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§ 1. Playing like a wreck.
The Potala Palace, the impregnable throne of Tibet's leader, towering in the impenetrable Lhasa, the capital of the most impenetrable country in the world, has been an inaccessible place for centuries. Alexandra David-Néel —the first Westerner to reach it— took, in disguise and dressed in rags, almost a year of walking on foot or riding a mule, occasionally eating frugal meals made of roasted barley flour mixed with very watered-down black butter tea of yak and tough dried meat pressed under the wooden saddle of her mount, just to be able to admire it.
Today, it can be seen here.
For centuries, explorers yearned for the elusive sources of the Nile, rarely reaching some secondary source or, more often, perishing in the attempt.
Today, it takes little to know their exact coordinates.
We all float together in a second world, which has removed all the limits of the first.
In this non-place, everything is visible, easy to find.
Yet something escapes: among the folds, remains what we don’t know how to seek.
In the depths of the unsearched, among unnamed wrecks, "Sing Like Scaffold" has gone to settle.
It seems oblivion is its natural condition.
Hardly any light reaches it.
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§ 2. Sing like scaffolding.
From the old cauldron rises a pure cacophony.
A voice, alluring and abyssal, begins with an invocation.
“Please fantasy
Please stay with me
Please stay even though you know my reality
Stay close to me
Stay fantasy
Please stay and protect the lands of my sanity”
It's the same invocation as thirty years before.
In '67, the voice was tense and the music went, frenetic, on its own. Now, the two go hand in hand.
The whole album is a dialogue, a clash, an argument.
On one hand, an underground noise. A musique concrète on the threshold of the 2000s.
On the other, an indefinable rhythm and song.
It's hard to distinguish the features when the subject in question is so iridescent and elusive.
The only way to understand it is to listen to it.
There is no other way.
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Tracklist
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