https://youtube.com/playlist?list=OLAK5uy_lMt5TFBMOzZX5sbxcjC5Dy1Tbb1ZqmJbI


Oren Ambarchi - guitars and percussion
with
Thomas Brinkmann - computable drums with an application to the Entscheidungsproblem (Parts 1-5)
Matt Chamberlain - drums & electronics (Parts 3 & 4)
Crys Cole - contact mics & brushes (Part 4)
Eyvind Kang - bowed gender (Part 1) & violas (Part 5)
Jim O' Rourke - synths (Parts 4 & 5)
John Tilbury - piano (Parts 1 & 2)
U-zhaan - tabla (Part 5)
Ilan Volkov & the Icelandic Symphony Orchestra (Parts 1 & 3)
Recorded 2012-2014 in Cologne (Max Ernst Studios), Reykjavik (Harpa), Melbourne, Seattle (Avast! Studios - session co-produced & engineered by Randall Dunn, London, Los Angeles (Cyclops Sound Studio) and Tokyo (Steamroom - engineered by Jim O'Rourke)
Mixed Dec 2013 & March 2014 at Chinatown, Melbourne by Joe Talia and Oren Ambarchi

Mastered at Moose, Melbourne March-April 2014 by Byron Scullin
Vinyl cut by Rashad Becker & D&M, Berlin, June 2014
Photography by Estelle Hanania
Design by Stephen O' Malley

Black Truffle is pleased to announce a tenth anniversary reissue of Oren Ambarchi’s Quixotism, originally released on Editions Mego in 2014. Recorded with a multitude of collaborators in Europe, Japan, Australia and the USA, Quixotism presents the fruit of two years of work in the form of a single, LP-length piece in five parts. Quixotism takes the driving rhythmic aspect of works such as Sagittarian Domain to new levels, with the entirety of this long-form work built on a foundation of pulsing double-time electronic percussion provided by Thomas Brinkmann. Beginning as almost subliminal propulsion behind cavernous orchestral textures and John Tilbury’s delicate piano interjections, the percussive elements (elaborated on by Ambarchi and Matt Chamberlain) slowly inch into the foreground of the piece before suddenly breaking out into a polyrhythmic shuffle around the halfway mark, and joined by master Japanese tabla player U-zhaan for the piece’s final, beautiful passages.

The pulse acts as thread leading the listener through a heterogeneous variety of acoustic spaces, from the concert hall in which the Icelandic Symphony Orchestra were recorded to the intimacy of crys cole’s contact-mic textures. Ambarchi’s guitar itself ranges over this wide variety of acoustic spaces, from airless, clipped tones to swirling, reverberated fog. Within the complex web Ambarchi spins over the piece’s steadily pulsing foundation, elements approach and recede in a non-linear fashion, even as the piece plots an overall course from the grey, almost Nono-esque reverberated space of its opening section to the crisp foreground presence of Jim O’Rourke’s synth and Evyind Kang’s strings in its final moments. Formally indebted to the side-long workouts of classic Cologne techno, the long-form works of composers such as Éliane Radigue and the organic push and pull of improvised performance, Quixotism is constantly in motion, ye.......
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