Raster Noton is known for difficult releases. Usually you have to do a certain amount of ‘elbow work’ to undercover the joys of the work. I respect this approach. Often musicians go towards the easiest way of expressing ideas. That payoff that I get from their releases can be amazing, like discovering a new landscape or geography. For all the alleged experimentation going on within this album, I felt bored and disappointed with the pieces.
Anne-James Chaton isn’t a stranger to the Raster Noton label. Carsten Nicolai (aka Alva Noto) worked with him on his Unitxt album. Those expecting a repeat of pitch perfect performance are bound to be somewhat disappointed with the results on this album. None of that dreamy quality, an exploration of language and rhythm is found on here.
Instead you’re treated to some extremely lazy looping. Nothing is done with these loops. They are merged together to create songs. Layered on top of each other, they are meant to show off the competing rhythms of language. Does all language eventually blend into itself? Most of Événements focuses on that very question. In fact, Anne-James even offers up the backing beats at the end, going in order of how they appeared on the album. You’re offered the chance to sculpt his language and create your own work.
Sadly, the work he’s created is disappointing. Clips of himself speaking never rise above just plan that: clips of himself speaking. It fails to engage on any level, especially when compared to similar projects, such as “COH Plays Cosey” or the more classic language experiments, such as Kurt Schwitter’s “Ursonate”. It doesn’t live up to either scenario. Even the language he uses bothers me, especially the cliché “Pop is Dead”.
Raster Noton rarely makes a misstep. When it does it is usually a doozie. Anne-James Chaton’s album is a doozie.