Theo Bleckmann: Anteroom: Release Information
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Release Date: 21.06.2005
TT Catalogue No: 4483
Pronunciation: 'an-ti-"rüm, -"rum
: an outer room that leads to another room and that is often used as a waiting
: a large entrance or reception room or area [syn: antechamber, entrance
hall, hall, foyer, lobby, vestibule]
“anteroom” marks Theo Bleckmann’s first solo voice CD and his first release
in 4 years after his critically acclaimed “origami” on Songlines.
The idea to create an extended composition as an all vocal soundscape has
been in the planning for a few years between him and Traumton producer Stefanie
Marcus. Anteroom draws from Bleckmann’s many years of performing solo
voice concerts, creating vocal performance pieces and voice installations.
For the past 15 years Bleckmann has organically incorporated live electronic
processing into his singing and also contributed his unique sound sculptures
to the music of Laurie Anderson, John Hollenbeck, Ben Monder, Todd Reynolds
and Phil Kline, among others. For anteroom, Bleckmann decided to forego the
of his usual set-up in favor of a simple digital delay, which, at times, allows
the pitch to be extended way beyond the normal length of a human breath. Every
track has been recorded separately and no pitch altering of any kind has been
used to create this music. Every note you hear has been sung directly into
the mic. The attempt to create a record that is both human and electronic results
in a sound that is both, instantly touching, and foreign at first. This
dichotomy takes it into a very personal realm of an inner, aural world of suspense
and space. With anteroom Bleckmann is going into the in-between of either
worlds, tightrope-walking between the two.
Bleckmann explored a “going into the in-between” in his cut of “I
remember you” on origami (Songlines). Into this well-known jazz standard he gradually
inserted more and more (live-performed) CD-skips which eventually take over the song, turning it into an extended CD skip sounds with dizzying density, dissolving into nothing at the end. In anteroom, Bleckmann again, attempts to focus on the overlooked. He lengthens single sung-notes ad infinitum, thus stretching time and its perception. He then adds another note, and in layering
he creates ever changing sound sculptures that slowly allow for the ear to
discover ever new and deeper layers. The final chord of anteroom is held for,
what seems like, infinity. Time here has slowed down to almost imperceptible
increments of change.
Anteroom is a meditation on waiting, on being in a place of no motion, a
holding place, a place before the expected, a state of quiet anticipation
what's to come, yet a place of serenity and abandon from expectations. A room
without weight, a place of calm and beauty. Waiting weightlessly we eventually
forget about the next room. We enjoy being in this liminal place, this “ante”
of neither here nor there.
There is a state of stillness in not needing to be a precursor to a "main
room", not an overture of what's to come, not an appetizer for the main
What if the anteroom is all we have? What if the "symphony" we are
is never to come? What if that anteroom became the main room itself? A small
house can indeed carry as much happiness as a large one, but only if we
realize it and are able to be happy in that small house, that anteroom, the place
inhabit right now. And with that, the small house has become a large palace,
a gigantic anteroom.
I am waiting in the anteroom.
I wait and wait.