Description
Contemporary drone visionary Kali Malone has assembled an exceptional electroacoustic ensemble for her groundbreaking debut in the GRM pantheon. With a focus on dynamic timbral exploration and a subtly recalibrated sense of scale, Malone effortlessly navigates the realms of early music, 20th century American minimalism, electronic drone, and cinematic soundtracks. This monumental new work marks a significant milestone for the talented artist and serves as the first collaboration between the GRM and Shelter Press, following the unfortunate passing of Peter Rehberg from Edition Mego.
The masterpiece, titled ‘Living Torch,’ was originally commissioned by the GRM and composed between 2020 and 2021 in Paris. It features a lineup of instruments including trombone, bass clarinet, sine wave generators, an ARP 2500 modular synthesizer owned by Éliane Radigue herself, and a unique custom-made motor-powered drone instrument called the Boîte à bourdons. Drawing inspiration from the hurdy-gurdy and the Indian shruti box, this instrument adds a distinctive element to the composition.
While the stereo mix of ‘Living Torch’ provides a deeply introspective experience, it remains connected to the composition’s sacred origins. Defined by its immanence rather than transcendence, the music reveals a captivating range of timbres, from the haunting allure of early polyphony to the vast landscapes that influenced American minimalism, all the way to the ethereal qualities of musique concrète and acoustic phenomenology. Malone shows great reverence for the previous luminaries of the GRM, choosing to explore new harmonic textures and isolate timbres with the same level of subtlety as Éliane Radigue and the subharmonic prowess of Sunn O))).
Each instrumental choice in Malone’s composition is deliberate and precise. In particular, her use of the ARP 2500 modular synthesizer carries historical significance, connecting her not only to Éliane Radigue but also to the early days of consumer synthesis. This particular model, ARP’s first modular unit, gained prominence after its appearance on Wendy Carlos’ “Switched on Bach.” Over the years, the ARP 2500 has been employed by renowned musicians such as Vangelis, Jean-Michel Jarre, Faust, and even John Williams, who used it to create iconic sound effects for Spielberg’s ‘Close Encounters of the Third Kind.’ Today, it is rumored that only around 50 units remain in existence.
At first glance, the pacing and somber brass tones of Malone’s music may remind listeners of Gavin Bryars’ remarkable “Sinking of the Titanic.” However, her transcendental tranquility aligns more closely with the works of Catherine Christer Hennix and Phill Niblock. Thanks to her experience as an organ tuner and a genuine interest in intonation, Malone sees tone as a vibrant spectrum of colors, employing shades and hues rather than adhering to the constraints of equal temperament. This approach imbues her sounds with the depth and resonance reminiscent of the human voice, while also reflecting a profound fascination with early music. It feels like a forward-looking step built solidly upon historical foundations.
As the second side of the composition unfolds, bringing together muted brass and woodwind with dreamy overdrive and the haunting strains of the hurdy-gurdy, it’s as if we’re eavesdropping on a conversation between Hildegard von Bingen and La Monte Young. In this captivating moment, we glimpse the inner workings of Malone’s deeply inquisitive music, as it transports us to uncharted territories of sonic exploration.
