Pascal Comelade ‎– Ready-Made

Label:
Parasite ‎– PAR 004/33t
Format:
Vinyl, 7", 33 ⅓ RPM, Limited Edition
Country:
Released:
Genre:
Style:

Tracklist Hide Credits

Rythm
A1 Again
Written-by [Adapted From A Song By] – K. Ayers*
A2 Éclairage Sur L'Eau
Organ – David Cunningham
A3 Again
Written-by [Adapted From A Song By] – K. Ayers*
Musique De Chambre
B1 Canço De Bressol
B2 Distant Pianos
B3 San-Salvador
Electric Guitar – Armand Miralles

Companies, etc.

  • Pressed ByMPO

Credits

  • Recorder, Synthesizer [Ems], Piano [2 Pianos], Drums [Amateur], Orchestra [Toy Limited], Artwork ByPascal Comelade
  • VocalsSissi (3)

Notes

Cover..PC from Tatline 'Monument à la troisième internationale', 1920.

Limited, numbered edition of 500 copies.
Sleeve is stapled twice on the left hand side

Barcode and Other Identifiers

  • Matrix / Runout (Side A): MPO 2 PAR 004 A
  • Matrix / Runout (Side B): MPO 2 PAR 004 B

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Reviews

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vehscle

vehscle

January 28, 2013

As in much of his work, we are treated to a series of vignettes, not linked in style, instrumentation or tone, but simply by Comelade's recognizable style. His work has always seemed perfectly suited to cinema - not in the facile sense of most soundtracks (beginning and ending nowhere), but in its tactful and tacit engagement with the archetype. It always manages to invoke some kind of happiness in the mundane. As with some of Aphex Twin's work (to use just one nostalgic example), Pascal Comelade made music that one senses has always existed (granted, much of his work consisted of covers).

To top it off the artwork happens to be one of the most haunting architectural projects of the last century - Vladimir Tatlin's Monument To The Third International. I would love to get into some theory on the practical constraints of constructivist architecture, and the symbolism (not to say irony) of its use in the Soviet creation myth, but that may be a little off-topic. Not sure what it says about the music, though the title could connote Dadaism - a contemporaneous movement diametrically opposed in pretty much every way to constructivism, especially in the sociological implications of technology. The album _is_ half acoustic and half electronic . . . anyways . . .