Space Galvachers

Feine Kazen Orchestra
Miaousic is our Mother Tongue
Rote Welt Records 09

Continental string and percussion trios create equally notable sounds on these discs despite situating their improvisations in almost completely antithetical spheres. Building on traditional airs from France’s Burgundy, the established Space Galvachers or space cowherds add tranches of African, Arab and Creole sounds to their nine improvisation. Members are violinist Clément Janinet, who has worked with Ricarda dal Fra and Bruno Ducret; cellist Clément Petit, who has played with Régis Huby and Claude Tchamitchian and percussionist Benjamin Flament whose associates range from Thomas De Pourquery Sylvain Rifflet.

If Space Galvachers’ initial sounds arise from rural France, then the international three-member Feine Kazen Orchestra range further afield with five tracks that encompass improvisation with curves away from terra ferma and humans, as well as felines and onto the galaxy with abstract interpolations. Transliterated, the disc’s name and some track titles relate to cats. Personnel is equally cosmopolitan. French bassist Yoram Rosilio is part of the Tikkun sextet and has recorded with Baba Andrew Lamb. Ukrainian violinist Alyona Pynzenyk has worked with everyone from Joëlle Léandre to Klangforum Wien; while Austrian drummer Valentin Duit has played with the Vienna Improvisers Orchestra and Georg Graewe among many others

All  of a piece Miaousic is our Mother Tongue’s instant compositions meld alternating string filigree and flintiness with thicker pulses that are as apt to arise from the bassist as the drummer. Antiphony is as common as aleatory effects on a track like “Wuff” as pressure intensifies from drum smacks and double bass string thumps as spiccato violin squeaks build to higher and higher pitched shakes. Later speedy variations are answered by shaking percussion and string stops. Linear motion is preserved even as woody string pops and drum rebound predominate.

During interludes, violin and bass string squeezes and stops with sul tasto pressure thicken to the point that an inferno of cross pulses from both instruments are constantly heard. Meanwhile Duit’s rugged rambles are as often paired with Pynzenyk’s aggressive picking as with Rosilio’s strums and twangs. “Nine Laments” and other sequences include defining col legno smacks and walking double bass lines as well as squeezed pizzicato patterns and jagged swipes from the fiddle.. Just as notable though is percussion versatility, which a various points emphasizes motifs like gong resonation, tambourine shakes, cymbal clashes and drum pitter patter.

Idiophone adaptability is an overriding feature on Folk Songs’ nine selections. Beside drum patterns which can be danceable or durable, Flament’s self-invented instruments come up with resonations that approximate traditional Gallic contrivances such as the caisse claire pastorale (snare drum) and tambourin (frame drum). In the main these interjections revamp some of the traditional tunes which are frequently formal, slow-moving and syrupy as well, besides being  harmonized and lyrical.

Idiophone textures s are particularly valuable on tracks such as “Renaud” and “La Danse Des Gorêts”. On the former xylophone-like patterns are contrasted with cello pumps until clipping string variations turn the interactive group shuffle into arcadian confluence. The dance referred to on the other tune is actually based on frame-drum-like currents from Flament, Janinet’s double stroked stops and mandolin-like plucking from Petit climaxing with an overriding drone. Additional pivots from all three animate “Oh Mon Morvan” which mixes string twangs that lean t toward Rock fusion, spatial echoes and what sounds like a music-box-like chiming.

Janinet and Petit express themselves uniquely as well during the set. Blurring sweeps with bellows-like bluster come from both string players on “Le Chant de Galvachers”, with the swift slides evolving alongside paced mouth whistling from one of the trio members. A backing whir like a James Jamerson bass line – from Petit? – establishes Montagne Noire, an original composed by the violinist. Harp-like glissandi gives way to a swinging exposition of squeaks and stops as cello thumps and vibe-like resonations further expand the narrative.

Similarity in line-ups don’t lead to sameness for these trios. Instead memorable music results whether the sounds are angled towards the countryside or the cosmos.

–Ken Waxman

Track Listing: Miaousic 1. Variations on Grey Fur 2. Nine Laments 3. Space Loco-miaow-tive 4.  Scrapin’ Around 5. Wuff

Personnel: Miaousic: Alyona Pynzenyk (violin); Yoram Rosilio (bass) and Valentin Duit (drums)

Track Listings: Folk: 1. Le Laboureur Badin 2. Frères Lambert 3. Renaud 4. Le Chant de Galvachers 5. La Danse Des Gorêts 6.  Hululeurs 7. Chanson Des Flotteurs 8. Montagne Noire 9. Oh Mon Morvan

Personnel: Folk: Clément Janinet (violin); Clément Petit (cello) and Benjamin Flament (drums and percussion)