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   Theo Bleckmann: Anteroom: Release Information

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Release Date: 21.06.2005
EAN/UPC: 705304590225
TT Catalogue No: 4483

an·te·room
Pronunciation: 'an-ti-"rüm, -"rum
Function: noun
: an outer room that leads to another room and that is often used as a waiting room
: 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 looping and 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 use 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 those, 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 for 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 course. What if the anteroom is all we have? What if the "symphony" we are waiting for, 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 we 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.
Waiting still.
I wait.
Weightless.

Theo Bleckmann



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