Eblen Macari`s Musica Para Planetarios was originally performed weekly at Mexico City`s Luis Enrique Erro Planetarium. On headphones, in particular, there is a theatrical sense of space to the album. Of a choreographed company interacting on a stage. Recorded in 1987, its second lease of life, courtesy of Canadian label, Seance Centre, is due to both search and coincidence. With Seance Centre`s initial dialogue with Eblen going cold. Only to have the Mexican composer`s son fortuitously move to Toronto two years later.
Fingers pluck and pick strings with Robbie Basho dexterity. Like sunlight playing off all that shines on a Summer`s day. Like wind toying with a meadow. Invoking happy memories. Of smiles and laughter. Electronic chimes, drums and voices, circle in counterpoint. Intertwining and separating. Like dancers holding hands, spinning, then changing partners. Like a Folk Round, which ultimately builds to a massed, Tribal song. Operatic arias mix with percussion. Shakers and nutshell rattles. Wood blocks. Rainsticks. Soundtracking the shower that follows a storm. The guitar switching from Classical to Flamenco. The microtones of single notes ringing. Flurries backed by emotive, soaring synthesised orchestral swells. Ensonic, Korg, and harpsichord singing. Nocturnal animal cries and ocarina-would-be-bird whistles punctate Vangelis-esque drones. While sweet melodies double for Beverly Glenn-Copleand`s Keyboard Fantasies. Creating a “World Music” of sorts. A musical landscape that neighbours the timeless, borderless, countries imagined by Finis Africae, Rex Illusivii, and Robert Musci. Its resonance buzzing. Rising and falling like waves in a recreation of Time`s tide. Breaking against a shoreline. Pulling away. In simulated synchronicity with our home`s lunar and solar orbits.
For more details, pop over to Seance Centre.