Viktoriia Vitrenko and me, on our last night at the Cité. Viktoriia is a soprano, conductor and artistic director from Ukraine. We recorded and performed together during this residency which itself was a journey, a discovery and a transformation. More info on her work here.
The albums we worked on, Earth Variations and Interspaces, will both be out early next year (meanwhile, my album Sharawadji is scheduled to come out this month, permitting that my fantastic mastering engineer will recover from his unfortunate Covid infection – wishing him the best recovery and health!). Earth Variations will also include an edited segment of our 20-minute live performance here at the Cité: our ‘Soirée d’ambient finlandais’ concert last week was largely improvised, and it produced some rather novel musical atmospheres and landscapes, all happily captured for future purposes. A segment of the performance will also be broadcast in the forthcoming episode of the LOVI ambient radio show (more info closer to the airing).
Now, toward new adventures and worlds, with our paths hopefully meeting soon again. À bientôt !
This week I’ve been recording vocals with this Ukrainian soprano, Viktoriia Vitrenko, for the Earth Variations and Interspaces albums. We met accidentally and serendipitously two weeks ago at the Cité des arts in Paris, an encounter which I documented from word to word on an Instagram post of mine since it was the most unexpected as well as the swiftest start of a collaboration I’ve experienced so far.
“I met her in a hallway, by the door. I was returning from a break when I noticed that a woman walking ahead of me stopped by the open door of the studio I was working in and peeked inside.
‘Are you possibly looking for something?’ I asked her politely. ‘Yes,’ she replied. ‘There’s supposed to be a hiphop dance rehearsal somewhere here tonight.’ ‘Well, I do occasionally breakdance when I’m working, but I’m sure that’s not the workshop you’re looking for,’ I said, joking only partially. ‘The hiphop rehearsals are usually over there, in Studio 5.’ ‘What are you working on in here?’ Her curiosity surprised me. People here weren’t usually interested in what others were up to. ‘Oh, just on my music. You know, composing, recording, mixing…’ I fumbled. ‘What kind of music do you make?’ ‘Erm, it’s electronic based but with lots of influences from different styles and from around the world…so hard to describe.’ I felt the usual ship of words sinking into the thought of an ocean of sounds. ‘That’s very interesting as I’m also a–,’ But before she could continue, we were interrupted by a pianist next door looking for a bathroom. ‘So, what do you do?’ I resumed when the pianist was on her way and we had both returned ashore. ‘I’m a singer.’ ‘Oh…I’m actually looking for a singer at the moment.’ I hesitated for a second. ‘But it’s quite experimental…no lyrics or clear structures or anything like that…a sort of new ways to play with voice in music…’ I was sure that by now, in her ocean view, my ship had actually sunk. But her eyes lit up even further. ‘That’s exactly what I do!’ she exclaimed, becoming visibly excited. ‘I’m a soprano, singing mostly contemporary music, but I also work with electronics and experiment with my voice and singing a lot.’ ‘Wow…that’s really interesting. Er…I don’t suppose you’d be–.’ ‘Yes, I’d be happy to sing on your tracks!’
And that’s how every collaboration should start. No ego, attitude, negotiation, hesitation or hassle: simply openness, enthusiasm, resolution and curiosity to play and experiment.”
It really is astonishing to watch and listen to a world-class singer, two metres away, building layers of vocals on your tracks, elevating them instantly into something resembling a proper, serious music. She comes up with similar ideas I’d written in my notebook earlier but am yet to share with her, and then expands them much further, exactly the way I’d do it but could never have imagined. The voice transports you: our small studio space turns into a concert hall, then into an Afromontane forest between a desert and an ocean, before returning, via the Lower East Side of Manhattan and the Jonquet district of Cotonou, to a wooden cabin by a lake, with the stars just appearing in the late summer sky and the moonlight traversing the water’s still surface.
Afterwards we spend a couple of hours discussing philosophy, art, Detroit techno, Mediterranean cities, migration, and the possibilities of voice and sound as agents for social and political change. It turns out that she, like me, loves to deepen and expand her work through thinking and writing, reading and discussion. This happens so rarely with musicians – and understandably since music, at its best, evades all the words and thinking – that I want to freeze the moment for the eternity; I simply love this level and scope of commitment, curiosity, drive and professionalism. Through our conversation, I realise that my forthcoming book has begun to find its territory and form. Yet I can’t help wondering how random and unexpected, serendipitous it was that we met: in that hallway outside, by the door, just one night by chance.
Images: recent visualisations of some of the sonic atmospheres on the aforementioned albums.
I’m currently doing an artist residency at the Cité internationale des arts for a year: working on various musics (Earth Variations and a tentatively titled album Sharawadji), developing the Future Forest Space II generative composition, and researching and writing (gravitating towards philosophy, judging by my recent haul from my local bookshop, Shakespeare & Company).
Paris has always felt like home to me, ever since my first visit here in 1995, so it feels wonderful to be able to immerse myself in this microcosm with greater time. While the city feels lovingly timeless and is always recognisable, it’s constantly permutating, evolving and progressing; it’s a multiplicity upon multiplicity upon multiplicity which never ceases to pique and inspire me.
Below some photos of the residence and its surroundings, with my crappy (apologies) phone camera.