The Lappetites — Before the libretto

New York, April 2001. At Kaffe Matthews’ request, o-blaat, Ikue Mori, Zeena Parkins and Marina Rosenfeld join her for the first Lappetites gig. More than four years later surfaces the first CD. In the meantime, the line-up changed radically: Matthews got Eliane radigue, Antye Greie and Ryoko Kuwajima to contribute on Before the libretto. And next releases or concerts could see an entirely different group of people take the stage / record the music.

The Lappetites is defined as a “forum, a meeting place”. And indeed it is heard in the music. Forums are not so much places where you reach a consensus through an elaborate collaborative process as a collective of individuals with different ideas where each one brings his own personality and world view, leading to a result where everyone influenced everyone although all contributors remain firm on their positions. One can say a forum is made of aggregated contributions more than it unites everyone behind any given theory. Regarding Before the libretto, it means that it would be a rather bad idea to be on the look for some unity music-wise. The CD sounds more like a compilation of tracks of diverse origins than like a coherent album. It’s not a problem by any means unless you have troubles with diversity.

A track like My within starts like a mix of power-electronics and rock before merging into a very rich, lap-top crafted soundscape: chopped-up tunes, high drone, microsound and vocals that range from melodic choir to spoken-words. Avoid shipping sounds like an orchestra of noises and rhythmic drones. Birken is very different: it’s quieter, more relaxed one might say, although it remains haunted by fascinating waves of sounds. Equally fascinating is Greie’s voice: from calmly spoken parts to the quasi-operatic. It’s also a very dynamic album: a track like Stop no. 394 Falkirk Street begins in an ambient-drone style and ends in fields very close to drill’n’bass. The dynamic is also important in the sequence of songs: an hectic work like Kuchen Keiki Cake is followed up by Aikokuka, a very subdued piece, very Japanese sounding with shamisen, tambourines and Kuwajima’s vocals accompanying the laptops’ soundwaves.. It’s one of the better moments on this album. As for beautiful moments, one has to pick Funeral, a superb droney piece that shall bring Stars of the Lid to the mind of all rock fans.

Before the libretto is not an easy work. It’s the very unique result of the very unique voices of some of the most unique musicians of our time. I’m not quite convinced it’s a major achievement but it shouldn’t be overlooked: it’s daring, varied, innovative and thought-provoking.