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AGF, "Language Is The Most"
Quecksilber
With her previous full-lengths, Head Slash Bauch and Westernization Completed,Antye Greie-Fuchs proved entirely capable of creating beautiful andunique electronic music without the help of her Laub bandmate Von Jotkaor frequent collaborator Vladislav Delay. Reaching an early peak onlast year's Westernization, AGF's mature style is both morechallenging than her past work and more rewarding. The increasinglyabstract free-association of Greie's characteristic speak-singing seemsto have found perfect accompaniment in a new loosening of songstructure which, instead of dissolving substance, allows for thecareful buttressing of her words with basic and unclutteredsound-forms, accentuating the language and aligning the music moreclosely with the power of suggestion. The "instrumental" portion ofAGF's music remains a recognizably laptop-based affair, full of crisp,bass-less beats, clean synth-like melodic lines, and a delicateunderpinning of digital drone and flutter; however on Westernization and to a greater degree on Language is the Most,these elements are treated with greater economy of use, layered lessfrequently or abundantly, and approached with more attention to varietyand improvisational flow. It's as if Greie treats instrumental soundlike it were part of her vocal, as if these melodic shards and openrhythms have assumed fixed places in the artist's advancing word bank,lent the same concise, charged delivery as her speech. This effect isconsistent with the broader theme of Language is the Most,essentially a live recording from AGF's performance at the ArsElectronica Festival's Klangpark in 2003. The theme of the festivallast year was "Code - The Language of Our Time," and it's hard toimagine an musician engaged in a more literal dialogue between digitalcode, musical composition, and spoken language than Antye Greie. Westernization is as much sound poetry as it is patient left-field electronica, and Languagemakes the distinction even more complicated. The live setup, by forceor by choice, has Greie's voice appearing with less regularity and lessreliance on structural cues, creating music whose success is largelyreliant on the tact of the artist's speech and the resonance of herwords taken alone. Her compositions progress along astream-of-consciousness logic, incorporating numerous field recordings,samples and organic-sounding clatter to make Language AGF'smost complex listen to date, despite the equally unprecedented amountof open space appearing throughout. Compounding the event's thematicinterest in coded language, text, and the relevancy of establishedcommunication methods, Greie incorporates pieces of Westernization, as good a document of the artist's own "language" as any, into her live set. This decision has ended up granting Languagesomething of a "companion piece"-status, and while I'd be more likelyto recommend the former to new listeners, the live disc has provided anequal amount of rapturous listening and contains the seeds of newrefinement in AGF's sound, making it just as essential.
With her previous full-lengths, Head Slash Bauch and Westernization Completed,Antye Greie-Fuchs proved entirely capable of creating beautiful andunique electronic music without the help of her Laub bandmate Von Jotkaor frequent collaborator Vladislav Delay. Reaching an early peak onlast year's Westernization, AGF's mature style is both morechallenging than her past work and more rewarding. The increasinglyabstract free-association of Greie's characteristic speak-singing seemsto have found perfect accompaniment in a new loosening of songstructure which, instead of dissolving substance, allows for thecareful buttressing of her words with basic and unclutteredsound-forms, accentuating the language and aligning the music moreclosely with the power of suggestion. The "instrumental" portion ofAGF's music remains a recognizably laptop-based affair, full of crisp,bass-less beats, clean synth-like melodic lines, and a delicateunderpinning of digital drone and flutter; however on Westernization and to a greater degree on Language is the Most,these elements are treated with greater economy of use, layered lessfrequently or abundantly, and approached with more attention to varietyand improvisational flow. It's as if Greie treats instrumental soundlike it were part of her vocal, as if these melodic shards and openrhythms have assumed fixed places in the artist's advancing word bank,lent the same concise, charged delivery as her speech. This effect isconsistent with the broader theme of Language is the Most,essentially a live recording from AGF's performance at the ArsElectronica Festival's Klangpark in 2003. The theme of the festivallast year was "Code - The Language of Our Time," and it's hard toimagine an musician engaged in a more literal dialogue between digitalcode, musical composition, and spoken language than Antye Greie. Westernization is as much sound poetry as it is patient left-field electronica, and Languagemakes the distinction even more complicated. The live setup, by forceor by choice, has Greie's voice appearing with less regularity and lessreliance on structural cues, creating music whose success is largelyreliant on the tact of the artist's speech and the resonance of herwords taken alone. Her compositions progress along astream-of-consciousness logic, incorporating numerous field recordings,samples and organic-sounding clatter to make Language AGF'smost complex listen to date, despite the equally unprecedented amountof open space appearing throughout. Compounding the event's thematicinterest in coded language, text, and the relevancy of establishedcommunication methods, Greie incorporates pieces of Westernization, as good a document of the artist's own "language" as any, into her live set. This decision has ended up granting Languagesomething of a "companion piece"-status, and while I'd be more likelyto recommend the former to new listeners, the live disc has provided anequal amount of rapturous listening and contains the seeds of newrefinement in AGF's sound, making it just as essential.
