C-drík — Multiples des uns (2015, Syrphe)
Here at Marginal HQ, we’ve recently tapped into the vein of non-musicality and been spinning releases from Britons Chris Watson and Jez riley French. Add 2015’s Multiples des uns, a self-described “cinema for the ears” by Congolese-German artist C-drík. Consisting of one, hour long track, Multiple features interwoven sonic phenomena from many broad, often disparate sources. Captured by the artist during travels throughout the Asian continent, the listener is treated to footsteps that intermingle with indigenous music(s), the vibrant and mysterious sounds of the jungle melding with austere heavy machinery, the sounds of children playing which overrun passing automobiles, and many other sonically rich, varied noises. C-drík demonstrates not only an ear for fascinating aural objects, but also an acute sense of cinema-like rhythm and adroitness in their editing abilities. While the continent itself possess a multitude of varying experiences, languages, cultures, topographies, histories, etc. this release fascinatingly documents a few of the sounds found throughout a diverse continent and celebrates the fundamental nature of sound itself, ever present, everywhere. One could also argue that for those with the privilege of audition, listening enables the subject to find common ground in their connection to others and to the natural world. Trains screech, insects buzz, people chatter, and children laugh all the same, regardless of whether your in Taipei, Tokyo, Toronto, or Timbuktu. In all, this is a transcendental release guaranteed to lift you out of your seat and take you on a fascinating sonic journey.
Chris Watson – Weather Report (2003, Touch)
Nope, this isn’t an album called Chris Watson by jazz fusion icons Weather Report, nor is it a jazz fusion album courtesy of this former Cabaret Voltaire member. Instead, Weather Report is an assembly of sounds recorded by a true master of nature and field recordings (and as alluded to, one time Cab Voltaire member), Chris Watson. Consisting of three 18 minute tracks, Watson boasts not only a plethora of heterogeneous source material, but a keen ear for mixing and splicing this material into rich sonic collages. Animal and human, flora and fauna, weather and oceans flow continuously into one another to create a listening experience that is simultaneously terrestrial and ethereal. No, it isn’t the high art of the old world (Mozart, Beethoven, Stravinsky, et al.) nor does it have the commercial viability demanded by late-capitalism in its attempts to legitimize (or at least justify) artistic endeavor. Instead, Weather Report taps into something much deeper than commerciality or artistic prestige. It taps in to something which Bruce Russell (Dead C) managed to articulate succinctly and pithily: sound is fundamental, songs are not. Whilst recorded and manipulating for human consumption, Watson achieves a rare feat: he produces a cultural object which both reproduces fundamental sound(s), decentering the anthropocentric conceit that every cultural object must ultimately be “about” or at least reflective of human social imaginaries or aesthetic schemata (even implicitly), while also crafting something that can be enjoyed by human listeners. Undoubtedly, Watson’s selection of material and his decision to capture sounds in the first place raises questions about whether or not this release truly challenges the primacy of the human experience (a legitimate concern which cannot be fully addressed due to space restrictions of this medium); regardless, this release celebrates a great number of aural pluralisms and possesses the ability to remind the listener both how mysterious the planet we inhabit is and how wonderful it is to be alive. At a critical juncture in human history, one cannot help but think, it would be manifestly appropriate to send this album into space in the faint hopes that some distant alien civilization may one day discover what earth sounded like, long after the ship has been negligently run aground.