Artist: MARTENS MOANA, LIEVEN
Title: The Volcano, The Night That Precedes All, And A Hymn For Paul Gauguin
Label: No Basement Is Deep Enough
"A historical song, miming the season of the moon. Where, in an orchard of damp respiration, we listen to the breath of a supreme figure. Who is clearing nine paths. Who is singing a floating cycle through the shrubs.
The shaping of the tide. When the white bird is about to warble stepping stones. Stones on where we will sit and roar. And salmoura will scatter, mixing salt with water. And this salt will carve our skins. And our vessels will be liberated from the silt. And our ballads will flock and smite. And we will invent, the useless light.
Hear, the melodies grow ripe on the stem. Scent, the fragrance of the blossoms fills the air.
Paul Gauguin felt lonely. Therefore he journeyed to a village at the other side of the island, to find himself a wife. The locals complimented his arrival with a banquet. There was some singing and some talking. Various fruits, vegetables and meats were shared. And afterwards he rode his horse back to his shanty. Taking home with him a beautiful, and young, ornamental person. A few months ago, I sat in a bar in the heart of darkness, being Paris - France. Drinking Pastis with five Tahitians who did not look like they fell out of a Gauguin painting. Drinks and laughs were shared. And in the end I asked them to sing a traditional song. Thus we went outside, and under a useless light the Tahitians sung towards the night. I pressed the recording button, and took home with me, this ornamental song. The Himene Tarava is a French Polynesian musical tradition, being sung by groups or choirs – which can be fairly large - in a rhythmal, polyphonic way. A notable element is the change in pitch at the end of each phrase. Furthermore, the chants are accompanied by handclapping and, or rhythmic staccato syllables, sung by the male members of the group.
When the night of static balance is being flooded by the day of evolution. We use the icon of the volcano as a reminiscence. And as a fortune-teller. On the Maldives, lava means “a song”. A combination of tones that precedes everything, attends everything and comes after everything. Magma (I), where the voices mime wayward lines and movements of the unsettling thrusts in the magma chamber. When the female strength manifests. The Eruption (II), a transitive and ascending sound, increasing its vigor, bursting into an ecstatic silence. The ocean of silence. The expiration, Alle Menschen Werden Steinen (III), where the birds and frogs sing the gong. And where the lava’s path embraces emblems of pahoehoe. We are born into this ocean of silence." - Lieven Martens Moana.
“Ltd. to 65 hand-numbered copies and comes in an effusive eruption of Magia and Medronho.” - No Basement Is Deep Enough.
Artist: MARTENS MOANA, LIEVEN
Label: Pacific City Sound Visions
"Since Lieven Martens Moanas(Dolphins Into The Future) last lp, the massively
overlooked "Music from the Guardhouse", our composer has moved from the
islands of Okinawa to the Swampland of Mexico City to the Portuguese
countryside, running his Private Press, and composing music for ensemble and
commercials. This very pluralistic life-style and commitment has led us to his first
full length record in three years: "Idylls". Presented as a 12 page book with an LP
disc, the listener first hears concentrated and intentional sound-prose poems of
the life of Robert Louis Stevenson as Martens attempts to "see through the eyes
of RLS". Because of Martens ability to poetically reflect Stevens obsessions, we
can hear field recordings, not just as documents, but as compositions and
imaginative story-boards of a poets journals in the locales of Polynesia. As we flip
sides we enter into the colorful and active aspect of Martens palate. Flowing from
active electronically treated thumb piano to tranquil serene alien piano, growing
towards a rumbling volcano and settling into archaic Goldberg Variations by Mia
Prce of Miaux, the listener is now startled by Captain Moanas refusal for his
music to be pure inspired decoration, but instead a world of prose and storytelling.
By now, we ask ourselves what has changed in the music of Lieven
Martens Moana? Its is for certain on "Idylls", that with a Polynesian Fascination
seemingly unchanged, the intellectual palate has grown so much, that what we
have in front of us, are wildly colorful and intellectual compositions that seem to
have arrived from a literary mode, and grown into pieces that have an illusively
romantic allure. The uniqueness of "Idylls" rests upon the artists willingness to
arrive at strange and difficult compositions by way of natural story-telling and
inspired readings; Martens further exacts his process, away from just
appreciating Polynesia, and into the act, that Gaugain and Stevenson might have
enjoyed, of symbiotic immersion. We can for certain hear from the Captain
"Being("Idylls") a portrait, an ethnographic study, an exotic illustration and a ritual. The latter used in the most mundane sense ever, since I’d like to stay far away from a sensational bubblegum approach to (religious) ethnography, to the copying of ethnic behaviour, or to approaching it as something odd or weird. These behaviourisms unavoidably invoke the end of all rituals, thus making the world a duller place. As being interested in the exotic, (c.q. the exotist), an act under constant scrutiny, it is a duty to observe and sustain, to withdraw and refrain.”
Pacific City Sound VIsions is extremely stoked to present the new works by Lieven Martens Moana, in the year 2017, as we continue to grow and expand with an artist revelling in pushing his initially beautiful instincts to a point where they begin to be outright living intellectual endeavors." -Spencer Clark, Pacific City Antwerp, Belgium. Limited to 500 copies.