Brujo robot. Robot, sorcerer, technology, spirituality: we will not find a better way to introduce this new disc of the Belgian quartet Razen than by threading the words fallen from the semantic fields of the two a priori irreconcilable words which form the title of his new album, which released March 27. A way of telling about our time, which has recently passed, difficult to point the finger at a calendar, the third World Heritage Law of the science fiction author Arthur C. Clarke: “Any sufficiently advanced technology is indistinguishable from magic” ?
The listener’s ear will in any case have a lot of work to do to discern in Brujo robot the synthetic sounds (played by David Poltrock), the sounds of the guitar of Brecht Ameel and the sounds of ancestral instruments played by Kim Delcour and Paul Garriau (flute, hurdy-gurdy). All that matters in Razen’s music is the matter of sound and its organization, highly human and organic since it is largely improvised – as in jazz, the genre to which one is naturally tempted to relate it -, and deeply magical in his ability to possess the spirit and take it elsewhere.
The piece titled VI, which we propose to listen to today, is the one that closes Brujo robot. We distinctly hear sounds of strings, hurdy gurdy and electronic bass triggered at each measure by an automated mechanism, and the nature of the music is resolutely impossible to assign to a place or an era. It is like traditional music combined with the future, with nomadic roots, of a community in perpetual mutation. Why not that of a humanity to come, which would be better in touch with its past and would consider the world to come as a terra incognita to discover rather than the place of the blooming of a more evolved version of itself, always more prosperous and ruthless. Who knows ?
Brujo robot released on March 27 on Hands in the Dark.