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$29.50
IN STOCK
01. Johanna Orellana - El Jardín I
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02. Johanna Orellana - El Jardín II
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03. Johanna Orellana - El Jardín III
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04. Johanna Orellana - El Jardín IV
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05. Johanna Orellana - San Fabián
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ARTIST
ORELLANA, JOHANNA
TITLE
Las Camelias, Tres Esquinas
FORMAT
LP
LABEL
SMALLTOWN SUPERSOUND LE JAZZ NON
CATALOG #
STSLJN 414LP
STSLJN 414LP
GENRE
CLASSICAL
RELEASE DATE
8/4/2023
Flautist
Johanna Orellana
teams up with
Carmen Villain
for a collection of horizontal, pastoral field recordings and close mic-ed flute sounds that zero in on the instrument's unstable resonance and levitational magic. There's no cringe virtuoso business or fourth world firewalking here - just sonic purity, sublime minimalism and the precise capture of time, place and poetry. You might have come across Johanna Orellana before if you've listened to Carmen Villain's music (or seen her perform live), and Villain appears here in a producer's role, using her engineering expertise to impart a level of restraint and sonic fidelity that's quite startling. There are only really two central elements to the album: environmental recordings and flute. There's no psychedelic delay, no cavernous reverb; no audible treatments at all -- Orellana and Villain instead force you to consider the flute and its musical lineage. 'El Jardín I' introduces the instrument as a physical conduit; Orellana allows her breath to distort the sound -- the padded pat-pat of the keys forms a kind of rhythm, closely recorded so it's amplified and jarring, linking to primal wind instruments like conch shells, bamboo flutes and wooden whistles. Recalling the way in which "Debit" interfaced with the ancient world using AIassisted tech on last year's
The Long Count
, Orellana uses a comparatively modern contemporary transverse flute, an instrument with roots that stretch back through the baroque era, into Medieval Europe, back to the Byzantine era and into Asia. The component that connects the instruments and eras is breath, and its amplification and modification through differently shaped pipes and vessels. Orellana lets the environment sing: insects, rushing water and zephyr-like winds form a stage that presents her mortal energy, suggesting a harmony between our use of breath and its environmental ubiquitousness. Her technique is steeped in folk history and decouples itself from expectation by rooting itself in nature. It allows her to bridge the gap between equal temperament and less ordered (less commercially-focused) microtonality without overstating the concept. Other sounds waft in from the sidelines; what might be an Indian bansuri, stray notes, a gust of air. There's a link to the foundational new age recordings that
Joanna Brouk
made with
Maggi Payne
back in 1980, but Orelanna also absorbs the outdoor folk magic of
Fonal
or
Stroom
, and the improvisational grist of
Bendik Giske
or legendary US horn duo
Nmperign
. Edition of 300 copies, pressed on white vinyl.
Other releases on SMALLTOWN SUPERSOUND LE JAZZ NON