Claude Tchamitchian

夢枯記038 Claude Tchamitchian | Another Childhood

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The title, Another Childhood, reminded me of a word, “Infans.” Infans basically means a child before the acquisition of speech, to put it simply. But it may also refer to a child who doesn’t even know that he/she is a child or who cannot identify themself as an individual. In other words, infans may represent an incarnate body. All the songs here are addressed to someone in a form of bass music. A series of musical performance dedicated to someone goes beyond the intention of the performer, having an internal force of the music push something forward and exposing it there. This music seems to sit on the conflicting embodiment of “self” and “infans.” As I listened, I gradually retrieved my childlike innocence.

Children are just like music. They don’t just receive and listen to the music. Rather they are the living musical instruments. In the light that runs through the death, they start singing and keep on singing. They can sing because they live on light, although they are backed by the death. The deadly pitch dark is the birthplace of a song of the music and the song is the light. A ray of light provided by a song infuses life to children and helps them get out of their shell to start walking on their own feet. They will continue to live as long as they can find a single light, a single tone, or a single path for them, and live in the light by believing in it. But we cannot tell when they lose their light. They will develop the ego, or a light of selfhood, which may turn their eyes away from death. But their body continues to exist with a fear to live.
Listening to the music is an experience that awakens something in our memory. This awakened mobile substance doesn’t have a name. Sound can be an indescribable, permeating, and intermingling shadow of death. But a song emerges, being tied up at the border of the world and destined to disappear. The song is the voice of the living dead. Music gets to its feet out of the chaos as a song. Then, the song begins to take steps in the space time. Sound becomes the shadow of the song and the gravity of the sound pushes the song back. But still, the song survives, resisting the sound and creating time. Chaos supports song here and there, trying to screen song and reduce it to nothing. Time suspended by the song’s independent movements attracts a distant memory of vivid nostalgia as an afterimage of the death. Song communicates with nostalgia through death in an enormous ecstasy.

Being a child, I somehow manage to come back to myself. Nostalgia is a vivid and real experience of an encounter with the dead through music. It may be an indispensable experience in our life as it brings up the long-forgotten infans. Nostalgia is a lively physical regression to Another Childhood via song, music and death. It is an overflowing life that resumes living at this very moment.

音を聴くというのは、人間の記憶にある何ものかをゆさぶり起こす経験だ。揺さぶり起こされ、うごきだした何ものかは名付けえない。音楽は、ついには語ることのできない何ものか、死に向かって語ろうとする行為で、失敗を繰り返しながら何かを誕生させようとする力のようなものが音楽には宿っているのか。音楽は音でないものをまとっている。音楽を通じてそこで鳴っている音自体とは別様に示されるものとは、言葉では語りえないものだ。音楽において音は、語りえないものがしみ入り交差する死の影といってもよい。そうであるなら死者を懐かしみ思い起こすこと、ノスタルジアとは音楽を通じて死者と出会う鮮烈な実経験であるかもしれない。ヨーロッパ的なサウンド、その内側に入ることができれば、重厚な音楽だったように思う。ほとんどすべての曲が、それぞれの曲のタイトルに明記されているように、誰かへのオマージュになっているようだ。最も短いPeter Kowaldさんへのオマージュである『Off the road』という曲は、このアルバムのなかで短くも非常に印象的であった…
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