GUILLAUME CAZENAVE liah's saga
		Format CD Country France Recorded 2000 Issued 2001 Label Musea Cat no. DR 8413.AR Playing time 47:54 Reviewer Johan Dalsrud

This recording is a result of a letter which G Cazenave received from his girlfriend(?) regarding a Norwegian painter by the name of Alise Strædart. Liah is apparently quite fascinated by this Norwegian artist and has asked Cazenave to compose music which in a way reflects the paintings of the artist.

Let it be said that Alise Strædart has not lived in Norway for at least 60 years, but is located in Laos. A while back she decided not to communicate verbally with the world outside, and instead communicates solely through her pictures. She may have a few mental problems, the booklet says, but her paintings supposedly speak for themselves. Unfortunately, the paintings in the booklet are probably not hers as they look more computer generated. It would have been interesting to see the pictures that have inspired the music.

But on to the music. Cazenave has tried not to put emphasis on melodies in his instrumental compositions, presumably because melodies create a kind of clarity in the human mind which he tries to avoid. The result is that the music demands quite a few listenings before it becomes comprehensible. The composer wishes to create music with a feeling of dizziness, and to a certain degree he has succeeded.

But to tell the truth, certain melodies include sound cuts and synth samples repeated over and over again creating a kind of melody, however a quite monotonous melody. The compositions are largely based around samples, quite advanced backings, quite a bit of noise, untraditional synth sounds and sound clips of voices. I’d call this industrial synth prog, perhaps a bit like the music Nine Inch Nails, Tool or A Perfect Circle make. However, these are bands I know only slightly, so the comparison may be a bit vague. Perhaps a kind of contemporaty music? But it is definitely original, and Cazenave can not be accused of selling out.

This record may possible be the work of a genius, but I must admit I haven’t been able to get into it. When the music constantly struggles to make melodies, I don’t find much that catches my interest. Track after tack has a fussy impression, and the monotonity gets into your head long before the CD is halfway through. Cazenave writes that the accessibility of the music is a demanding process, and I don’t think I shall sacrifice more time and effort in order to try and understand this CD. But if you wish to try, you’re welcome.

© 2001 Tarkus Magazine

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