RLW

Vier Vorspiele/L'Oil Retourne

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    8
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AllMusic Review by

This disc is one of the more evocative musique concrète discs to appear around the turn of the century. Both pieces run in several layers, from quiet sustained high pitches to distant thunder sounds to muffled drones and crackles. For Vier Vorspiele, Wehowsky's first major release after his massive opus Tulpas, he continues the ghost image metaphor by citing an earlier version of Marchetti's "L'oeil Retourné," as well as his own collaboration with Splintered. The piece is actually a set of four, although there is only one track, and it is characterized by great depth and clarity. Each piece, bounded by short, loud bursts, has its own distinctive character, from the quiet high-pitched sounds and crackles of the opening, the processed field recordings of the second, the layered drones of the third, and the quiet abstractions of the final piece. "L'oeil Retourné" uses various types of field recordings, ranging from a walk in the woods, various radio broadcasts, and scratchy old recordings, to wind and whispers. Marchetti utilizes a piercing cry, which sounds like an operatic soprano or a bird call, depending on the context, as a unifying structural point. In addition, Marchetti includes some of Wehowsky's recordings as source material: selections from Wehowsky's Pullover CD and Eyes EP (which is in turn an early version of "Vier Vorspiele"). But by programming Wehowsky's selection first on the CD, the listener is seldom aware of direct citations, hearing instead two like-minded creators of finely tuned sound worlds.

Track Listing

Sample Title/Composer Performer Time
1
RLW
17:18
2
RLW
24:27
blue highlight denotes track pick