VITTORE BARONI ON > ETERNAL BEYOND II II >“ (MY CAT IS AN ALIEN & JOËLLE VINCIARELLI) FOR BLOW UP MAGAZINE:
"THE NEW UNKNOWN : I sempre prolifici MCIAA fanno uscire, quattro anni dopo > Eternal Beyond >, un secondo capitolo della loro collaborazione con la francese Joëlle Vinciarelli (già vocalist tra gli altri per La Morte Young). Su vinile rosso porpora, l'album ospita due lunghe improvvisazioni provenienti dallo stesso nucleo di registrazioni effettuate nel 2015 nello studio della cantante. E se il primo "Eterno Oltre” omaggiava nei titoli numi tutelari come William Blake e Albert Ayler, qui l'estesa Eternal Rage Against the Dying of the Light (divisa in due parti) cita Dylan Thomas, alludendo all'afflato poetico che anima l'intreccio dei vocalizzi senza parole di Roberto Opalio e del salmodiare sciamanico della Vinciarelli, nell'irruente crescendo di corde di un vecchio piano pizzicate da Maurizio Opalio, tintinnii ritualistici di piccole percussioni, ronzii e drone gorgoglianti di strumenti auto-costruiti che sospingono il continuum sonoro verso incandescenti fusioni noise. L'altro brano, Eternal Ectoplasmic Communication, parte da spirituali squilli estratti dai meccanismi di un vecchio orologio a pendolo e da una melodiosa nenia della francese, per costruire incantati soundscape che gli autori hanno denominato “Il Nuovo Sconosciuto” di un domani dalle radici molto antiche (arcaici canti magico-sacrali, raga orientali, folk primitivo, free jazz, ecc.). Una cooperazione basata su una sintonia totale, che potrà probabilmente ancora procurare soddisfazioni.“
MARS AUX MUSÉES - 9 MARS 2009
SOIRÉE MARTIENNE AU MUSÉUM D’HISTOIRE NATURELLE. AVEC PODKAYNE FILLE DE MARS
(Source: youtube.com)
LES TERRES PROCHES Geneviève Leroy ; musique : NOT TO BE (Joëlle Vinciarelli & Frédérick Brandi), “Dans le frisson du saule” (1997)
PLUS Exposition “Frédéric Ballester – Itinéraire d'un collectionneur” au CIAC (château de Carros) : musique : NOT TO BE (Joëlle Vinciarelli & Frédérick Brandi), “Le Grand voyage de l'araignée” (1997).
“Now playing: two new LPs by the ever prolific My Cat Is An Alien, the Opalio brothers from Torino IT. These cats go deep into their very own idiosyncratic sound world always with an invitation to collaborate, collude and collide with musicians and artists everywhere. The first LP is a 3 sided set recorded live at their 20th anniversary show. Both sonic brother Lee Ranaldo and Marseille free guitar maestro Jean-Marc Montera get into a heavy meditation of sound and breath with Lee intoning passing verbiage at the top and tail of the performance bringing the music into the moment of everydayness. Both Lee and MCIAA share pages of visual art in the booklet attached to the LPs front. Nice. The other disc is in collab with ululationist Joëlle Vinciarelli best know as howling free black metal voice for Talweg and La Morte Young. Here the work resounds as in a whispered night where promise comes as mystery. Only 100 copies of this killer. Also: nice. Stay well as you can be and move towards understanding that nature is our guide.” Thurston Moore, Facebook, Instagram
ROUF-À-LA-ROUFFARDE! = TALWEG & DS EX!
Thomas Guillemaud - saxophone, flute / Eric Lombaert - drums, percussions, flute / Henri Roger - drums, percussions, flute / Joëlle Vinciarelli - trumpet, voice, hurgy-toy, flute
MY CAT IS AN ALIEN & JOËLLE VINCIARELLI > ETERNAL BEYOND II >
OPAX / UP AGAINST THE WALL, MOTHERFUCKERS!
“The Opalio brothers have had quite an impressive history of adventurous collaborations over the years, as they have been joined by many of the most iconic figures in underground music, as well as an inspired array of interesting folks that I had not previously encountered. Naturally, a number of those unions have yielded wonderful results, but one of my favorites was the Opalios’ pairing with Talweg/La Morte Young’s Joëlle Vinciarelli for 2016’s Eternal Beyond. Several other artists have gamely and effectively adapted themselves to the brothers’ unique aesthetic and working method over the years, yet Vinciarelli is the one who was most successful at finding and filling a space that made the collaboration feel like something more than the mere sum of its parts. More specifically, she brings some welcome bite and visceral intensity to the Opalios’ phantasmagoric and alien reveries. Consequently, I am absolutely thrilled to report that this trio has now become a recurring project and that Eternal Beyond II is every good as its predecessor (if not even better).
I have not delved very deeply into Joëlle Vinciarelli’s work in Talweg at this point, but I have heard enough to grasp that “black metal” is a woefully inadequate and misleading term for her art. In fact, nothing about Talweg (or Vinciarelli) is remotely conventional at all, which is perhaps why she makes such a perfect foil for her fellow Alps-dwellers. In her own way, she is every bit as genre-defying and radical as the Opalios, but the key difference is that she is driven towards earthy, timeless, and primal forces rather than looking towards the stars for inspiration. Consequently, the improbable collision of Vinciarelli’s “Cro-Magnon grunt and cultic energies” with the Opalios’ mind-melting, deep space lysergia is a perfect, unholy union, enhancing the brothers’ smeared and disorienting psychedelia with a healthy dose of seismic, elemental power. That said, it seems like Vinciarelli also brings out some of those normally latent elements in the Opalios themselves, as the churning and jangling intensity of the opening “Eternal Rage Against the Dying of the Light” is driven primarily by the brothers’ violent misuse of an “antique upright piano soundboard.”
It is truly impressive that Maurizio and Roberto managed to unleash such an apocalyptic cacophony in real-time, as the crescendo of “Eternal Rage” sounds like a heaving maelstrom of countless rusted steel strings being viciously attacked at once. There are a lot of other great and unexpected elements to the piece as well, ranging from sharp metallic scrapes to looping, angelic vocal melodies. And, of course, there are also the expected elements: disorienting falsetto vocal drones, buzzing electronics, and howling eruptions of noise. Happily, all of those various threads coexist quite organically and seamlessly, resembling an inspired collision of an ancient throat-singing ritual, a pack of howling wolves, and a goddamn supernova. Unsurprisingly, those ingredients make for quite a potent cocktail and “Eternal Rage” easily ranks among the best MCIAA pieces in recent memory.
The album’s shorter second piece is considerably less extreme, as it is largely centered on the chiming of an “old pendulum clock mechanism.” In fact, once Vinciarelli’s melodic, wordless vocals appear, “Eternal Ectoplasmic Communication” almost feels like a lullaby of sorts. That resemblance does not last particularly long, however, as that melody gradually wanders off course as queasily lingering electronics and Maurizio’s broken-sounding self-made string instrument creep in to curdle the idyll. The overall experience feels akin to waking up in an unfamiliar house to find a supernatural fog slowly rolling out of a haunted antique clock. While it never quite catches fire or builds towards anything more substantial, it casts quite an effective spell of seething uneasiness and the strangely warbling vocals call to mind a beloved stuff animal that is trying desperately to warn me of imminent peril, but is too paralyzed with fear to do anything but gibber helplessly. While it is quite a solid and likable piece, the earlier “Eternal Rage” unavoidably steals the show on Eternal Beyond II, as it beautifully transcends everything I usually expect from MCIAA. “Eternal Ectoplasmic Communication,” on the other hand, feels a bit more familiar (and considerably less apocalyptic).
It is hard to explain why I love the Opalio brothers’ albums with Vinciarelli so much without making it sounds like their other albums are in some way lacking, but I will try anyway: a “normal” My Cat is an Alien album is like a window into someone else’s deeply weird and inscrutable dream (and I can think of no one else who reliably conjures up otherworldly vistas as strange and absorbing as those of the Opalios). When Vinciarelli is involved, however, it feels like that dream state is tenuously anchored to a recognizable physical world rather than a straight-up free fall into a bottomless rabbit hole of swirling, nightmarish unreality. Plunging into that altered state is always a compelling experience, but it is a more profound and dynamic one when I can still see distant vestiges of what I left behind (nods to conventional scales, scraping metal, guttural voices). In essence, it is a matter of grounding and contrast. No one does deep space psychedelia better than My Cat is an Alien, but with Eternal Beyond II, the Opalios and Vinciarelli evoke something significantly different that I cannot find anywhere else: the singular collision of the imagined past versus the imagined future, the spectral versus the corporeal, and flesh-and-blood humanity versus the unknowable, abstract vastness of the cosmos.” Anthony D’Amico, Brainwashed
SPACE SHIP LULLABY
DANCE OF THE INNOCENT PASSION
LA MORTE YOUNG - 2019 IX 28 - CCL, LILLE, FRANCE
(Source: youtube.com)
> ETERNAL BEYOND > II est aussi sur Bancamp, ici.