Charlemagne Palestine & Tony Conrad – An Aural Symbiotic Mystery – (Sub Rosa)

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This particular symbiotic mystery came to fruition in the Mercelis Theatre in Brussels on a day of tribute to the late French composer, Luc Ferrari. Although Palestine and Conrad have a detailed history, the two had not crossed paths for some thirty years – a fact which apparently led Palestine’ wife, Aude, to be taken aback by the synchronicity into which the two slipped after only a few minutes of playing.

Even if the ensuing fifty-minute composition does not divulge a chemistry as bewildering as such a story might make out, it is impressive nevertheless. A silvery, shimmering electronic drone acts as a yardstick against which the duo measure their actions. At first, the pair remains close to this dense collage of churning ambience, emitting meditative piano arpeggios and long, waspy violin lines. After testing the waters, Conrad’ violin takes on grizzled saw-toothed distortions and Palestine’ playing grows more sporadic, his timbres picking up a certain biting metallic edge and adding new slants to the music.

Once they’ve put some distance in between them and the original rasping electronic drone, the underlying comfort between Palestine and Conrad reveals itself, as the pair conveys a certain bravado and stylistic openness in the manner in which they erect a plethora of dramatic textures and structures. After a crescendo which is constellated by smoldering electronic sparks and scorching violin, Palestine engages in some shamanic chanting, adding further depth to the ritualistic aura of the piece. Shortly thereafter, the orchestral dissonance settles into a gentle ebbing, Palestine’ spirited voice shifts into deep, sonorous humming, and the track closes like a flower at night. Palestine and Conrad thus play it rather safe at times, but the electricity from their more vigorous moments still hangs in the air long after the playing stops.

Max Schaefer

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