Ipek Gorgun | Ecce Homo
On her third record (released this week), her second with Touch, Turkish electronic/electroacoustic composer Ipek Gorgun explores humanity on Ecce Homo from the inside-out. Currently she’s a doctoral student at the Istanbul Technical University’s Center for Advanced Studies in Music, and I find that making your studies public in this fashion just may be one of the greatest tests of all, especially in our virtual times. She’s been working on this particular recording for the last two years, so the blooms of late Summer (like Jon Wozencroft’s lovely coverart) are about to arrive (along with the early Monarch migration here in TX). Though the Bandcamp page is not active until the release I managed to locate a few postable soundclips for your ears, so please take my words for it, and anticipate the delivery of something quite special come this Friday. If you cannot wait that long you can listen to the album’s opener, Neroli, here.
The track immediately dazzles the ears with a magical uplifting melody, a tangle of bright punchy synths. Neroli is the natural essence of bitter orange, its oil. And the piece comes off like a mystical fusion, a floral pasture as seen through a kaleidoscope. In the second half of the piece the atmosphere shifts into a more subdued affair, more still with a luminous drone like a long note played on a church organ, into a gray fade out. With all the unrest in her home country there’s no escaping the current environment, both physical and/or political, cannot be diverted from her creative voice, however restrained. And this rises in Afterburner, a cascading and course atonal work of ambient/industrial quiet fervor. The muffled roar and partially erased voices speak of our challenging times. It’s a fiery reminder of the human condition and it’s fragility. This leads into the layered, spacey distortions on Tserin Dopchut which are bathed in reverb.
Le Sacre I + II are both two short extractions, up next and filled with a whole range of sound effects, and atmosphere, looped and de-constructed bird whistles. Though these sort of act as intermediate music in the context here, they are worth noting for the complex structure and balance between the natural and the plugged in. Bohemian Grove edits soundclips from a ‘religious’ radio program which is twisted into a windy drone peppered with all sorts of wry effects. If you’ve ever heard the sound collage work of Ultra-Red or Mark Van Hoen you’ll be in a similar ballpark here. Expertly edited.
Seneca can only be described as abstract edgy ambient with its queasy and emotive tone, all wound down, forlorn. But it’s on Reverance that I hear her passion play for the first time. Gorgun delights with an imbalanced, discordant core, but takes the liberties the take mystery to bed with an eerie dalliance on the piano. It’s as gorgeous as it is idiosyncratic, and that hybrid is rare.
On Mileva an impassioned drone has this essence of inner light burning through, one that goes from quiet to racket in a bit more than sixty seconds, though manages to keep the chaos finely quarantined. The white noise sears on through in this short but sweet noise work.
And finally, on To Cross Great Rivers the atmosphere once again shifts darkly to an ambiguous clang, muffled and dragged. Though after a few minutes the tone softens with the partial light we heard in the beginning. A whirring vortex of sci-fi synth creates an audio/visual scope, breathy with a bit of a hovering sensibility in its defined warble. As a whole these eleven parts are a patchwork of short stories, and I can only want to imagine them being overlaid and mixed into one long-playing work with a light show set in a planetarium, or some such spherical space. Take the trip.
This review is part of Womens Work Week – a celebration of international women working in experimental and electronic music genres. If you enjoy this review you may also be interested in one of these additional releases that we are covering this week on Toneshift.net:
- Catherine Christer Hennix | Selected Early Keyboard (Scotland)
- Kajsa Lindgren | Distorted Worlds (Sweden)
- Yoko Ono | Warzone (Japan/US)
- R.A.N. | Şeb-i Yelda (Turkey/Germany)
- Ipek Gorgun | Ecce Homo (Turkey)
- Map 71 | Void Axis (UK)
- Sonae | Wearing Black Remixes (Germany)
- Olivia Block | 132 Ranks (US)
- Vanessa Tomlinson | The Inside Space (Australia)
- Julia Reidy | Beholder (Australia/Germany)
- Jlin | Music from Wayne McGregor’s Autobiography (US)