Vowel Architecture

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In collaboration with David Shea and Guy Marc Hinant (with Gilles Deleuze’s voice).
These recordings represent five years of work on the Sub Rosa and Mille Plateaux labels – some of these tracks are first-time releases. Young Brussels-based Israeli composer Tobias Hazan interweaves in turns electronic, electric, acoustic, instrumental and vocal explorations in a series of ten tableaux published in 1996.

Works in perception by Tobias Hazan.
The earliest piece, How Heraclite, explores our perception of the sub-vocal aspect of utterance, using mikes attached to the throat itself. The articulation of simple phonemes (linked to the notion of water) are found in b-a-ba-p-pt-de. The introductory piece, Keter, is a coronation: keter – crown in Hebrew – is in fact one of the ten sefiroth that make up the tree of life in the Cabala. Quote Hazan: “24 do’s produced by a generator – the sound radiates out like ‘a crown’ – after attaining its maximum amplitude, during which its sonority augments exponentially (outstretching the limits of the speaker, and resulting in saturation) – one seems to perceive in the inverse tones a crown – dark blue, slightly phosphorescent, floating in space against a black background…” sonority predominates in Netzah – the sphere of involuntary processes and respiration – in one of its many aspects. Rouah seems to be a possible conclusion. It is strange to confront someone who explores the limits of perception, rather than a musician who deals with purely musical problems, as if all these pieces were finally only tools to be used when one feels the need. Something very strange can occur when you listen to that…