Tranzition
by Richard
Pinhas
Cuneiform Records, Silver Spring, MD,
2004
CD, Catalog number: Rune 186, $13.00
Distributor website: http://www.cuneiformrecords.com.
Reviewed by Trace Reddell
Digital Media Studies, University of Denver,
treddell@du.edu
Tranzition is a multi-genre affair,
part science fiction, part speculative
philosophy, a hard-edged "soundtext"
recalling the Deleuze of The Logic
of Sense, but less whimsical, and
suggesting Derridas "Platos
Pharmacy." Pinhas evokes the same
realm of reverberation that drives Plato
to distraction in the psychedelic coda
to Derridas article, where echo
makes direct quotation impossible, then
trips the circuits of memnos to
generate new sounds out of old, sustaining
the delirium of the misheard through glitchy,
loopy fade-out. The play of phrases links
them among themselves but also reverses
them through phase-shifted echoes, making
one line of live riffing cross over into
its recorded other, an after-effect that
becomes its own voice in the accumulating
mixture. This is the same sound that Pinhas
has been chasing and reprocessing since
his days with the French prog-rock/electronic
outfit, Heldon, in the mid-70s, and yet
updated through takes on recent shoegazing
space rockers like God Speed You, Black
Emperor and any number of glitchy laptop
acts.
"Dextro" begins with a sequence
of clicknhiss that would feel
at home on a Mille Plateaux compilation,
then builds patterns through Frippertronic-delay
and Antoine Paganottis drumming,
before Pinhas plays lead sequences through
a mostly dry mix. The second track, "Moumoune
girl (a song for)," is all ambience
until the thinly processed voice of Philip
K. Dick comes in, the source a cassette
that Dick sent Pinhas in the late-70s.
Dicks voice is not as processed
as the guitar and blipsnbleeps
that are, perhaps, the contributions of
Jerome Schmidt, credited as "laptop
boy" on the jacket. Even using headphones,
it is hard to follow Dicks deadpan
delivery before the drums return to drown
it out, followed by one of the heaviest
"guitar-god"-style solos I have
heard from Pinhas. This is straight-ahead
space rock, one of the genres, like glitch,
that Pinhas transitions through over the
course of the CD. The third track,
"Tranzition," begins with a
sinister recall of William Basinskis
Disintegration Loops before launching
into stomach-churning waves punctuated
by heavily compressed drumming and more
space rock guitar.
While comfortable situating Pinhas in
the context of experimental prog-rock
(King Crimson, the Eno & Fripp of
No Pussyfooting, Tangerine Dream)
or even the minimalism of Philip Glass,
I have always found the most provocative
reference points to be literary and philosophical
figures. Over the years, Pinhas has mixed
in recordings of Deleuze, Dick, Norman
Spinrad, Maurice Dantec, and Chloe Delaume,
whose heavily-processed voice we hear
on track four, "Aboulafia Blues."
Pinhass early work with Heldon pays
tribute to the electronic guerilla discussed
in William Burroughss The Electronic
Revolution, while album titles like
Event and Repetition [2002] and
Rhizosphere [1977], and the on-going
Schizotrope collaborations, suggest the
influence of post-structuralist French
philosophers. Pinhas studied under Deleuzes
direction while getting his Ph.D. in philosophy
from the Sorbonne in the `60s, writing
on time and science fiction. These topics
still permeate his work, which should
be considered a performative philosophy
of sound and consciousness.
The inability to hear voices (human or
instrumental) correctly drives Tranzition,
providing what may be its central thesis:
the mistaken attribute is the source of
creative progression. Unlike drums and
lead guitar, names like "laptop,"
"violin" and "electronics"
do not mean much in the context of these
performances. Voices are perpetually transformed
through effects-processing to meld into
the noise of identity-fade. It often becomes
impossible to determine who generates
a signal, what carries that signal, and
who receives and reprocesses that signal.
For all that Tranzition feels like
the product of jam sessions from something
like a rock group, the CD notes indicate
otherwise. We read that Tranzition
was recorded in summer 2003, though Pinhass
guitars were recorded live in concert
a year before. The drums were, likewise,
recorded separately then mixed by Pinhas
and Schmidt in the studio. The improvisational
feel of the album is thus revealed as
an illusion of studio-editing.
Illusion situates Tranzition, blurring
the moments and roles of live, processed
and recorded sound in ways that question
assumptions about performance and collaboration
through digital varieties of Burroughsian
cut-up and Derridean punning. Recognizable
voices are subsumed by metaphorical exchange
within a sonic mandala. Fittingly, Pinhas
evokes an analog of Thoth for the closing
track: "Metatron (an introduction
to)" sprawls out for a classic solo
Pinhas vibe of hypnogogic textures thick
with shimmering drift, and occasional
bursts of melody and deep tones, inducing
a trance that reinforces the previous
half-hour of music even while cleansing
the palette and inviting one to play the
disc on endless repeat.