Amine Mesnaoui/Ignaz Schick

Noise of the World

Mesnaoui and Schick create a unique musical hybrid by fusing ancestral elements with modern textures, sublime passages with frightening dissonance and setting movement against menacing drones. Noise of the World conjures contrast through balance.

Tradition can be a beautiful thing but change is inevitable and, in a lot cases -if not all-, necessary. Breaking apart with tradition can be difficult, as the modification of those patterns that used to provide confort and a sense of belonging can alter the way we go about our daily life, and in some instances, our very sense of self. This is why adaptation and authenticity (in its Sartrean meaning) are invaluable assets to have: the former will help us get through any change, no matter how drastic, and the latter will keep our individuality in check, no matter the surroundings and circumstances.

In music, this process of parting ways with previous standards has been key to its evolution. Musicians take from the traditional putting their own spin on it, thus creating a new normal which, in turn, will mutate into something else, ad infinitum. Nonetheless, there are traditions that refuse to disappear as some sectors of the world population still hold dear all those ancestral practices that have been passed on for generations, and the mere idea of taking them out of the context they were intended to is specially daunting, considering that most are seen as sacred. Thankfully, Gnawa music has not been subjected to such scrutiny, and we have been able to enjoy these rhythms -intended to religious and ceremonial purposes- in a secular setting.

This was a blessing for experimental composer Ignaz Schick, who has been documenting a great deal of his collaborations through his Zarek archives and the most recent of these releases sees him pairing with pianist Amine Mesnaoui, who was able to infuse his contributions with deconstructed Gnawa flares, creating a unique musical hybrid by fusing these ancestral elements with modern textures, juxtaposing sublime passages with frightening dissonance and setting movement against menacing shruti box drones. Noise of the World conjures contrast through balance.

These pieces were recorded in 2012 in a span of two days, and showcase Schick’s signature approach to abstract structures created by extended techniques for the turntable, and object manipulation. He provides a dense background for Mesnaoui’s gentle -yet expressive- playing to cut throughout. Each note emitted by either the untuned piano, Rhodes or harpsichord is essential and it strongly resonates amidst Schick’s multilayered chaos.

There’s something about the cadence each piece has that makes it feel ancient and sacred, and this is where balance comes into play: the duo doesn’t just play Gnawa rhythmic patterns on top of experimental soundscapes. This is not a stylistic collage, they are actually creating their own version of these ritualistic practices. These pieces might have not been played with the same sacred and symbolic context as tradition dictates, but they sure evoke that feeling. “Ifas”sets this ritual-like experience with its bumpy percussive feel set against a high-pitched drone, which then disappears, leaving space for lower frequencies to frolic around. It is delightfully hypnotic until we’re jolted back into a waking state by the piercing sound of breaking glass.

Naturally, repetition is used throughout the whole album, but it never becomes tiring as there are always new overtones and patterns manifesting. There’s also a high level of dynamism and chemistry between Ignaz and Amine’s different styles, even when most of the textures and sounds come from Ignaz’s side. This is not an indulgent exercise, though; every detail is there to enhance each track’s experience. Mesnaoui, on the other hand, has a very minimal presence, but it is precise and necessary; “Nat-Nat” is a great example of how the pianist’s elegance is an excellent counterpoint to Ignaz’s obtuse machinations, without compromising its experimental edge.

If you look at the tracklist before -or while- listening to the album, you may be put off by the closing track’s duration (almost 22 minutes), but rest assured, this is actually one of the most dynamic pieces in Noise of the World. A frenetic harpsichord keeps spiraling into madness, while glitching sounds and textures pile on top of each other; the tension may want to make you look away, but you just can’t. At this point you’re already under the duo’s spell, but they actually release you with grace, since the second half of the song is more subtle and calm. What Mesnaoui and Schick achieved in this collaboration goes beyond sound art or music, they have created their a new creed along with its very own set of liturgies.

KEEP DIGGING: