The idea of an orchestral approach to the electronic and tape compositions of Iannis Xenakis may seem like an absurd endeavor, but it works, extremely well.
Reinhold Friedl and his orchestra Zeitkratzer are no stranger to taking a unique approach to "difficult" compositions: one of their recent contributions has been an orchestral take on Lou Reed's Metal Machine Music. In this case, there is no single specific Xenakis composition the group takes on, instead, it is a "tribute" to the late Greek composer's legacy. This live performance then attempts to capture the mood and feeling of his electronic and tape compositions, all largely studio treated works, and recontextualize them into a traditional orchestral setting.
Indexed as a single, 54 minute track, the eight performers of Zeitkratzer come out swinging, a mass of swirling horn shrieks and groans mixed with low nauseating bass string drones. The dense mix adds in rattling chimes and a percussion section that resembles the abuse of a metal chain. The high end of the horns swells to almost resemble the horn section of some of Peter Brotzmann's most dissonant work, combined with a constant, underlying bassy tumult.
Brotzmann and other free jazz luminaries are not a facetious point of reference for this work, as the horn sections often reach that sonic abuse level of chirps and squeaks. As the track continues, the pitches seem to constantly vary and though the mix never relents, it always feels dynamic and unpredictable. Later on the percussion section becomes a rattling of metal and mechanical failures, an industrial disaster just waiting to happen. There is a loss of identity among the various instruments as the track draws to its conclusion, everything congealing into a thick monolith of dissonant sound. As the piece comes to its abrupt conclusion, one would forget that it was actually a live performance unitl the massive surge of applause that concludes the disc.
Asphodel has seen fit to not only include the audio document of this, but a video one as well, consisting of a full length film by Lillevan based upon photographs and video of Persepolis, Iran, a location Xenakis was especially fond of. The dynamic, bronze-hued abstract imagery of the film make a perfect accompaniment to the sound. As an added bonus, there is also an option to listen to the audio in 5.1 surround sound as well, which makes for an even more disorienting, and fascinating, listen.
What may have seen like a quixotic undertaking at first instead shows that even as complex as Xenakis' studio compositions can be recontextualized into a very different setting with success. It also proves that what may seem like utter chaos at first is actually a very controlled, extremely structured sound…a conclusion that would surely make Xenakis smile!
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