The first track on this album is named ‘parasomnie’ and transports us instantly inside a boiler room in which an avant-garde orchestra made out of rhythmically played boiler equipment and goose like chattering sounds, forms the music backdrop of Selma Raziel’s spoken word.
tchnął ducha’ begins more soft, as if the artist is stroking her both hands together to form a rhythm, while the legs are playing with some stuff that has been lying on the floor. With this sound situation Selma sets a very close and intimate atmosphere which she only enlarges by singing and talking softly in your ears.
With ‘dokąd zdąża teraz ‘the artist let listeners experience the full bennefits of focusing her music in a stereophonic way. Both left and right ear are being assigned to different part of her warm but mysterious sounding voice, while a slow rattle backdrop is formed with warm and haunting breathing ambient drone. The work is intensive over here, hypnotic and very close and upfront.
^ Selma Raziel close up, but seen from the back; working hard to make these wonderful tracks…
grass ensemble’ seems more minimal, sucking the listener even more closer to where the intimate words are coming from. The sounds in the back are like little crabs roaming around on the floor, and a saw sawing… A sawing saw might be used too…
With a titled track like ‘whatamess’ you would expect perhaps a chaotic mess to be entering the ears, but for a mess it’s probably the most organized and cleanest work on this release. Selma Raziel sounds humble, perhaps a bit sad but as I’m unaware of any of the meanings of her words because of a language barrier; it’s basically a guess. She also makes some saliva sounds that made me think as if she was eating an imaginary apple.
Raza de Razin sounds slightly different in approach music wise. The work slowly builds up and takes its time to balance a warm loop-ish warm rhythmic background in which after it being established Selma sings in a hypnotic state her way through it creating a very pretty soothing hypnotizing psychedelic friendliness. There is additional humble additional hand drumming to give the track a real humane feel.. To me personally this is pure audio magic! Wonderful and totally mind absorbing!
glossomia goes for cuteness by bringing the sounds of little twinkling sounds and perhaps a thump piano as a fun lightweight introduction. After this happy moment these sounds make way to a more avant-garde bath of less traditional instrument sounds and Selma interacting with them. It sounds very interesting, a strange but pleasant audio scape in which it’s a total guess what it is that can be heard and how it is actually being played. Is it a broken violin? A pot and a pan? … It’s wonderful!
Then an intimate song ‘asmita’ shows up, going for extra warmth and delivering a pleasant state of mind especially when the normally soft voice layers up a notch; opening up to light a sparkle in her expression. There is something naughty about it, as if the artist performs it with a joy that wasn’t captured on the album before.
kim pan jest?’ is a warm collage in which the pots, pans and warm upfront intimate voice expressions also encounter a little squeaky sound; perhaps it’s a hamster, or a little mouse or perhaps something else.
The last work ‘linia światła zespalająca kobietę, mężczyznę i kosmos’ is a deep and warm drone-ish happening, calmly shufflers forward until the end of this album has reached its finish line. Come and join the wonderful moments of ontologia by Selma Raziel over at the following link: