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MEITEI, Kofū
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repress le 1er juillet 2022 sur Kitchen. Label
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ENGLISH / FRANÇAIS
Wavering and stubborn. So goes Meitei’s music. On Kofū, the last part of his Japanese trilogy as on the previous ones, Kwaidan and then Komachi. These first two records explored ghost stories in Japan and then the earthly winds and static electricity in their consoling force. Kofū digs deeper. Into the atmosphere and the bygone aesthetic of old Japan. With assertive humility and humour, Meitei patiently builds his arch of delicacy crossing the line between absolute modernity, as in Oiran I, and quasi-documentary sounds, as in Shōnen. With his art of opposites and his desire for musical shocks, Meitei doesn’t, however, force things. Instead, they blur them, with looping, melodic glitch and sonic obsession. The memory which acts, thus, in this disc, is that of spectres floating superbly in the hollow of the eardrum. The past and the imaginary dance together on the piano phases, detached and shimmering, on the electronics whose modesty aims at meditation and a form of perfect sacredness. Sobering and turbulent, peaceful and fiercely social. Almost a definition of what all music can or have to be. Fragile and boiling.
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ENGLISH / FRANÇAIS
Wavering and stubborn. So goes Meitei’s music. On Kofū, the last part of his Japanese trilogy as on the previous ones, Kwaidan and then Komachi. These first two records explored ghost stories in Japan and then the earthly winds and static electricity in their consoling force. Kofū digs deeper. Into the atmosphere and the bygone aesthetic of old Japan. With assertive humility and humour, Meitei patiently builds his arch of delicacy crossing the line between absolute modernity, as in Oiran I, and quasi-documentary sounds, as in Shōnen. With his art of opposites and his desire for musical shocks, Meitei doesn’t, however, force things. Instead, they blur them, with looping, melodic glitch and sonic obsession. The memory which acts, thus, in this disc, is that of spectres floating superbly in the hollow of the eardrum. The past and the imaginary dance together on the piano phases, detached and shimmering, on the electronics whose modesty aims at meditation and a form of perfect sacredness. Sobering and turbulent, peaceful and fiercely social. Almost a definition of what all music can or have to be. Fragile and boiling.
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ENGLISH
Wavering and stubborn. So goes Meitei’s music. On Kofū, the last part of his Japanese trilogy as on the previous ones, Kwaidan and then Komachi. These first two records explored ghost stories in Japan and then the earthly winds and static electricity in their consoling force. Kofū digs deeper. Into the atmosphere and the bygone aesthetic of old Japan. With assertive humility and humour, Meitei patiently builds his arch of delicacy crossing the line between absolute modernity, as in Oiran I, and quasi-documentary sounds, as in Shōnen. With his art of opposites and his desire for musical shocks, Meitei doesn’t, however, force things. Instead, they blur them, with looping, melodic glitch and sonic obsession. The memory which acts, thus, in this disc, is that of spectres floating superbly in the hollow of the eardrum. The past and the imaginary dance together on the piano phases, detached and shimmering, on the electronics whose modesty aims at meditation and a form of perfect sacredness. Sobering and turbulent, peaceful and fiercely social. Almost a definition of what all music can or have to be. Fragile and boiling.
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Vacillante et têtue. Ainsi va la musique de Meitei. Sur Kofū, dernier volet de sa trilogie japonaise comme sur les précédents, Kwaidan puis Komachi. Ces deux premiers disques explorait les histoires de fantômes au Japon puis les vents terrestres et l’électricité statique dans leur force consolatrice. Kofū creuse encore un peu plus. Dans l’ambiance et l’esthétique révolue du vieux Japon. Avec une humilité et une drôlerie affirmées, Meitei construit patiemment son arche de délicatesse, arche franchissant le pas entre une modernité absolue, Oiran I, et des sons quasi documentaires, Shōnen. Art des contraires, volonté de choc musical, Meitei ne force cependant pas les choses. Mails ils les brouillent, à renforts de bouclages, de glitch mélodiques et d’obsession sonores. La mémoire qui agit, ainsi, dans ce disque, est celle de spectres flottants superbement dans le creux du tympan. Le passé et l’imaginaire dansent ensemble sur les phases de piano, détachées et perlées, sur l’électronique dont la modestie vise la méditation et une forme de sacré parfait. Ebréché et turbulent, apaisé et férocement social. Presque une définition de ce que peut ou doit être toute musique. Ténue et frémissante.
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Meitei : Bandcamp
Kitchen. Label : Site Web
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