IGOR WAKHEVITCH – Hathor:  Liturgie Du Souffle Pour La Resurrection Des Morts. Fauni Gena FAUNI 013. Spanish release. NEW UNPLAYED VINYL RECORD ALBUM. Originally issued in 1973 on Atlantic Records of France. This edition issued in 2012. Comes in a gatefold jacket replicating the original cover art and housed in a clear outer resealable mylar sleeve with the Wah Wah logo printed on the flap. TRACKS:  Hymne à Sathanael (Aimantation Des Forces), Grand Sabbat Luciferien (Régime Des Arches), Rituel De Guerre Des Esprits De La Terre, Cris Pour Les Sabbats Infernaux Et Invocations Des Daimons, Office De La Levee Du Corps (De Profundis), Amenthi (Attente De La Seconde Mort), and Aurore. DESCRIPTION:  Rooted in classical music and a former member of the French "group of musical research" (GRM) whose work pioneered the application of electronics in modern music, Igor Wakhevitch explored various musical genres and presentation styles with his major focus being a combination of opera, visual art, and choregraphy. His way of using analog synth and electronic modules enabled him to make a name among the great figures of the 70's kosmische-psychedelic gallery. In comparison, Hathor could be defined as a "space opera", built around moody/damaged/massive spaced out synthesizers and eerie, operatic, majestic atmospheres. The album concept is about the "creation", "death" and "resurrection"...consequently a few compositions are punctuated by narratives in French, speaking about old Latin religion. The opening track is a gorgeously dark, creepy electronic hymn with deep synth strings, classical choirs and narratives. Without transition it directly carries on with circular electronic motifs & various combinations of sounds, of a horrorific and haunting nature. A lugubrious, powerful organic church like drone sequence progressively appears. A fantastic drone based composition, delivering an atmosphere of pure madness. Rituel De Guerre Des Esprits De La Terre is a tribal electronic, fantaisist piece with drums and bizarre noises. Cris Pour Les Sabbats Infernaux is full of incantations, crying, claustrophobic, plaintive voices. Office De La Levée Des Corps is a funereal procession paced, religious chant, including narratives in latin. Amenthi carries on the same cavernous droney chant, but features electronic oscillations. A totally unique expression of the musical personality of Igor Wakhevitch. A marvellous, enigmatic, and ritualistic voyage. A masterpiece highly recommended for fans of Art Zoyd, Pierre Henry, Philippe Besombes...

 

For your further reading enjoyment and enlightenment I offer the following background on Wakhevitch, as taken from the Prog Archives website with some editing by me:

 

Igor Wakhevitch (born on May 12, 1948 in Gassin-Saint Tropez, France) is a French "musique concrete" / electro acoustic composer who has worked in many musical directions, always sensitive to new ways of expressing sonic sound constructions. In different contexts, he explored the acousmatic approach of processed sounds but also occasionaly dissipates this compositional form into psych rock aesthetic. Igor Wakhevitch's musical universe is a patchwork of styles. His musical background is heavily influenced by contemporary avant garde, dodecaphonism, and sound experimentations. At the end of the 60's, he notably worked for the French "Group of musical research," something akin to the BBC’s Radiophonic Workshop, (connected to the ORTF; The Office de Radiodiffusion-Télévision Française [ORTF] was the national agency charged, between 1964 and 1974, with providing programming for public [i.e., government] radio and television in France) under the direction of Pierre Schaeffer. His first electro-acoustic pieces have close relationships with other French pioneering avant-garde composer/experimenters such as Luc Ferrari and Bernard Parmegiani. Logos (1970) and Hathor (1973) reveal excellent spectral forms & modulations which transports the listener through some seriously dark, immersive mentalscapes. A few pieces contain rocking, spaced out instrumentations in the genre of cosmic krautrock classics (during this early period, Igor Wakhevitch also became close friends with  Soft Machine’s Robert Wyatt and Mike Ratledge, to whom he dedicated his second album, Docteur Faust). Published in 1973, the sumptuous Hathor marks a turning point in Wakhevitch's personal career as it was recorded after his first and influential meeting with Terry Riley (the father of spiritualized minimalism). Hathor is deeply impregnated by magical and tellurical elements. In 1974, the surrealist painter Salvador Dali employed Igor to write the music to his audiovisual "opera poème" in 6 parts, titled Etre Dieu (Being God or To Be God). During the 80's Igor Wakhevitch decided to live in the south of India where he wrote musical scores for the Goethe Institute and the National Center of Performing Arts à Bombay (in 1991). Wakhevitch's last published works are largely reserved to theatre, opera performances, epic electronic pieces for orchestrations, and straight meditative syntheziser pieces.  

 

 

 

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