I saw the installation in Berlin and stayed for 30 Minutes in that room. I discovered it randomly and it was clear that I had to support the artist. To rest there between the bowls and Chrystals surrounded by this hydro-soundtrack was deeply moving and meditative. Thank you.
Musique Hydromantique is the second solo album by Tomoko Sauvage archiving many years of her performance-based practice on the waterbowls – the natural synthesizer of her invention, composed with porcelain bowls filled with water and amplified via hydrophones (underwater microphones). While her first album Ombrophilia (released on and/OAR in 2009) was studio-recorded /composed work, Musique Hydromantique is about experimentation and improvisation with the environment – acoustics affected by the architecture, temperature, humidity and the human presence.
For more than ten years, Sauvage has been investigating the sound and visual properties of water in different states, as well as those of ceramics, combined with electronics. Water drops, waves and bubbles are some of the elements she has been playing with to generate the fluid timbre. Since around 2010, hydrophonic feedback has been an obsession for the musician – an acoustic phenomenon that requires fine tuning depending on the amount of water, a subtle volume control and interaction with the acoustic space.
Calligraphy was recorded in a genuine echo chamber, with about 10 second reverbs, situated in a former textile factory. Like an endless exercise to draw perfect curves and forms floating in the air, the subaquatic feedback frequencies are pitch-bended with the mass of water sculpted by a hand changing its quantity. Fortune Biscuit is about the singing bubbles emitted from the pieces of ‘biscuit’ (porous terra-cotta). Depending on the texture of the surface, each biscuit makes different sound : insect and animal voices in a forest, motors, crying babies changing pitches and rhythms while absorbing the water… Clepsydra (meaning water clock) features Sauvage’s classical technique, a random percussion with dripping water. She tunes the waterbowls by adding and removing water, making flowing glissando, to find the balance point in ever-changing tonalities.
Just as the flow of water is subject to a number of variables such as temperature and pressure, water clocks mark a time that is shifting and relative. However, slowness dominates throughout the album as a result of favoring the full resonance of the instrument, leading to a path to experiencing timelessness.
Hydromancy is a method of divination by means of water. Unpredictable bubbles and water ripples become oracles. Evaporation and acoustic space constantly play a chance operation. Through primordial materials and ritualistic yet playful gestures, Musique Hydromantique questions contemporary divination.
All the tracks are live-recorded without electronic effects or editing. They were recorded during the night or very early in the morning and the whole album is to be listened to during that period of a day.
LP edition of 500 copies with reverse board-printed inner and outer sleeve. Digipack CD edition of 1000 copies. Mastered by Rashad Becker at Dubplates and Mastering.
released October 27, 2017
A1. Clepsydra (10:49)
Recorded at ‘Forum’, Rivières, Tarn (FR) in 2016 with support of Festival Baignade Interdite
A2. Fortune Biscuit (08:37)
Recorded in Paris in 2015
B1. Calligraphy (20:34)
Recorded by Adrien Silvestre at DMC in Mulhouse (FR) in 2013 with support of collectif ÖDL
All music by Tomoko Sauvage
(waterbowls - water, porcelain bowls, ceramic and hydrophones)
Photo: Jens Ziehe (Installation view of «In Curved Water» at Temporäre Galerie in der Quartiershalle Campus Rütli – CR², Berlin, 2014)
Design: Bartolomé Sanson
Mastered and cut by Rashad Becker at D+M
C+P 2017 — SP087
Please listen to this music at night or very early in the morning.
supported by 23 fans who also own “Musique Hydromantique”
It all starts here: this is something essential. It flows and moves cohesively while retaining individuality of moods and symphonic rhythm. PAN delivers, but what is delivered is less clear. A threshold, maybe, to a wider awareness of our epoch and humanity's current stage. Or maybe a testament to inscribe the remnants of human spirit, like brief chunks of messy information. Stéfan Németh