Opus 17

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ALGA045LP_CU.jpg

Opus 17

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When I talk about my work's relationship to music I usually find Eliane Radigue to be the best reference point, but how I think about that relationship changes over time.  Lately, I've been conceiving of painting and sound as attempting to meet each other halfway.  Music (particularly drone music like Radigue's) pushes against its inherent linearity as a time-based medium by working with the simultaneity of layered sound rather than progression. Conversely, I want painting to push against its inherent stasis by setting its elements into relationships that keep the image in flux and allow the paintings to change with a viewer's perception of them over time.  This relatively early recording of Radigue's music was made just before she began working with the ARP synthesizer, when she built her drones from layering feedback.  The first movement here exposes the technique.  A tape loop of piano music by Chopin gets recorded and replayed, and that recording, then gets recorded and replayed and so on, so original sound is degraded and buried beneath the sounds of the tape and microphone feedback.  This piece is unusual for her however, because it reveals the source of the process at the beginning.  More often her work begins with only the resulting feedback, which creates the kind of stasis referred to above.  It's interesting that Radigue was able to translate the feel here into her subsequent electronic music with such a different way of working.
--Zak Prekop

Eliane Radigue
Label: Alga Marghen
Format: Vinyl, 2 x LP
2014 (1970 reissue)

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