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Elle avait raison Hathor

by Vincent Berger Rond

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about

Inspired by mythology, this collection explores notions of womanhood. With the Quebec-based composer's characteristic “spasmacousmatic” cutup textures guiding form, this is an electroacoustic chamber music that is both disorienting and utterly engaging.
--Bruce Hamilton
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Après la musique de l'homme (Un doux rêveur dans. Homme Sauvage dit.), voici la musique de la femme (Elle avait raison Hathor).

Elle avait raison Hathor se veut déconnecté, hors de ce monde, en dehors du réalisme socio-historique lié aux thèmes choisis et surtout le moins terre-à-terre possible. Le projet ne se base même pas entièrement sur la mythologie (de laquelle il s'inspire librement). Il s'agit de se concentrer sur ce que je compose de mieux.

Oui, il existait quand même un semblant de réalité dans Un doux rêveur dans. Homme Sauvage dit. Il s'agissait d'une erreur négligée et circonscrite depuis, l'ennemi sobre des cataclysmes inébranlables. Jusqu'à aujourd'hui, c'était seulement l'erreur que l'on avait lue!

Elle avait raison Hathor complète également la logique derrière [{ }], celle d'une seule chanson et de quatre instrumentaux. Après avoir complété, une version vocale de la première composition avec l'aide de Laura Kilty, je me trouvais entièrement satisfait : la présence vocale omniprésente maintenant explorée, le texte dense résumant la thématique des autres textes, réunissant même les deux derniers projets à propos de l'homme et de la femme alors qu'il ne peut s'agir de que de la première chanson.

Après Izanami, il me semblait que la musique devenait un contre-poids d'énergie positive ne confrontant les zones plus sombres qu'avec confiance et force. La légereté instrumentale de Maât m'a semblée toute nouvelle, nécessaire après une chanson saturée de partout. Les guitares de toutes sortes agissent comme la véritable voix de ce projet.

Comme pour [{ }], les poèmes deviennent un lyrisme optionnel à celui qui veut les lire, rien n'est imposé, contrairement aux différends d'Izanami. L'interprétation demeure libre malgré mon amour pour la chanson lyrique et mon peu d'intérêt pour la composition de bruitage vocal (quelques-unes de mes compositions dans cette avenue me suffisent).

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After music about manhood (Un doux rêveur dans. Homme Sauvage dit.), here is music about womanhood (Elle avait raison Hathor).

Elle avait raison Hathor is wanted disconnected, out of this world, outside socio-historical realism linked to the selected themes and mostly the least down-to-earth possible. The project is not even entirely based on the mythology (from which it is inspired freely). It is to concentrate on the composition that I do best.

Yes, there was still a form of reality in Un doux rêveur dans. Homme Sauvage dit., it was a neglected mistake, now found out, the humble enemy of unwavering cataclysms. Until today, it was only the error that we had read!

Elle avait raison Hathor also completes the logic of [{ }] made out of one song and four instrumentals. After completing a vocal version of the first composition with the help of Laura Kilty, I found myself completely satisfied : the omnipresent vocal presence has already been explored once, the dense poem is including most of the elements of the other poems, also linking the two last projects about manhood and womanhood, yet it can only be the first composition musically and lyrically.

After Izanami, it seems to me that the music is becoming a counter weight of positive energy that only gets into dark zones with confidence and strength to get out. The instrumental lightness of Maât sounded all fresh suddenly, needed after a song that was saturated on all levels. The guitar of all kinds are the true voice of this project.

Like in [{ }], the poems become an optional lyrical aspect to who want it, nothing is imposed, as opposed to the disagreements in Izanami. The interpretation remains free as much as I love lyrical songs and have little interest for the composition/collaboration with purely sound oriented vocal interpretation (a few of my compositions explored it in the past and that was enough).

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(Japan) The first gods summoned two divine beings into existence, the male Izanagi and the female Izanami, and charged them with creating the first land.

(Egypt) Maât was the ancient Egyptian concept of truth, balance, order, law, morality, and justice.

(Egypt) Hathor's cult is unusual. Many of them were artisans, musicians, and dancers who turned their talents into creating rituals that were nothing short of works of art.

(Inuits) a young woman (Sedna) becomes the mother of all sea creatures.

(Greeks) In the Odyssey, Homer describes her as 'The loveliest of all immortals,' living on the island of Aeaea.

V - What dominates most here are Fred Szymanski's several elect. guitars which sound and improv flow are modified and recomposed by Vincent Berger Rond in late 2011 ; Jim Goodin on banjo (Hathor) is important

V - Laura Kilty on vocal composition, singing, rewriting lyrics (Izanami)

V - Alexandra Fol on electr. organ plays Hope of Dawn by Ana Paola Santillan Alcocer (Izanami) ; Bruce Hamilton's electro pieces Rockplaco and Dark are remade (Maât ; Circée) ; Steve Moshier's electro piece The Far End of a Forgotten Street (Circée).
--V.B.R.

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released April 3, 2012

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