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LP
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CM 007LP
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L.I.E.S. Records founder Ron Morelli departs the club to investigate atavistic ambient themes in his fourth solo LP and debut for the Paris-based Collapsing Market. For the first time on record, Morelli mostly mutes his drum track channels and allows his sounds to freely float in imagined air. In the process he crisply reveals a latent, introspective side to his music that's been missing or occluded by noise in his clutch of grubby sores issued by Hospital Productions since 2013 -- back when he changed his address from Brooklyn, NYC to the heart of the Parisian electronic music scene. As such the eight bony diffusions of Man Walks The Earth mark distance travelled from the gobs of 2013's Spit (HOS 407CD/LP), documenting a change of mindset from grizzled and paranoid to a more soberly contemplative and drily poetic expression of self. Composed during 2015-2018, the eight liminal zones of Man Walks The Earth see Morelli switch out immediacy and brashness for a more considered long view of electronic music. In key with his previous work it's a regression of sorts, but this time reaching back beyond industrial music to a primordial sound recalling Tod Dockstader dabbling at the GRM in "A Long Walk At Night", or Laurie Spiegel glimpsing unseen worlds in "Stone Tools", while album opener "Fear Upon Seeing His Reflection In The Lake" hearkens back to Delia Derbyshire and Daphne Oram's etheric, Radiophonic abstractions, and the parting beauty "The Sun Beats Stronger As Each Day Passes" recalls the enigmatic appeal of Chris Marker's sci-fi soundtrack for La Jetée (1962) as much as Jeff Mills' recent astral excursions. Following Collapsing Market's archival issue of Iranian classical music, iridescent electronics by Ssaliva, and the amorphous environments of Metta World Peace's Zanclean, Morelli's new album presents a compelling perspective on the binds between socio-economics and cultural aesthetics that's reflected in the LP's sleeve art, Morelli's own photo taken from the 86th floor of One World Trade Center, New York, detached and reframed by Ethan Assouline, characterizing the basic human will to rebuild, only to destroy again.
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LP
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CM 005LP
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Collapsing Market host this captivating set of quixotic ambient scenes realized by Ssaliva, a Belgian electronic musician with sterling form for Leaving Records, Ekster, Vlek, and Purple Tape Pedigree (PTP), among others. Pulling together blink-and-miss material from his Bandcamp along with previously unheard works, WYIN coherently highlights a broader period of work than any of Ssaliva's other releases, framing a probing and adventurous spirit at work in its element; modern digital ambient composition. Coming off the back of Collapsing Market's reissue of Tschashm-e-Del, an archival radio play of Persian Classical music conducted by the label's grandfather, Morteza Hannaneh, their first Ssaliva entry keeps the label outlook as mutable as ever with a natural focus on atmosphere and feelings connoting existential angst and solitary psychedelia. It's a product of its contemporary environment, which, more than ever, is bleakly electronic and at the mercy of rabid socio-economics, as symbolized in sleeve's illustration of a financial trader's open palm, contrasting with the front cover's zoomed-in image of blood-spattered textures. In six parts he just about keeps his head above the waves and acres of negative space, firstly buoyed by choral voices in "Danger Came Smiling", then against the discordant fulgurite of "Hell/Home", which both make the sublime timbral relief of a that much more effective, in the same way that the hyperreal, acrid sensation of "For All I Care", the crystalline dimensions of "2drown" and the spiraling, elusive complexity of "B" reflect and express the modern world with an intangible accuracy perhaps best compared to Arca. Vinyl master and lacquer cut by Helmut Erler at Dubplates & Mastering, Berlin. Edition of 300.
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LP
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CLPMR 003LP
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The Paris-based Collapsing Market label unveil a gem of found art with Tschashm-e-Del: a radio play recorded in Iran sometime during the '60s by Morteza Hannaneh, co-founder of the Tehran Symphony Orchestra with Parvis Mahmoud, and the grandfather of Collapsing Market co-owner Cyrus Goberville, who discovered the recording on a tape at his home. Without definitive records to go from, Tschashm-e-Del was presumably recorded in the '60s (certainly pre-revolution) and quite possibly broadcast on Radio Tehran. Now restored from the original reels, it reveals a gorgeous and important suite of music set to a Ghazal -- an ancient Arabic ode, or poetic expression of the pain and beauty of love, loss or separation -- written by Hatef Esfehani, who was a famous Iranian poet of the 18th century. The ghazal deals with the founding principles of Sufism and monotheism through a love story between Hatef and a Christian girl, with Morteza Hannaneh's musical arrangement matching the specific rhyming structure of its ancient classical form, itself rooted in tradition stretching back to at least the 10th century, whilst also incorporating string elements of western orchestration relating to Hannaneh's background in composing for cinema. It's the kind of music you might expect to turn up on a Folkways or Dead-Cert release. It's presented with artwork made by Thomas Jeppe, a noted artist familiar with Persian culture; the sleeve image depicts the Ashura procession. Edition of 500.
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