Jodlowski: High-Quality Drones for Sale | Barbarismes & Dialogue/No Dialogue Collections | Perfect for Aerial Photography, Filmmaking & Outdoor Adventures

''drones'' here begins fast furioso,like you are already inside the belly of the beast, inside the musical work, the piano, gives off incredible cascades of linear tones, whole-steps, half steps middle register, other instruments join the frukus, the proceedings, then everything slows, like in a play, where the action now catches its breath, there is healthy playfulness here,those low basso tones held for a long time, well a few seconds. . . there are no existential ''gods''''beasts'' summoned as in the post-modernist music of Cendo, or Bedrossian, or Robin, or Dufourt. . .Here the universe, the gesture of jazz is not far away. . . . something you cannot avoid I suspect, if you are the avant-garde theatre. But the young Boulez was interested in Artaud as well, as Jodlowski here, and his early music was really rather serious, a one on one representation, for the irrational. Well Boulez also had the carnage of WW2 around him for ''inspiration''redemption where Jodlowski really just has the ''unknown neo-liberal opaqueness)hypocrisy) to live with to try to make sense with. . .Jodlowski likes to play the politics of ''borders'' not insinuating. . . . but situating himself too long in one place. It all works quite well, because his music neatly can transfer, can emigrate between the concert and theatre. . . ''drones'' is a good example. . .I like it more than ''Barbarismes'' where the title itself suggests, demands that the irrational be summon within the proceedings,It begins quite tame, with fast clipped crescendi,a lingua franca of this style, at least working in Paris round Rue St.Denis, one writes music, fast frenetic,There are more silent marking points, and again this time the Tuba is summoned to help punch the musical impetus along; ;and strident atonal chords in the upper winds. . .then the electronique takes over, stops the virtuality of the musical process, I almost thought of Luc Ferrari, 'presqie d'rien' ''anti-music'' But no Jodlowski still resides in the theatre, at least his working aesthetic does. . . We even have history interjected of WW2, the Pacific theatre, Pearl Harbor,,there is even a thunder clap, a beautiful slow crack of thunder, like the best cinema can provide. Again the music moves very fast, furisos, like the music has drunk the most powerful narcotic, or caffeine possible. I like ths topping points within the lower registers, It sounds like a Contra-Bassoon, or Bass Bax. Then ''slap-tongues'' are always nice to hear, to break away from the anxiety-ridden linear arrays of melos. Even a solo flute buds out, then we get comp=chords, a la Chas.Mingus perhaps. . . the theatre, Jodlowski I think relies too heavily on this, without developing the musical ideas where we might all be satisfied with. The music''in drones'' to return, sounds like a TV chase scene sometimes on Columbo, or ''Starsky and Hutch'', This is toward the end. . . So the music does re-invent itself drawing in all kinds of musical languages, but mostly strays toward the popualr, what the mind already knows. . .The last work here for Flute and Electronics,''Dialong/No Dialog'' is very different, more ''first person''with the word ''ecoute'' I think repeated at times, by the flutist Sophie Cherrier, a wonderful player. . . the electronics goes in and out very fast, like it is doing something that is suppose to be done in cinema, , , but I like the voice combined with the anxiety-ridden flute lines,tremoli,flutter-tongue, trills,again very playful, leggiero, light-- yeah it sounds like those early commissioned works of Gazzeloni, , ,or Pierre Yves-Artaud. . .then tapping the keys, and miro-tones are utilized. . . the electronics really leaves the flute its own space, ''Raum''; the electronics has the power of identifying a flute tone, a stopped tone, slapped keys and making the tone orcehstral-like. . .