Maqom
Tam-el

LA RECENSIONE

Maqom - Tam-el - CD-r - Trasponsonic001

Pure free-folk playfulness with ossianic nuances and no-wave gargoylisms typical of Trasponsonic.

"Tam-el" (= the sacred place), incipit and apocatastasis of an initiatory journey towards nebulous origins, amidst mantric regions, stateless raga, magmatic dithyrambs, and ancestral rites; an anomic Babel of post-industrial era survivors in search of a collective memory capable of re-founding or permeating an asphyxiated present, paroxystically protean and annihilating...

The shamanic resurrection of ancient gods and rituals leads the auscultative mind to traverse now inhospitable desert lands, now imposing fullness and turgid tragedies, until brushing against the Dionysian threnody, catatonic stupor, or paranoid void, to the rustic and ecstatic sound of Pan's flutes.

The acoustic guitar weaves atonal and monodic patterns, perpetually reiterating; the second guitar is tasked with the liturgical-eucharistic duty of consumption and psychic transhumance, while vocalizations from a lysergic prophet, from a psilocybin anthropoid, on soft watercolors of drones with a lazy and stagnant flow, sacrifice joys and sorrows on the altar of a transcendental ecstasy, reached and sublimated into a choral unio mystica with panentheistic contours.

The hebephrenic stases and the percussive discharges of dismemberment and self-flagellation placate themselves, harmonizing in the visceral and ontological identification with a tangibly human cosmogony: the ichthyphallic player and the universal progenitor, the mother goddess with a pregnant womb, who vivifies, fertilized and fertilizing, the sterile abyss of existence withdrawn from the divine...

Neurath for "Tam-el," February 2007.