CHARLEMAGNE PALESTINE & GRUMBLING FUR TIME MACHINE ORCHESTRA – Omminggg And Schlomminggg

Important

Forgive this senior citizen, but I will always be suspicious of collaborations between time-tested masters of minimalism (or “continuous music”, as per the label’s press release; however, there’s no such thing as “non-continuous” music if you ask me) and previously undiagnosed human phenomena suddenly profiled on important pages (no pun intended) yet lacking the educational inheritance – and, on occasion, the sheer honesty – of the bona fide greats.

True, a measure of compromise in today’s art world is mandatory to hope for commissions, invitations, or at the very least a modicum of official reporting. People with a reputable past are now seen hustling all over the place in order to be featured in articles that are going to be disregarded by the average reader’s memory after fifteen minutes or so.

But sweet dreams are made of this, and who am I to disagree?

Nonetheless, I have too much respect for Charlemagne Palestine to start missing his releases with gusto. And, truth be told, Omminggg And Schlomminggg is a dandy album which I have been sincerely enjoying in the last couple of days. Its totality comprises three sections of material actually recorded together, plus another one – assembled by Grumbling Fur – representing a synthesis of sorts of the preceding parts.

Droning oscillation, otherworldly vocalism and percussive ritualism are potent magnets for those in search of genuine cerebral improvement. Or, to put it rudely, are shit for flies when there’s no knowledge of the real constituents of a wholeness leading to inner sublimation. The bewitchment derives from the inexhaustibleness of Palestine’s artistic uniqueness in conjunction with Daniel O’Sullivan and Alexander Tucker’s astute work of stratification. Nothing more, nothing less. Piano and chanting voice(s) soaring through tapestries of echoing fluctuations, mostly of electronic descent. Enough dynamic changes to keep things riveting, so that the long duration does not become a problem for the acoustically illiterate.

Perhaps it’s the mild ambiguity of the primary components – in turn producing overwhelming hypnosis, shifting persistences, arcane invocations – that ultimately defines the record’s value. Again, these are perfectly functional sounds offering several impressive openings to transcendence amidst more accessible transitions. We’re still questioning the inherent motivations behind this cooperation, but for the moment let’s content ourselves with the properties of the resounding matter.

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