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ALMUFARAKA
About Master Of Disorder
Almufaraka is a new French quartet with an unusual lineup: three voices and percussion. On one side are Gaëlle Debra, Patrick Guionnet, and Maryline Pruvost; on the other, the experienced Peter Orins on drums. They present themselves as a group that explores avant-garde and archaic paths, resulting in a promise to highlight the listeners’ imagination. This proposal generates sonic possibilities from various lineages, taking us through music that ranges from moments of high intensity to whispering layers, notably in « Holotropic, » « Autosuggestion, » and « Theophobia. » An interesting sonic exploration.
Spontaneous Music Tribune – Andrzej Nowak
Master of Disorder is an absolutely unprecedented sonic configuration. Three voices, each quirky, each dangerous, capable of madness and cruelty, and for company, if not narrative guidance, a unique, unruly drums and percussion. It listens perfectly, regardless of the degree of deconstruction of the human voice, largely due to Peter Orins’ dramaturgical mastery. Each story is precisely constructed, has a sharp introduction, intriguing development, and almost every time, an effective, sometimes exquisitely filigreed conclusion.
The three voices, two female and one male, generally weave quite separate narratives—one speaks, another recites, another rasps, drawing deep bass exhalations from the throat. Rarely can these vocal streams be called singing. Around and between them, a stream of subtle, well-balanced drumming flows. Sometimes it’s a handful of rustling objects, other times action using the snare, toms, and cymbals. Towards the end of the first part, an exceptionally intense noise dominates, like the clangor of falling birds. In contrast, at the beginning of the second part, the expression carries the musicians to a high peak—the multi-sound of percussion intertwines with screams, moans, squeaks, and exclamations. This march of madmen has no destination; the journey itself is the value. From the explosion of a volcano to the mantra of a cat’s purring and lulling naughty children to sleep. From the dark silence of dawn to the noise of the setting sun.
At the start of the third part, we feel as if we are in the very center of a fish market, where local hawkers snatch their catch. Orins’ action initially relies on low-sounding drums, then becomes a rhythmic scraping on the snare’s surface. The next three pieces definitely unfold under the dramaturgical dictation of the percussion. Sometimes it’s a rhythmic storm using the full percussion set, other times delicate, almost gamelan-like rhythms, and finally, a juicy beat that has an almost synthetic glow. The reactions of the vocalists each time bring new elements to the play—there’s no shortage of noisy grinds, sounds reminiscent of teeth grinding and throat gargling, grumbling and childish babbling, and finally, dark, almost prayer-like vocalizations.
The final two expositions, as if there weren’t enough, expand the sonic spectrum of the recording and bring new portions of expression. The seventh story is based on the dynamics of a constantly broken rhythm, accompanied by shouts and calls. Everything here resembles a wild dance on wetlands. In the final revelation of the album, the voices of hysterical hawkers accompany us again. Orins organizes the titular Disorder with a juicy, multi-stream drumming. The narrative waves, reaches for resonating cymbals, delves into dark corners, and explodes with pure, live energy of a human scream. The ending itself is mysterious, down to the last, barely alive sound.
Diskoryxeion – Phontas Troussas
The originality here is not just about the simple originality of the compositions but the fact that all eight tracks on the CD consist solely of voices and drums. This unique feature guides us in understanding what we will ultimately hear on « Master of Disorder, » which seems to fully meet the standards and aspirations of a sonic adventure.
We have voices here, but not necessarily singing. We have attempts at singing, vocal activities mainly, often inarticulate (and only in some cases articulate), which emphasize the inescapability of communication. We say this in the sense that communication will always be the goal, with the difference that here, it is achieved in a unique, almost pre-linguistic or ultimately archaic way—with the four performers « marrying » some relatively contemporary concepts of vocal improvisation with percussive insinuation or percussive thunder.
Certainly, listening to « Master of Disorder » is not easy; it requires the attention of a seasoned listener. Its African-inspired nature is also evident, and it is certain that whoever decides to « dive » into this representation of sonic primitivism will not waste their time.
Almufaraka brings together the breath and voices of vocalists Gaëlle Debra, Patrick Guionnet, and Maryline Pruvost, along with the sound textures of skin, wood, and metal in Peter Orins’ drums. According to the press release, the quartet explores « all technical means to create music that is both archaic and avant-garde, drawing inspiration from a mythical primitive tradition. By recreating a form of stillness, the music immerses us in an original sonic fantasy. The recording offers a journey through the entire sound spectrum, from the intimacy of whispering to the power of shouting, and reveals a deep connection between the musicians and the listener. The feeling becomes tangible, awakening the senses. »
The eight compositions/improvisations take us into an extremely experimental vocal landscape, where in the opening track, « Psychopomp, » they babble like a small child at play, moan in fear, and give us an almost frightening experience of vocal art that is both terrifying and fascinating.
Throughout the album, we get vocal art on a relatively free basis, well supported by Peter Orins’ drums. Throughout, there is close communication between the three vocalists, while Orins holds it all together with fine and relatively « raw » drumming.
There are several vocalists, especially in Europe, who work within this vocal art form. In Norway, Sidsel Endresen and Trondheim Voices are closest to this style, while in Denmark, there is the ensemble IKI and some of vocalist Randi Pontoppidan’s projects. In the Netherlands, there are Greetje Bijma, Jaap Blonk, and others, and in England, Phil Minton. And in France, we have, among others, Gaëlle Debra, Patrick Guionnet, and Maryline Pruvost.
Those looking for swinging vocal music might choose wrongly if they go for this release. But for those interested in experimental vocal outbursts, babbling, howling, and screaming, this is the album to check out. The three vocalists give us music that makes us think and dream the best and worst dreams we are led into by these three. Throughout, the drumming is perfectly tailored to the three vocalists. An extremely exciting release with music we don’t hear every day.