Posts Tagged ‘E42.A8’

11th March 2021

Christopher Nosnibor

Sometimes I find myself in a state of confusion. Sometimes / often. Admittedly, work fatigue, lockdown fatigue, parenting, and beer on an evening are all likely contributors on many an occasion, but sometimes, I’m almost certain that life and situations are simply addling and that’s all there is to it. E42.A8’s press release is a source of a degree of bewilderment for me, as they outline their latest release thus:

‘E42.A8 lies between a place, a process, a group or several, or maybe as we were introduced in Frankfurt once: a Musikkapelle. We like to think that what matters are the following guiding notions: freedom, play with opening(s) & interaction, resulting in music marked by textures, variations between pulse & stretch, moments of varying intensities, détournements (Verwandlung?), oscillations in saturation and silence.’

IIIII is in fact a compilation, a double CD, which draws on a morass of releases spread across downloads, CDr and one tape, and features 21 musicians, in varying ensembles, from 2 to 9 people, recorded during the first five years of the collective’s existence. Said collective, which operates around a ‘disused farm/barn in the countryside in Picardie ( a region spread over the north of France +southern Belgium’ is centred around improvisational works, and as the fifteen pieces, which span a whopping 141 minutes – which isn’t far short of two and a half hours – and which makes listening to this in full a serious time commitment. The chances are that few listeners are likely to repeat it more than once or twice.

And while most of the compositions are under the eight or nine-minute mark, there are are handful of absolutely epic works that sit in the twelve to twenty-one minute mark that really illustrate the expansive plains E42.A8 ere capable of exploring when given the time and the space, and of course, the right atmospherics.

As one might expect from such a loose framework of musicians improvising over such a time-span, this is a pretty mixed bag, centred around immense drones, grinding organs and elongated oscillations. At its best, it’s haunting, evocative, unsettling, while at its worst its clunky, uncoordinated, experimental but without focus. And that isn’t a problem: the avant-garde and the postmodern so often delights in revealing its workings, demystifying the creative process, pulling apart the myth of the ‘creative genius’. IIIII reveals E42.A8 to be multi-faceted and willing to take risks in the interest of progression, of artistic evolution.

Insectoid skitters and creeping drones, scrapes, and all kinds of bleeps and twitters and stream-like trickles combine to forge the peaks and troughs, gulfs and chasms which make up this immense work. Heavy clanks like the sound if a blacksmith mishitting his equipment as shards shower everywhere in such an enclosed space. Chinks and stammers and fractured tonal cracks break the surface, and disruptions and discord and discombobulations abound.

A track-by-track analysis would be even more pointless than Brexit or an episode of Pointless, because this isn’t a work that has standout tracks: compilation it may be, but ultimately it’s an immense document which collates a vast library of experimental ambient electronic works which will shred your brain, make your eyes pop leave you feeling bewildered overwhelmed, which is, in context, a measure of artistic success.

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