Missa Furiosa - Zaboitzeff & Crew
KOID9 (F)
Thierry Zaboitzeff is no stranger to fans of progressive rock. Indeed, this multi-instrumentalist first made his mark in 1976 as a member of the band Art Zoyd, where, together with Gérard Hourbette, he composed radically new music, brilliantly combining classical instruments with electronic and electro-acoustic sounds.
In 1996, Thierry left the band to devote himself to his own projects, in which music is merely one aspect of a much more comprehensive cultural approach. The ‘total spectacle’ is the stated aim of this sculptor of soundscapes, who seeks to integrate ballet, dance, theatre, electronics, choirs and visuals into a single stage environment.
This ‘Missa furiosa’ was initially a performance, premiered in Austria in 2002, which brought together opera singers, a string orchestra, electronic manipulations and Zaboitzeff himself, as the principal performer, singer, cellist, bassist, guitarist, and so on…
This CD is therefore the soundtrack to that show, and one might venture to say that it is a mass sung in Latin through a techno-pop ensemble. Nothing less!
It should be noted before listening that the musician has no intention of promoting any religion, whether Catholic or otherwise. This is a far cry from Neal Morse’s missteps. Thierry points out, moreover, that a few songs with Islamic or Buddhist influences have found their place in his project, and that the appeal of a musical mass lies in its ceremony, its ritual, its communion, its trance and, of course, its orchestration.
Whilst the opening track, ‘Préparation’, lives up to expectations – an incantatory soaring passage from each soloist set against an oriental atmosphere, followed by a quotation from Ecclesiastes (“all is vanity…”), ‘Introitus’ sees the emergence of a techno rhythm that one sensed lying beneath the surface, accompanied by classical voices singing in Latin. It’s rather curious but not without interest. Especially as the repetitive rhythm is more complex than it appears, a bit like Steve Hillage’s approach in his *System 7*. You can clearly hear church bells, samples of shouts, cello accompaniments – plenty of little touches that catch the ear. But watch out – the rhythm can speed up, veering into Trance territory with keyboards and synths that really kick off, just like in a nightclub.
The ‘Kyrie’ leaves these frenetic elements behind to return to a less basic tempo, allowing the soloists to sing this essential piece of any mass. It’s worth noting, however, that this is a far cry from the traditional ‘Kyrie’, as the accompaniment here is rather unusual. ‘Gloria’ has a ‘Zeuhl-esque’ groove. First comes the twirling bass, followed by high-pitched, chanted choruses reminiscent of Magma (the end of “Mekanik…” for example), a technical and melodic instrumental section featuring a saxophone straight out of Uniweria Zekt, then abrupt vocals so reminiscent of Vander’s band that one wonders whether the lyrics are in Latin or Kobaian.
“Les moines” is a short track, without percussion, calm and thoughtful, meditative too, and carried beautifully by the soloists’ chanting. It is the only track with an obvious religious connotation.
The “lacrimosa” is rather curious, with its bouncy rhythm (I wouldn’t call it funk, but it’s not far off), in stark contrast to the lyrics, the vocals and the melody. The listener is left with mixed feelings regarding these contrasts, deliberately created by Thierry Zaboitzeff.
The mass continues with the familiar sections: ‘Sanctus’, ‘Dies Irae’, ‘Libera me’, and a borrowing from Mozart’s Requiem, ‘Agnus Dei’ – rendered completely unrecognisable here by a harsh harmonica arrangement that responds to the solo soprano across two superimposed musical tracks. Very strange, not straightforward for the music lover, and even less so for fans of prog or rock.
It is clear that this mass is a piece of music that does not reveal itself easily. Like any work that is even slightly original or innovative, the listener must make an effort to understand it; it requires several listens, and then – like a small miracle – one realises the melodic quality of the whole, the beauty of the contrasts, and the clarity of the vocals, enhanced by the unpredictable orchestration. I would say that it all blends together and works!
And then, we mustn’t forget that we are only seeing the tip of the iceberg. This CD offers only the music from a complete production, and this astonishing ‘Missa furiosa’ is probably more accessible, more at home in that context, with giant images, wild lighting, actors, ballet dancers and… the audience.
Anyone wishing to judge for themselves should head to the Théâtre Toursky in Marseille on 18 January 2005, when this grand mass will be performed once again in a concert version.
KOID9 (F)
Dominique Reviron
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