Ariel Kalma & Richard Tinti - Osmose

M-/m- | Beyond belief clean copy of this masterpiece, clean copies are a damned bitch to dig up. A favorite of mine, a disc that hardly ever turns up due to either being hopelessly obscure or just plain hard to track down. Ariel Kalma’s name occasionally comes up in conversation with those interested in the Progressive Rock scene that developed in Paris in the 1970s. He had joined forces previously with the likes of Christian Vander, Richard Pinhas and the French versions of MEV. In the late 70s he began to get adrift into the "New Age" scene, churning out a vast number of cassettes of such for neo-hippy scum market. But this LP, released in 1978, is a totally different bag and far removed from either his prog rock adventures or his debacle with the new age purist sectarians. Here Kalma teams up with Musique Concrete/Tape Composer Richard Tinti, who was connected with the activities of IRCAM. Ariel Kalma was recommended to Richard Tinti who had just come back from Borneo with hours of rainforest ambiences in high quality recordings, which Kalma envisioned to underscore with some minimal noodlings. To their amazement, birds and keyboards, flutes and crickets, saxophones and frogs, war drums and (vintage) drum machines had much in common in terms of pitch, melodies, rhythms, effects. Ariel decided to blend his compositions with the rainforest atmosphere, and thus Osmose was created The basic idea here is to incorporate field recording of natural sounds made in the Somali coastal regions with Kalma’s various instruments (Saxes, Flutes, Synthesizers, Keyboards, Guitar and Electronic Music Instruments/techniques). Theses tapes are themselves mixed, looped and layered to create the idea of hearing the music in a natural situation, whilst applying a range of compositional techniques to make the sound both plastic and fluid at once. A tape-looped tenor saxophone begins "Saxo Planetaria", soon injected by looped insect sounds from the field recordings, each layered behind Kalma’s melodic Statements. "10/18/77" blends synthesizer, tapes and effects with a taped montage, while "Planet Aire" uses the same instrumental mix, with synthesizer creating a sub-harmonic drone underneath the natural sounds. Sides two, three and four are given over to an array of tape techniques. Rhythms appear in the form of loops, the most memorable being the bee that comes buzzing across the stereo field. The sounds themselves are orchestrated in a symphonic like context, and Kalma’s sparse inputs on various instruments are correctly restrained, often not quite audible with intense concentration on the music to identify them! The drones interplay with the pitches of the natural sounds to create melancholic, Popol Vuh like grandeurs. The natural chirps and creaks blend with the music to become similar to ambient loops themselves; such that their very tonal nature shifts from being recognizable jungle sounds, frequently phasing into blurred rhythmic elements under the electronic parts. This is a joy being heard over headphones, or decent speakers in a very quiet environment, so that all the subtle sonic activity recorded can be heard. The editing and splicing is so well done that it is often not apparent that you are hearing a loop!
Disque A
A1 –Ariel Kalma Saxo Planetariel 6:50
A2 –Ariel Kalma Message 18.10.77 9:40
A3 –Ariel Kalma Planet-Air 6:00
B1 –Ariel Kalma Forest Ballad 4:30
B2 –Ariel Kalma Manège 10:00
B3 –Ariel Kalma Gongmo 6:30
Disque R
C1 –Richard Tinti 20 Pluie 16:10
C2 –Richard Tinti 6 And C° 15:40
C3 –Richard Tinti 4 An Afternoon 8:00
D1 –Richard Tinti Pagi 17:00
D2 –Richard Tinti Sore 19:00

Shipping Cost

LP:
Priority shipping to EUROPE: 12 EUR for 1 record and 4 EUR each addtional.
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Media=disc Cover=booklet

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