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InEmptinessThereIsTruth​(​CallNoManHappyUntilHeIsDead)

by Andrew Leslie Hooker

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1.
InEmptinessThereIsTruth(CallNoManHappyUntilHeIsDead) 45:49
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about

A soundwork commissioned for the 2010 edition of the Ravello Festival, curated by Achille Bonito Oliva, Stefania Miscetti and Gianluca Ranzi.

Reviews:

If you take a conscientious look at the composer's notes that accompany this release, the conceptual ramifications underlying the music will unquestionably be better deepened than contenting yourselves with a mere review’s synthetic account. Personally speaking, it is a curious coincidence that the city hosting this site-specific composition in 2010 was Ravello (in the Italian region of Campania), where your reporter was literally stunned by the place’s dizzy heights many years ago (the local vistas on the sea are absolutely breathtaking). A similar type of mental suspension reappeared after subjecting myself to sequential listens of In Emptiness There Is Truth, which in essence consists of 45 minutes shaped by an extremely ductile “ghost overtone choir” replete with feedback signals and what the composer calls “lower-case sonics” (I didn’t understand if actual voices, perhaps treated, live in the mix). Amidst the wrinkles of this psychically influencing substratum, Murayama emerges with a series of hagridden vocalizations halfway through a silently strained gargle and the gasping of someone in dire need of oxygen. The whole creates a state of floating anguish, underlined by a sense of aural instability not too distant from certain metamorphic environments typical of Roland Kayn’s cybernetic creatures, though definitely more “minimalist” in its asphyxiating reiterative traits. Elements of John Duncan’s aesthetic are not irrelevant to this recording, either; not only in the gist of the sound, but also as far as complex human implications are concerned. Ultimately, a statement born for an external environment whose acoustic validity is confirmed in a home listening scene. But several attempts are required to really get into the core of the matter.
Massimo Ricci - Touching Extremes

Incredibly dense and haunting single 45 minute piece processing voice and harrowing drones with banshee-like overtones and anguished gargles. Not for the faint hearted.
Boomkat

A work designed for the Italian Ravello Festival, this is a recording that begs to be experienced in situ. Hooker, via a large array of recorders, tapes, computers and mics, constructs a ghostly swirl of winds and disembodied voices (too stereotypically ghostly, perhaps) that one can imagine flowing across and through a large interior space. Within this, Seijiro Murayama contributes vocalizations in the form of hoarse croaks, frail whinnies, etc. It's all very much of a piece; what variation is found comes courtesy of Murayama and that's minimal enough. You really want to be able to walk around amidst all this, probably in the dark, to perhaps have those croaks emitted from various points could be spooky enough. Much less immersive, necessarily, when experienced via speakers in the comfort of one's home.
Brian Olewnick - Just Outside

credits

released December 6, 2016

Andrew Leslie Hooker (microphone & no-input feedback, magnetic tape, analogue processing, editing & mixing).
Seijiro Murayama (voice).

Mastered by Giuseppe Ielasi.

E153. Published by Entr'acte, 2013.
entracte.co.uk
entracte.co.uk/project/andrew-leslie-hooker-e153

CD can also be purchased from Entracte products:
e-products.bandcamp.com/album/in-emptiness-there-is-truth-call-no-man-happy-until-he-is-dead-e153

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Andrew Leslie Hooker image

Andrew Leslie Hooker Wales, UK

A visual artist & composer of no-input music based in N.Wales.
He is currently a PhD researcher in music at
the Academy of Creative and Performing Arts in Leiden, whilst contemporaneously working on
various sound, dance & extended cinema projects.
His work has been published by Entr'acte
Dinzu Artefacts Subcontinental Records
The SilentHowl
Korobushka Records
WormholeWorld ScatterArchive. ... more

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