![\"Mekong](\"https:\/\/www.gruenrekorder.de\/Photos\/gruen092_cover.jpg\" "\\"Mekong")
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Mekong Morning Glory | Merzouga<\/a><\/strong> Reviews<\/a><\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n 1.\u00a0\u00a0\u00a0\u00a0 Excerpt Laos 1<\/p>\n MP3<\/a><\/p>\n 2.\u00a0\u00a0\u00a0\u00a0 Excerpt Laos 2<\/p>\n MP3<\/a><\/p>\n 3.\u00a0\u00a0\u00a0\u00a0 Excerpt Cambodia<\/p>\n MP3<\/a><\/p>\n 4.\u00a0\u00a0\u00a0\u00a0 Excerpt Vietnam<\/p>\n MP3<\/a><\/p>\n <\/p>\n 1 Track (49\u203202\u2033) <\/p>\n The Mekong River is one of the world\u2019s major rivers. On its more than 4.000 km long way from its source in the Tibetan Plateau to the Delta in South Vietnam it passes an altitude difference of 5.000 km, travels through seven countries, three climatic zones and three different culture areas.<\/p>\n <\/p>\n On an extensive journey Eva and I followed the lower course of the Mekong River and travelled downstream through Laos, Cambodia and Vietnam. On its way the Mae Nam Khong, the \u201eMother River of All Things\u201c, creates all life around it. It determines the flora and fauna, floods rice-fields and synchronizes the life of people. Everywhere along its banks buzzing, fertile, tropical life shoots up. We set off with our microphone to collect the sounds that this bustling activity of life creates.<\/p>\n <\/p>\n A significant compositional approach is the metamorphosis and the merging of sounds. We examine field-recordings in regard to their musical qualities (\u201eMusic in the sense of meaningful sound-patterns\u201c- Bill Fontana) and fuse them with electronically processed electric bass sounds. The piece\u2019s compositional arc is inspired by the lower course of the river that flows in a gigantic crescendo-movement towards the sea. As a poetic musical analogy to the dark jungle river we use my prepared bass guitar, this long-waved instrument that generates all the musical sounds in the composition. Using Chinese chopsticks, golf balls, knitting needles and wine corks I have been systematically altering and expanding the sound spectrum of my instrument for the past decade.<\/p>\n <\/p>\n We embark upon an acoustic journey that begins on the banks of the Mekong but reaches far beyond them. Just like the traveler entering the tropical foreignness, the listener enters an acoustic place that quickly condenses into an unreal world of metamorphosis. (Janko Hanushevsky)<\/p>\n <\/p>\n <\/p>\n <\/p>\n Merzouga: Eva P\u00f6pplein & Janko Hanushevsky<\/p>\n Field-Recordings taken by Merzouga in Laos, Cambodia and Vietnam, autumn 2008. <\/p>\n Merzouga would like to thank: Roland Etzin, Lasse-Marc Riek, Marcus Gammel, Deutschlandradio Kultur and SKE-Fonds.<\/p>\n <\/p>\n Special Thanks to: Andres Bosshard for the liner notes, Sonja Harth for being Merzouga\u2019s third ear, Peter Herbert for his friendship and his continuous inspiration, our families for their love and support and last but not least our worldwide network of friends.<\/p>\n <\/p>\n Dedicated to Mira. With kind support of SKE-Fonds<\/p>\n <\/p>\n Soundscape Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Russell Cuzner | Musique Machine<\/a><\/strong> <\/p>\n Eva P\u00f6pplein and Janko Hanushevsky primarily produce plays and documentaries together for German radio, but on Mekong Morning Glory they took a range of field recordings from their travels down the Mekong River, selected mainly for their musical properties, and placed them conveniently along a path laid by Hanushevsky’s prepared electric bass guitar. Far from being a contrived travel’n’bass jam, the resultant 49 minute piece is a comfortable, immersive soundtrack through rural to urban soundscapes.<\/p>\n <\/p>\n The first five minutes surprise by how musical it all sounds -twinkling bells sparkle under groaning bass arcs with only the odd bird call indicating a real world environment. But, like an orchestra having tuned-up, the piece then falls silent to introduce the first watery sounds of the river as they’re gradually joined by wind chimes, children’s voices and echoing droplets from a cave. Its suspenseful whirrs and clicks attract increasing amounts of insect and animal life as the eerie, reverent atmosphere is joined by a subtle bass drone undertow. Later, call-and-response motifs on what sounds like ethnic stringed instruments are emboldened by more long, moody, intoning bass as water, wind and rain seek and eventually succeed to erode its passage.<\/p>\n <\/p>\n The spare and measured plucks punctuate throughout where it is sometimes difficult to discern which elements are from the field as opposed to the studio. Hanushevsky’s bass only occasionally takes the foreground; more often it is subtly deployed to offer a few stepping stones, which cannot always be relied upon as the dominant roar of the life-giving and life-taking river, or the bustling urban chatter of Vietnam, becomes all consuming at times.<\/p>\n <\/p>\n And it is this balance between the listener’s cerebral and visceralexperience of the sounds, whatever their source, that Merzouga cleverly strike. Mekong Morning Glory rarely feels like a documentary, but more a truly experimental composition equally concerned with tone, timbre and texture, to create a new place for its listeners to visit instead of merely capturing an existing one.<\/p>\n link<\/a><\/p>\n <\/p>\n <\/p>\n Aurelio Cianciotta\u00a0|<\/strong> Neural<\/a><\/strong> link<\/a><\/p>\n <\/p>\n Stephen Fruitman | Avant Music News<\/a><\/strong> <\/p>\n As sound art, it is executed in a manner similar to another husband-and-wife duo, ambient artists Celer, whose catalogue bulges with hybrid field recordings. But Merzouga are far more literal as documentarians on the one hand, and far more adventurous \u2013 mostly to their advantage \u2013 as improvising musicians. As they float down the river, temple bells ring, kids play, wood is chopped, motors putter, birds twitter and rain patters. Often letting their source material speak for itself, at other times they treat it with heavy reverb, flicks of backward-running tape, and grainy loops that whip up a full-blown monsoon halfway through. It gets similarly raucous when they pass through a coastal town, until drifting beyond the delta to the tune of wind chimes and mingling with the sea.<\/p>\n link<\/a><\/p>\n <\/p>\n Denis Boyer | FEARDROP<\/a><\/strong> link<\/a><\/p>\n <\/p>\n Joshua Meggitt | Cyclic Defrost<\/a><\/strong><\/p>\n Mekong Morning Glory takes Francisco Lopez\u2019s full-spectrum approach to field recording, editing sounds to extract their maximum sonic impact, while adding further processing and instrumental adornments to create a kind of personal audio postcard. Merzouga\u2019s Eva P\u00f6pplein & Janko Hanushevsky traveled through Laos, Cambodia and Vietnam on the Mekong capturing sounds which were then tinkered with. \u201cWe examine field-recordings in regard to their musical qualities \u2026 and fuse them with electronically processed electric bass sounds.\u201d Hanushevsky also adds chopsticks, golf balls, knitting needles and wine corks to his bass playing. Don\u2019t go in expecting a crisp snapshot of the river \u2013 insects, water, voices and the like \u2013 as I did, but submit to the \u2018ambiance\u2019 of the locale via Merzouga\u2019s re-creation of that space and you\u2019ll be pleasantly surprised.<\/p>\n <\/p>\n The bass is most noticeable through the central section of the 49-minute piece creating a kind of musical saw-type effect. It enters, after opening patterns of wind chimes and a dull grey drone, as a Ry Cooder-esque slide guitar, its gurgling tone merging with the splash of the river. Elswhere its perhaps responsible for various prepared piano- type tinkerings and digital blips and blops.<\/p>\n <\/p>\n Their editing however is what most impresses, particularly a violent segment late in the piece involving cascades of white noise: waterfalls, rapids, raining shells and granular synthesis collapsing and colliding in a symphony of tiny detail. From here they introduce a sinuous drone using what sounds like Akira Rabelais\u2019s Argeiophontes Lyre software, before ending in unprocessed chatter, traffic and motorcycle throttle.<\/p>\n link<\/a><\/p>\n <\/p>\n MR | Paris Transatlantic Magazine<\/a><\/strong> link<\/a><\/p>\n <\/p>\n PvdG | PROGRESS REPORT<\/a><\/strong><\/p>\n Enter the pathless land. Get lost\u2026\u2026. With this message in mind a journey along one of the world\u2019s major rivers, the Mekong, starts. Two adventurous minds from Germany, Eva P\u00f6pplein and Janko Hanushevsky\u00a0 travelled the river downstream back in 2008. A warning comes along with the extensive liner notes; this is not a documentary. And thank god it isn\u2019t. What is offered on the disk is a beautifully processed field recording, in which nature\u2019s very diverse and intense sounds are treated and blended with instruments, electronics and bass guitar. The piece starts calmly and sinisterly, mixing recordings from nature with added electronic sounds, but nowhere does the river become a threat, only when approximately halfway (I believe we are nearing Cambodia then) a giant outburst of white noise occurs, an ear deafening experience as if all is washed away within the waterfalls. From then onwards, things become more relaxing, fluid almost. Slowly evolving drones mixed with sounds from the riverbanks, birds singing, children shouting, all give it an earthy and unearthly feel at the same time. This part reminded me somehow of the great Heinekens Jamaica trip by Charlemagne Palestine, an overwhelming feeling of calm and ease, creating the feeling that the exhausting journey is coming to an end.<\/p>\n <\/p>\n Can you document as many as possible impressions from a landscape that stretches over nearly 4400 kilometers and some 7 different countries? I guess this is the wrong question to ask, meaning that this probably isn\u2019t what was aimed for at all. The impressive 49 minute-piece is however able to capture both the beauty, the calmness and the greatness and also how the river sometimes shows its unforgiving character followed by moments of perfect stillness, with further beauty waiting to become unveiled, but stripped in its essence the grand finale turns out to be nothing more than a desire to finally drain into the south Chinese sea, leaving countless impressions for those who want to hear. An epic work of art.<\/p>\n link<\/a><\/p>\n <\/p>\n Eric Lanzillotta | BIXOBAL<\/a><\/strong> link<\/a><\/p>\n <\/p>\n Zipo\u00a0|\u00a0aufabwegen<\/a><\/strong><\/strong><\/p>\n Das Duo Merzouga (Eva P\u00f6pplein & Janko Hanushevsky) ist den Spuren des Mekong gefolgt. Mekong Morning Glory intendiert dabei nicht in Nachfolge zu Annea Lockwood eine \u201cSound Map\u201d des Flusses zu zeichnen, sondern der m\u00e4chtige Strom fungiert als Inspirator und roter Erz\u00e4hlfaden f\u00fcr eine akustische Geschichte. Das Zitat aus Joseph Conrads gro\u00dfartiger Erz\u00e4hlung \u201cHerz der Finsternis\u201d, in der auch ein Flu\u00df eine wichtige Rolle spielt, scheint diese These zu unterstreichen. Es geht eben nicht um Dokumentation, sondern um eine Fiktion, die durch dokumentarische Elemente an Dichte gewinnt. Wenn also prasselnder tropischer Regen, spielende Kinder oder rauschendes Wasser zu h\u00f6ren sind, dann als Elemente einer Komposition, die den Charakter eines Reisetagebuchs tr\u00e4gt. Erlebtes wird verarbeitet, reflektiert, in der Erinnerung verfremdet und neu zusammengestzt. Auch rein abstrakt-elektronische Sounds kommen hier vor, wie die St\u00fctzen der Erinnerung, wie die akustischen Black Outs auf einer Reise in eine fremde Welt. Hin und Zur\u00fcck.<\/p>\n link<\/a><\/p>\n <\/p>\n Guillermo Escudero\u00a0|\u00a0Loop<\/a><\/strong><\/strong><\/p>\n This album belongs to the German label Gruenrekorder\u2019s Soundscape Series we have reviewed before as with the Digital Series. Eva P\u00f6pplein (computer) and Janko Hanushevsky (bass) from Germany have been working together since 2002 in music improvisation and composing music for radio, theater and film. Both in 2009 did a trip down the Mekong River through Laos, Cambodia and Vietnam in the Autumn of 2008 where they made field recordings of sounds of that subtropical place, its flora and fauna and the day to day life of the people living there. The recorded sounds were fused and processed electronically with a prepared electric bass that emits a long wave flickering sound generating all the musical sounds of the composition. There are passages in this album of 48 minutes in duration that are certainly disturbing and dark. I figured out an inhospitable nature but as I hear the voices of the people, horns and engines of motorcycles like, I recognize a world’s best known and urban areas. No doubt the music and recordings could carry me to these distant lands.<\/p>\n link<\/a><\/p>\n <\/p>\n Ron Schepper | textura<\/a> <\/p>\n Emerging quietly out of a cavernous realm of bell tinklings and bass guitar shadings, Mekong Morning Glory exudes a spectral character in its early going (the journey begins in Laos) before the chatter of children’s voices humanizes it. At the ten-minute mark, natural sounds wholly dominate, and we feel as if we’re moving through a seldom-visited part of the river landscape, one that’s nonetheless abundant in non-human life forms. From then on, successive episodes of contrasting character appear; a foreboding one finds us inhabiting gloomy territory replete with haunted slide playing and covered in drizzle (the intent being to evoke the dark jungle covering the river banks), whereas another has us holding on before confronting the fury of waterfalls at the Cambodian border.<\/p>\n <\/p>\n There are many striking things about the project. Unlike the usual trajectory that finds a journey moving from civilization to a realm of unadulerated nature\u2014think of Willard’s boat trip in Conrad’s Heart of Darkness, for example\u2014Merzouga’s moves in the opposite direction, with an emphasis on nature-based sounds during the first two-thirds dramatically changing when the tumult of human activity arises and grows ever more prominent until the end. At first individual voices appear, but soon enough a dense cacophany of motorcycles, bicycle bells, car horns, traffic noise, roosters, and crowd chatter displaces the nature sounds heard before. It’s a line that Merzouga follows deliberately, the intent being to document the change from the quiet rice-fields of Laos to the bustling economy of 21st-century Vietnam.<\/p>\n <\/p>\n In addition, the range of sound that Hanushevsky coaxes from his prepared bass guitar is remarkable, with everything from swampy blues shadings to plaintive guitar lines appearing during the work. In fact, all of the composition’s musical sounds are generated by the instrument, with additional elements (Chinese chopsticks, golf balls, knitting needles, wine corks) used to expand upon the bass’s sonic range. Finally, the seamless balance the group strikes between field-recorded material and musical sounds helps distinguish Mekong Morning Glory and makes it seem if not unique certainly much different from other field recordings-related recordings. There’s no attempt to conceal the interventions of the producers‘ hands in the presentation of the material, no desire to foster an illusion of a natural world captured in some pure form; that’s especially apparent when halfway through the piece water sounds aren’t heard as uninterrupted flow (as naturally would be the case) but as a series of convulsions\u2014an effect achieved, one presumes, through computer manipulations. In like manner, P\u00f6pplein and Hanushevsky alternate liberally between field recordings and musical episodes, sometimes blending the two together and at other times keeping them separate.<\/p>\n link<\/a><\/p>\n <\/p>\n Idwal Fisher\u00a0| IDWAL FISHER<\/a> Mekong Morning Glory is a 49 minute journey in which the duo that is Merzouga transport the listener along the Mekong River taking in gentle wind chimes, screeching exotic birds and the sound of the Mekong itself emptying into the South China Sea. Its a delightful listen that is a relaxing as it is rewarding and made all the more so by the knowledge that the duo took their 2008 field recordings back to the studio in Cologne and mixed in prepared electronic bass [Jano Hanushevsky] and electronic sounds [Eva P\u00f6ppelin]. P\u00f6ppelin also takes on the producing duties and her results are a sonic adventurers delight.<\/p>\n <\/p>\n P\u00f6ppelin has to take credit for the way in which she has matched the field recordings to the work done in the studio. Taught bass strings plucked like pizzicato violins are a match for the sounds of flocks of birds taking off, water fowl squawks could be electronic glitches, crowing cocks sit cheek by jowl with the haunting riff pulled from a two note bass string. When children\u2019s voices appear the bass notes drop a tone and if you\u2019d have told me I was in the midst of an Industrial Ambient release I wouldn\u2019t have argued.<\/p>\n <\/p>\n The journey unfolds at such an elegiac pace that I found it hard to sit through this release without nodding off and if you think this is being dismissive then you are wrong. In the space of about ten days I have played this every single night and without fail I\u2019ve succumbed to its soporific charms. Upon waking I found myself at various stops along the way and it was as if I were being treated to some new found conflagration of bass pluck, torrential rain, children\u2019s voices, whimpering dogs, waterfalls \u2026<\/p>\n <\/p>\n Its at about the half hour mark that Merzouga eventually encounter mass civilization and the field recordings capture this; outboard motors, mopeds, Hari Krishnas, floating markets, the sound of chopping, crowds, conversations, traffic cop whistles, car horns, Vietnamese pop, people jumping in the river and when the wind chimes reemerge to the sound of the gushing sea you know your journey is at an end.<\/p>\n <\/p>\n I was mesmerized by Mekong Morning Glory in a way that I haven\u2019t felt by a piece of music for a long time. I may be a tad behind the times here but the way in which the natural world and the recording studio have combined here is a sheer delight. For the patient listener its rewards are immense.<\/p>\n <\/p>\n Gruenrekorder have encouraged me to listen to a number of their other releases which are available for download and even though I\u2019m no big fan of downloads I\u2019ve been so overwhelmed by Mekong Morning Glory that I feel that to ignore them would be a grave mistake.<\/p>\n link<\/a><\/p>\n <\/p>\n Tina Manske\u00a0|\u00a0CULTurMAG<\/a><\/strong><\/strong><\/p>\n Der Mekong ist einer der gr\u00f6\u00dften Fl\u00fcsse der Erde. Auf mehr als 4.000 Kilometern L\u00e4nge, ausgehend von seiner Quelle in den tibetischen Bergen bis hin zu seiner M\u00fcndung ins s\u00fcdchinesische Meer in Vietnam, flie\u00dft er durch sieben L\u00e4nder und drei Klimazonen und beherbergt unz\u00e4hlige Arten von Pflanzen und Tieren. Das Duo Merzouga (Eva P\u00f6pplein und Janko Hanushevsky) hat sich, ausgestattet mit Mikrofon und Aufnahmeger\u00e4t, auf den langen Weg gemacht und den Fluss durch Laos, Kambodscha und Vietnam begleitet.<\/p>\n Dabei entstanden mehr als nur field recordings: die Aufnahmen von tropfendem Wasser, zirpenden Grillen und den Ger\u00e4uschen der Wasserv\u00f6gel werden zusammengemischt mit elektronisch bearbeiteten Kl\u00e4ngen von Hanushevskys E-Bass. Dabei werden die Feldaufnahmen wie musikalische Klang\u00e4u\u00dferungen behandelt, ihre tonale und rhythmische Qualit\u00e4t ausgelotet. \u201eMekong Morning Glory\u201d erh\u00e4lt so eine Qualit\u00e4t, die weit \u00fcber einen dokumentarischen Versuch hinausreicht.<\/p>\n link<\/a><\/p>\n <\/p>\n World Forum for Acoustic Ecology | WFAE: RESOURCES<\/a> <\/p>\n Frans de Waard | VITAL WEEKLY<\/a><\/strong> The Mekong is the one of the world’s largest rivers, about 4350 kilometers long, from Tibet to South Vietnam. Along the river water spinach is grown, also known as Morning Glory. Recordings have been made by Eva Popplein and Jano Hanushevsky, also known as Merzouga. This is not a work of pure field recordings as Hanushevsky plays prepared bass guitar, I am not entirely sure how these two (Mekong river recordings and prepared bass guitar) are connected. The booklet tells us about how both are treated equally as source material, but its not an entirely satisfactory explanation. Its perhaps a symptom for the album. Sometimes they hit upon something nice, a fine interaction between the field recordings and the improvisations on the bass, but perhaps I keep on wondering: what is the relation between these two? I don’t know. I don’t think its a bad album, but somewhere it doesn’t match up entirely. Its an album that surely has some fine moments (its one piece, and I didn’t take notes on timing of those moments), but as a whole wasn’t convincing. Nice field recordings!<\/p>\n link<\/a><\/p>\n <\/p>\n Julien H\u00e9raud\u00a0|\u00a0improv sphere<\/a><\/strong><\/strong><\/p>\n Merzouga est un duo de musiciens\/compositeurs\/ing\u00e9nieurs du son germano-autrichiens, compos\u00e9 par Eva P\u00f6pplein et Janko Hanushevsky. Leur dernier projet, Mekong Morning Glory, est une suite de tableaux de field-recordings enregistr\u00e9s sur le fleuve Mekong, du Laos au Vietnam, en passant par le Cambodge. En plus des field-recordings \u00e0 proprement parler, Janko Hanushevsky utilise \u00e9galement quelques proc\u00e9d\u00e9s \u00e9lectroniques bas\u00e9s sur une basse \u00e9lectrique pr\u00e9par\u00e9e. C’est peut-\u00eatre d’ailleurs un des plus grands charmes de cette pi\u00e8ce de 50 minutes, car la connexion entre les sons glan\u00e9s le long du fleuve asiatique, parfois ancestraux et imm\u00e9moriaux, et les techniques bas\u00e9es sur une technologie tr\u00e8s moderne employ\u00e9es par Hanushevsky, cette connexion donc est organique et symbiotique. Les ajouts musicaux et sonores sont plut\u00f4t utiles et fonctionnels, ils parviennent toujours \u00e0 d\u00e9ployer une dimension propre au field-recording \u00e9cout\u00e9. Par exemple, la basse sait faire ressortir l’aspect inqui\u00e9tant d’une cascade ou d’une pluie qui pourrait potentiellement d\u00e9vast\u00e9e la r\u00e9gion, ou un jeu proche du drone peut d\u00e9ployer l’aspect reposant et \u00e9ternel d’une jungle, tout comme le caract\u00e8re oppressant des villes industrielles et post-industrielles sera tr\u00e8s bien mis en avant \u00e0 la fin du disque.<\/p>\n <\/p>\n C\u00f4t\u00e9 enregistrements, la palette de sons est incroyable. D’un c\u00f4t\u00e9, on a de l’eau bien \u00e9videmment, l’eau submergeante des cascades qui conclut le crescendo de la premi\u00e8re moiti\u00e9 du disque, mais \u00e9galement le mouvement du Mekong qui se jette dans la mer. Merzouga a su diviser son parcours en plusieurs tableaux vari\u00e9s qui correspondent aux ambiances et aux r\u00e9gions travers\u00e9es, et donc ces tableaux se composent parfois de nu\u00e9es d’insectes, de bruissements de feuilles, d’enfants jouant sur les rives, de musiques traditionnelles, d’oiseaux, puis pour finir, l’inqui\u00e9tante ville avec son chaos sonore de klaxons, de moteurs, de cris et de bonimenteurs, de machines, etc. En tout cas, le montage op\u00e9r\u00e9 par Merzouga est assez exceptionnel, chaque son est choisi selon ses qualit\u00e9s musicales, qualit\u00e9s ensuite d\u00e9ploy\u00e9es par les ajouts instrumentaux et \u00e9lectroniques, le collage entre les diff\u00e9rents univers compose une suite de sc\u00e8nes qui \u00e9voquent aussi bien la diversit\u00e9 des paysages physiques et sonores rencontr\u00e9s tout au long d’un des plus grands fleuves du monde, mais qui est surtout tr\u00e8s bien construit musicalement (suite de crescendo et de tensions, mais \u00e9galement de nappes reposantes et de contrastes).<\/p>\n <\/p>\n Je dis toujours que je n’aime pas vraiment les field-recordings, pour l\u2019aspect figuratif qui cache trop souvent les qualit\u00e9s musicales du son, mais apr\u00e8s Mekong Morning Glory, Nuit<\/a> d’Eric Cordier et Seijiro Murayama, Standing Sitting<\/a> d’Anne Guthrie et Punto Cero, Aragon de Luis tabuenca et Wade Matthews, quatre disques fantastiques sortis en une ann\u00e9e, et bas\u00e9s sur des field-recordings, il va peut-\u00eatre falloir que je pense s\u00e9rieusement \u00e0 revoir mon jugement. Merzouga a su ici explorer la puissance musicale d’enregistrements non-musicaux en les collant et les composant de mani\u00e8re pr\u00e9cise et savante, de mani\u00e8re musicale en fait. M\u00eame si les enregistrements sont exceptionnellement \u00e9vocateurs et figuratifs (on a r\u00e9ellement l’impression de longer le Mekong en une heure), ce tableau en apparence objectif est travers\u00e9 par la subjectivit\u00e9 et les \u00e9motions propres au duo. Mekong Morning Glory donne le sentiment d’une \u0153uvre aboutie et achev\u00e9e, aussi po\u00e9tique et musicale que documentaire. Tr\u00e8s bon boulot!<\/p>\n link<\/a><\/p>\n <\/p>\n maeror3 | livejournal<\/a> \u041b\u044e\u0431\u043b\u044e \u0440\u0435\u043b\u0438\u0437\u044b, \u043a\u043e\u0442\u043e\u0440\u044b\u0435 \u0441\u043f\u043e\u0441\u043e\u0431\u043d\u044b \u043d\u0435 \u0442\u043e\u043b\u044c\u043a\u043e \u0434\u043e\u0441\u0442\u0430\u0432\u0438\u0442\u044c \u044d\u0441\u0442\u0435\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u0435 \u0443\u0434\u043e\u0432\u043e\u043b\u044c\u0441\u0442\u0432\u0438\u0435, \u043d\u043e \u0438 \u0437\u0430\u0441\u0442\u0430\u0432\u043b\u044f\u044e\u0442 \u043e\u0431\u0440\u0430\u0442\u0438\u0442\u044c \u0432\u043d\u0438\u043c\u0430\u043d\u0438\u0435 \u043d\u0430 \u043f\u0440\u0435\u0434\u043c\u0435\u0442 \u0438\u043b\u0438 \u044f\u0432\u043b\u0435\u043d\u0438\u0435, \u0440\u0430\u043d\u0435\u0435 \u043d\u0435 \u043f\u043e\u043f\u0430\u0434\u0430\u0432\u0448\u0438\u0435 \u0432 \u043f\u043e\u043b\u0435 \u0437\u0440\u0435\u043d\u0438\u044f. \u041a\u0430\u044e\u0441\u044c, 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\u043a\u043e\u0442\u043e\u0440\u043e\u0433\u043e \u043c\u043e\u0436\u043d\u043e \u0442\u043e\u043b\u044c\u043a\u043e \u0443 \u0431\u0435\u0440\u0435\u0433\u0430 \u041c\u0435\u043a\u043e\u043d\u0433\u0430. \u0415\u0449\u0435 \u043b\u0443\u0447\u0448\u0435 \u2013 \u043d\u044b\u0440\u043d\u0443\u0432 \u0432 \u0435\u0433\u043e \u0432\u043e\u0434\u044b \u0441 \u0433\u043e\u043b\u043e\u0432\u043e\u0439, \u043a\u0430\u043a \u044d\u0442\u043e \u0438 \u0434\u0435\u043b\u0430\u0435\u0442 \u043a\u0442\u043e-\u0442\u043e \u0431\u043b\u0438\u0436\u0435 \u043a \u043a\u043e\u043d\u0446\u0443.<\/p>\n <\/p>\n \u0412 \u043a\u0430\u0447\u0435\u0441\u0442\u0432\u0435 \u0437\u0432\u0443\u043a\u043e\u0432\u044b\u0445 \u043f\u0435\u0439\u0437\u0430\u0436\u0435\u0439 \u0438 \u043f\u043e\u043b\u0435\u0432\u044b\u0445 \u0437\u0430\u043f\u0438\u0441\u0435\u0439, \u0438\u0437\u0434\u0430\u0432\u0430\u0435\u043c\u044b\u0445 \u00abGruenrekorder\u00bb, \u0434\u0430\u0432\u043d\u043e \u0443\u0436\u0435 \u043c\u043e\u0436\u043d\u043e \u043d\u0435 \u0441\u043e\u043c\u043d\u0435\u0432\u0430\u0442\u044c\u0441\u044f. \u042d\u0442\u043e \u0444\u0430\u043a\u0442, \u043a\u0430\u043a \u0438 \u0442\u043e, \u0447\u0442\u043e \u0432 \u0438\u0445 \u0447\u0435\u0440\u0435\u0434\u0435 \u00abMekong Morning Glory\u00bb \u0437\u0430\u043d\u0438\u043c\u0430\u0435\u0442 \u043d\u0435 \u043f\u043e\u0441\u043b\u0435\u0434\u043d\u044e\u044e \u0440\u043e\u043b\u044c, \u044f\u0432\u043b\u044f\u044f\u0441\u044c \u044f\u0440\u043a\u043e\u0439, \u044d\u043a\u0441\u043f\u0440\u0435\u0441\u0441\u0438\u0432\u043d\u043e\u0439, \u043f\u0440\u0435\u0432\u043e\u0441\u0445\u043e\u0434\u043d\u043e \u0437\u0432\u0443\u0447\u0430\u0449\u0435\u0439 \u0440\u0430\u0431\u043e\u0442\u043e\u0439.<\/p>\n link<\/a><\/p>\n <\/p>\n
\nGruen 092 | Audio CD > [order<\/a>]
\nMP3 & FLAC > [order<\/a>]<\/p>\n![\"Mekong](\"https:\/\/www.gruenrekorder.de\/Photos\/01-092.jpg\" "\\"Mekong")
<\/a><\/p>\n![\"Mekong](\"https:\/\/www.gruenrekorder.de\/Photos\/02-092.jpg\" "\\"Mekong")
<\/a><\/p>\n![\"Mekong](\"https:\/\/www.gruenrekorder.de\/Photos\/03-092.jpg\" "\\"Mekong")
<\/a><\/p>\n![\"Mekong](\"https:\/\/www.gruenrekorder.de\/Photos\/04-092.jpg\" "\\"Mekong")
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\nCD (500 copies)<\/p>\n![\"Mekong](\"https:\/\/www.gruenrekorder.de\/Photos\/092_innen.jpg\" "\\"Mekong")
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\n
\nComposed by Merzouga in Cologne\/Germany, summer 2009.
\nMixed and mastered by Eva P\u00f6pplein in Cologne\/Germany, autumn 2009.
\nCommissioned and produced by Deutschlandradio Kultur\/Klangkunst.
\nCommissioning editor: Marcus Gammel. Premiere broadcast on November 6, 2009.
\nDesign by Sebastian Ristow, FLATLAB. Photos by Merzouga. Artists portrait by J\u00f6rg K\u00fcster.<\/p>\n
\nwww.merzougamusic.com<\/a><\/p>\n![\"http:\/\/www.dradio.de\/\"](\"https:\/\/www.gruenrekorder.de\/Photos\/fire_and_frost_pattern\/DLK_4c.jpg\" "\\"http:\/\/www.dradio.de\/\\"")
<\/a> \u00a0\u00a0 \u00a0 ![\"http:\/\/www.ske-fonds.at\/\"](\"https:\/\/www.gruenrekorder.de\/Photos\/ske_aume_logo_RGB_01.jpg\" "\\"http:\/\/www.ske-fonds.at\/\\""){kind=logo}
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\nGermany \/ 2011 \/ Gruen 092 \/ LC 09488 \/ GEMA \/ EAN: 4050486048443<\/p>\n
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\nIncreasingly musicians are incorporating field recordings into their compositions, where the more traditional, instrument-based rules can be eschewed in favour of exploring the musical properties of the world’s rich, natural timbres and irregular rhythms. So it’s interesting to find artists coming from the opposite direction to this trend.<\/p>\n
\nThe Mekong river is among the longest in Asia. It starts in Tibet and runs through Thailand, China’s Yunnan province, Burma, Laos, Vietnam and finally Cambodia. Both in Lao and Thai languages the name Ma\u00e8 Nam Khong refers etymologically to the ancestral „mother“, the origin of every feeling and thing. Eva P\u00f6pplein and Janko Hanushevsky undertook an adventurous pilgrimage along the river, developing field recordings before reworking the sounds in post-production. Janko Hanushevsky added many parts on an unconventionally played electric bass, making use of drumsticks, golf balls, knitting needles and bottle tops. When listening, what really matters here is the changeable passage of the sounds, the metamorphosis of the environments, the way intense suggestions are raised: according to this approach the structured parts, field-recordings and added materials are treated in the same way, as raw contributions to be combined into a new form. We find ourselves enveloped in dark drones, tangential post-blues, auditive emergencies, jingles, bleeps, thuds and muffled reverberations. The imaginative „journey“ is very redolent of „Heart of Darkness“ by Joseph Conrad, the inspirational text behind „Apocalypse Now“ – a narration crowded with environmental resonances, voices and elegiac winces.<\/p>\n
\nThe Mekong is one of the world\u00b4s mighty rivers, 4,000 km long, descending more than five thousand meters as it passes through seven Southeast Asian countries. Unfortunately, it has been historically burdened with memories of an ugly war. \u201cMekong Morning Glory\u201d is a heart of lightness to counterbalance the dark impression left in equal measure by that war and by Francis Ford Coppola\u00b4s \u201cApocalypse Now\u201d. German husband and wife soundscapers Janko Hanushevsky and Eva P\u00f6pplein travelled through Laos, Cambodia and Vietnam, waving a microphone in the air to capture sound from the river and its banks. All the \u201cmusical sounds\u201d (his words) on the record come from Hanushevsky\u00b4s prepared bass guitar (prepared with golf balls, chop sticks, wine corks) and the long journey has been edited down to an eventful forty-nine minutes with computer software.<\/p>\n
\nLoin de nous d\u2019abord, le fleuve Mekong, tel que l\u2019ont r\u00e9invent\u00e9 Eva P\u00f6pplein et Janko Hanushevsky du duo allemand Merzouga. L\u2019album Mekong Morning Glory4 est, selon les propres termes des musiciens, une m\u00e9tamor- phose, celle des sons des lieux travers\u00e9s, et celle d\u2019un instrument de pr\u00e9dilection, la basse. L\u2019un comme l\u2019autre mat\u00e9riau sont tels \u00ab une argile \u00bb, que les musiciens ont model\u00e9e. Il est donc tout \u00e0 fait hors de question de rappor- ter des fragments du fleuve, des instantan\u00e9s, mais bien de refaire le paysage en l\u2019interpr\u00e9- tant. L\u2019accord de l\u2019instrument et des field re- cordings est pens\u00e9 comme celui des couleurs, certains se r\u00e9pondent, d\u2019autres s\u2019opposent et se mettent en relief, d\u2019autres encore se m\u00e9- langent. Une sc\u00e9nographie nouvelle na\u00eet du flot altern\u00e9 des tremblements, des prises de sons m\u00e9talliques et des \u00e9vocations aqueuses, une dramaturgie m\u00eame, n\u00e9e de la tension des pauses, comme si le rythme du fleuve s\u2019impo- sait en r\u00e9serve au butin r\u00e9agenc\u00e9 des bruits qu\u2019il a offerts et appel\u00e9s. La basse, de note en note, de loin en loin, met le rythme de la descente du fleuve en m\u00e9moire. Non la crainte que l\u2019\u00e9vocation d\u2019Au c\u0153ur des t\u00e9n\u00e8bres de Conrad pourrait \u00e9veiller (il est m\u00eame cit\u00e9 dans les notes de livret), mais une inqui\u00e9tude par- fois, lorsque les strates de pluie s\u2019imposent au premier plan, telles un focus sur le gris que le tableau serre entre deux rubans de ciel bleu. C\u2019est une texture mall\u00e9able, absolument fluide que les deux musiciens allemands ont mise au point et, si leur approche est tout \u00e0 fait celle de la musique concr\u00e8te romantis\u00e9e, pour l\u2019esprit elle appelle aussi en comparaison le paysa- gisme de Paul Sch\u00fctze. Les nimbes d\u2019harmo- niques qui s\u2019\u00e9l\u00e8vent au-dessus du fleuve, la basse qui s\u2019y insinue, les oiseaux dont la dense conversation cliquante parfois la surplombe, peignent ind\u00e9niablement le paysage musical, son souffle, son rythme, son germe de fredon- nement, sa fragile lumi\u00e8re en parfait \u00e9quilibre. 4 Sur le label Gruenrekorder, 2011<\/p>\n
\nThose who think „Morning Glory“ is the third course of „Alan’s Psychedelic Breakfast“ on Atom Heart Mother might like to know that’s it’s also a tropical vegetable (aka water spinach) native to South East Asia, which influenced Eva P\u00f6pplein and Janko Hanushevsky (aka Merzouga) as they sailed down the Mekong river across Laos, Cambodia and Vietnam in 2008. As for the musical outcome, the voyage represents an interesting stab at combining field recordings and processed instruments, with a prepared bass guitar the lone extra-environmental source. The gradual increase in sonic concentration maps the transition from unspoiled nature to downtown bedlam, as sinuous oneiric washes delineate a virgin landscape progressively morphing into the typical traffic-burdened accents of a messy borough in the midst of its daily activity, with a number of scenes underscored by customized low frequencies. Throughout the journey we’re greeted by noisy animals and humans, with children mixed well up front, while the river itself remains relatively quiet, apart from the roar of the waterfalls at the Cambodian border. It all sounds much better than an average day at the office.\u2013MR<\/p>\n
\nthe duo of Eva P\u00f6pplein and Janko Hanushevsky traveled through Laos, Cambodia and Vietnam along the mighty Mekong River in autumn 2008.\u00a0 however, despite being in Gruenrekorder’s Soundscape Series, this is not a collection of straight field recordings.\u00a0 the river jungle sounds are re-edited, put through various effects and combined with other sound sources.\u00a0 the first addition is prepared bass guitar which does make for some nice experimental textures, but after this introduction the disc heads more in an ambient direction using solemn synth sounds with an increase in echo added to the voices of the Mekong.\u00a0 it is this ambient atmosphere which seems to be the most dominant in the disc’s 49 minutes.\u00a0 packaged in a Digipak with a 12 page booklet, there are some nice photos of the region along with recollections of the compositional processing.\u00a0 as they state, this disc is not meant to be a documentary and as such has a very European finish to it, in contrast to say the more raw sounds we have come to expect from Sublime Frequencies.<\/p>\n
\n<\/strong><\/strong>Part of Gruenrekorder’s Soundscape Series, Merzouga’s Mekong Morning Glory presents a forty-nine-minute, single-track travelogue by computer musician Eva P\u00f6pplein and electric bassist Janko Hanushevsky. Originating out of the Tibetan Plateau, the Mekong River travels through seven countries (including Laos and Cambodia) and influences all manner of flora and fauna before ending up in South Vietnam. For this project, Merzouga followed the river during the fall of 2008 and recorded as they did so its wealth of life-forms so as to subsequently incorporate the material into a large-form composition. Operating together as Merzouga since 2002, P\u00f6pplein and Hanushevsky bring an inspired concept to the electro-acoustic soundscaping genre in merging prepared bass guitar playing, field recordings, live electronics, and computer manipulations into a provocative hybrid.<\/p>\n
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