Jessica Aszodi - Prayer for Nil


A) Prayer for Nil (2014) – Anthony Pateras
Performed by Jessica Aszodi
Electronics by Anthony Pateras

B) [ja] maser (2014) – Alexander Garsden
Performed by Jessica Aszodi
Electronics by Alexander Garsden

C) The Fabric of Wind (2014) – James Rushford
Performed by Jessica Aszodi and James Rushford
Electronics by James Rushford

D) Mechanical Bride (2013) – Jeanette Little
Text includes fragments of ‘Enrico Cavacchioli’s: ‘Let the moon be damned’
Performed by Jessica Aszodi
Electronics by Jeannette Little and Joe Talia

Double LP: 45rpm
Deluxe film-laminated 'Tip-On' gatefold jackets by Stoughton Printing
Pressed by RTI
Limited to 500 copies worldwide
Includes download card

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In Anthony Pateras’ Prayer for Nil the electronics are a swell of voices so dense they seem inhuman, amassed like a threatening cloud. As the piece unfolds the masses thin to a taper. By its conclusion the solitary singer is left brutally alone, though it’s hard to tell if she wasn’t alone the whole time – every voice in the throng was her own - my own. The ‘live vocal’ part is a highly structured improvisation. Anthony gave me a set of rules, pitches, and rhythms. Within the electronic field, and those restrictions, I had to find an improvisatory freedom. This approach could be seen as a metaphor for the whole process of making the album – the composers and I trying to find ways to understand one another, building a shared understanding of the musical objectives, negotiating varying degrees of control and freedom – and inside this discourse, me trying to find a way to be present in realising the sounds as myself. 

In [ja] maser Alexander Garsden deals with very specific relationships between groups of pitches and non-traditional vocal utterances to create cresting swarms of noisy vocality that grow, splinter and re-germinate. In the second half of the piece a more vulnerable voice emerges, broken and crumpled in the low depths of my range. The composer bids me gradually to ascend to the highest extremes of my instrument’s capacity until that too fractures and breaks. [ja] maser, was for me, a physically extreme experience of my own limits and subjection. The musical notation was the most specific and traditional of the four pieces; perhaps surprisingly, the experience of making the sounds was the most embodied and phenomenally intense.

The fabric of wind is the piece in the group that is most overtly inspired by the composer-performer relationship. James’ composed material was conveyed to me though an audio-score, piped point-blank into my ear, rather than via notation. The sounds you hear are a combination of James’ and my voices, and his and my performances on various auxiliary instruments and objects. In the piece, James “attempt(s) to speak a written text whilst being constantly disrupted by various wind instruments and objects that are inserted into my mouth. Some of these recordings are heard within the piece in playback form... Out of this process emerges two inter-connected characters - my own desperate and confused, and Jessica's more calming yet somewhat stuttered. A deeply intimate conversation of mangled speech and murmured singing results, unclear in meaning but rich in expression.” (Rushford)

In Mechanical Bride, my singing voice represents anima in an automated world. The text comes from Enrico Cavacchioli’s 1914 poem, 'Let the moon be damned', in which he describes a decaying environment where humans entwine with machines. The dystopic picture painted in this poem, now 100 years old, still convinces. As I perform this piece, I stage inside myself a battle between flaw-filled human expressivity and savage, ancient machines. Jeanette’s sound world pays homage to an analogue era, referencing mid-century modernist instrumental and electronic techniques in a milieu that is something like a space-western.

Recorded and mixed by Samuel Dunscombe
Mastered by Calyx

Artwork by Assaf Evron
Untitled(TR00001.icc), 2013, Epoxy/Mdf, 22"/15"/25"


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