Some albums are great for processing inarticulate emotions, and Invocation is one of them. The five tracks, two of which are composed by The [Law-Rah] Collective, two by Cinema Perdu, and one by the two working together, offer a wide spectrum music. Ranging from meditative pads to darkly pulsing ambient, Invocation will surely invoke something.
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- Invocation by The [Law-Rah] Collective & Cinema Perdu
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So today we will be looking at (and listening to, of course) some darkly pulsing ambient and asking, “just what is it about this music that makes it so great for processing inarticulate emotions?” Well before I answer that, and while I try not to ‘zone out’ entirely, let me just articulate my feelings right now by saying: This... Is... Great. And, furthermore, it pulses darkly and in all the right places. Ahhh…
It’s a collaborative effort, this, between The [Law-Rah] Collective (Bauke van der Wal) and Cinema Perdu (Martijn Pieck) -- each performing and contributing two individual tracks and a fifth track wherein they combine their compositional efforts. Opening track, ‘1’, by [Law-Rah], pleasantly and gently throbs like the aural equivalent of a deep red Rothko painting. For musical touchstones, think Nurse With Wound and Locust. His second individual track, ‘5’, drones slightly more ominously and is accompanied by a glitchy ‘popping’ sound which is not unlike that made earlier when we were preparing the post here at Norman and a trolley rolled over a long sheet of bubble wrap. These sounds phase in and out and pan woozily to leave the listener a little disorientated.
Cinema Perdu similarly explores the empty psychological spaces which remain once you are all cried out. Really, this is perfect for the final part of the day when this reviewer has precious little more strength to muster. The two tracks Martijn Pieck brings to this disc are as sublime as the previous two by Bauke, in that the music is the contemplative, irresistible, seemingly boundless evocation of space, of internal conflicts easing and resolving themselves outside of time. Plus, his second track features metallic chiming under mallets. I’m a sucker for resonating metal and mallets.
Martijn and Bauke’s collaborative track, ‘4’, is possibly the most affecting of all. What sounds like a sample from a long lost choral masterpiece is used as a bed for found sounds and plucked electroacoustic instruments, with an industrial throb underpinning it all… there’s an organ playing. For a minute there, I thought it was coming from the cathedral in my mind. Then silence. The CD whirrs its death throes and I feel a little more alive.
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