Texts

Lost in Rooms
A Virtualectric Story, 2003, ReR MEGACORP
[booklet text]

It was ten years ago that Lutz Glandien became interested in the inherent musicality of spoken language. Extensive work in radio drama had drawn his attention to the tonal character of speech. He now began to unearth diatonic structures in spoken texts and animal voices, especially those of the upper primates. Discussing his findings with leading researcher of animal voices Professor Tembrock led him to reflect further on the cultural character of sonic perception: when confronted with complex sound textures our listening automatically picks out harmonic sequences that match familiar musical patterns. As a consequence of this research, speech fragments began to find their way into his compositions – radio pieces, film music, installations and CD-projects.

In 2001 the Berlin dance company Rubato invited him to compose music for their production duty free – a collaboration with dancers from four countries. In preparation, Glandien asked them all to speak a text of their choice, each in their own language. These recordings in English, Estonian, German and Chinese provided the source material for duty free, which later grew into the compositions on this CD.

Following the harmonic pattern of the spoken texts, Glandien isolated individual words or syllables with specific melodic qualities. Strictly avoiding semantic connotations, he combined these with concrete and instrumental sounds, articulation noises and field recordings to make a series of short pieces. This work with sonic splinters links the compositions here to the earlier ‘virtualectric’ song-cycle The 5th Elephant (ReR, 2001). However, in contrast to the abstract strategy of that work, Lost in Rooms is organised around a series of short episodic childhood recollections spoken by Canadian dancer Daelik. This narrative, set in a music of customised sounds and pulse-based rhythms, turns – in the open zone between radio art, contemporary composition and post industrial techno – into a parable about travelling: leaving home and returning a stranger.
Dr Kersten Glandien

"Although following The 5th Elephant in its musical organisation – around grids of pulses and highly crafted, rich sonorities – this work is more evolved, more focussed and more internally economic. Following a narrative thread this time, the whole is bound into a complex and ramifying exposition of repetition, transformation and evolution, where a return is no return and where perceiver and perceived are lost to time. Tightly bounded by speech-derived (but massively re-formed) sonic materials, as well as location recordings, this work enters a non-existent genre field that fuses and transcends contemporary complexity, C21 Musique Concrete, Horspiel, and a kind of post-techno investigation of the conflict between organic informational materials and manipulations."
A gem. (ReR MEGACORP)
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"At the threshold of organic sound and simulative samples stands Lutz Glandien, the Berlin based composer whose multi-genre fluency in classical training and as an electronic producer make him the perfect compositional vessel for a work as quixotic as Lost In Rooms. Blending the aforementioned ingredients into a 'investigative' musical piece, Lost in Rooms examines both the conflicting and intersecting points of 'real' and manipulated sounds.
Glandien deftly dissects, mixes and melds a hyper-real illumination of the powerful tensions that defines the mix-and-match metaphor, deconstructing conventions as quickly as he creates new ones with a compositional discipline that is rare for such a diverse artistic pallet."

[...] "Glandien has been fascinated by the musicality of spoken language for over a decade, the tonal qualities of spoken texts and animal voices. Lutz composed music for the Rubato dance company in 2001 and four dancers from different countries to read from a text of their choice. 'Lost in Rooms' utilized those texts as a source for what this release became. Lutz does an amazing job of slicing slivers of words and sculpting their musical essence into a new mutated voice which can evoke many ideas/spirits without full words. The subtle and spooky electronics and samples are used sparingly. Another captivating sonic classic from the ReR treasure chest. "
(http://www.dtmgallery.com/Main/Newsletter-2003-12-05.html)

Lost in Rooms - A Virtualectric Story

(ReR, 2003) works with speech fragments. Four Bedrooms creates a claustrophobic atmosphere by glueing together syllables and syncopated beats. It is no longer one person talking, but an entire universe of language dancing at a unsettling pace. Ditto for Two Of My Sisters, that takes that concept to the groundfloor, Into a Better Room, that fuels a pounding drum'n'bass session, and for several industrial-music vignettes (All The Roads, As They Sunk). Language is no longer intelligible in The Last Room, which sounds like a spectre walking the ailes of a haunted castle. Indirectly, this is also a study of the interaction between human life and its environment. The suspenseful and eventless soundscape of Like This collects the utterances of a female voice in its most intimate dimension.
(http://www.scaruffi.com/vol6/glandien.html#los)

"Glandien deftly dissects, mixes and melds a hyper-real illumination of the powerful tensions that defines the mix-and-match metaphor, deconstructing conventions as quickly as he creates new ones with a compositional discipline that is rare for such a diverse artistic pallet."
(http://www.forcedexposure.com/artists/glandien.lutz.html)