spacve, and i think in an overall intent and apporach is the early august exposed wires disk i did on arrival records you rewied a fer years ago? That was a thought I kept having while listening. anyway go sachiko back on top. looking forward to her and rowe duo.
Posted by: saltwatersnow at February 1, 2008 6:47 AMsuprisingly sonce werid spacve rewied fer
Been readin' that Finnegan's Wake again, John? ;-)
You sent me a copy of that album too, as I recall - but I don't seem to be able to find it (hardly surprising given the piles of stuff here).
never could get into joyce actually. sadly once again my coming home late posting right before bed style has made me look the fool. I did send you a copy of that as well now i remember. without you and brian doing reviews anymore my media access is down to next to nothing. pigs cant eat pumpkins baby. if you do come across disk let me know what you think.
here is another sachiko question though. It credits her with playing too oscillators, the sound they generate seems at least to be exactly the same as her empty sampler in terms of timbre. Is she using the same machine just times 2?
Posted by: sws at February 1, 2008 9:14 AMEvery time I've seen her in the last five years, she's been using two oscillators (fixed pitch ones, not sweepable).
Posted by: joe at February 2, 2008 5:28 PM.................................................. © 2003 - 2006 bagatellen ..................................................