| | Electric Eel CD Makigami Koichi Discography of CDs
A truly fascinating, if bizarre project, Electric Eel is a composition which pairs Tuvan throat singing techniques (and other vocals) with duets on newly invented versions of the jaw harp. The Electric Trämpi is not played with the fingers; it is instead controlled by electronic impulses that are capable of producing continuous sounds. The left hand holds the instrument up to the mouth as usual, but the right hand is free to add additional resonators, like tubes or pots. The Hydro Trämpi, or water harp, is an Electro Trämpi which is clamped to a tube and placed into a larger tube which is filled with water, resulting in a completely unique sound; it can also reach much lower tones than would otherwise be possible. Indeed, it is the variety of sounds that Anton Brühin and Makigani Koichi are able to create that make this album most interesting. As a series of sound poems, these compositions are not particularly evocative, but they do combine a variety of rhythmic sounds in a way that is both playful and creative. ~ Stacia Proefrock
Recorded at 1714 Studio, Japan on January 29, 1998 & February 17, 1998.
Personnel: Makigami Koichi (vocals).
Recording information: 1714 Studio, Japan (01/29/1998-02/17/1998).
Photographer: Makigami Ayako.
Personnel: Makigami Koichi (vocals, jaw harp); Anton Bruhin (jaw harp); Tadagawa Leo (jaw harp).
Electric Eel Songs | 1. | Mojiri |
| 2. | Electric Eel |
| 3. | Kimosui |
| 4. | Sea to River |
| 5. | Jubako |
| 6. | Tokujo |
| 7. | Unagi No Mimi |
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Electric Eel Review
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On their second album, this Swedish-Norwegian trio once more moves forward and back across the time's expanse with an ease that is startling to the listener. On Soir, Dit-Elle, Trio Mediæval create a space for disappearance, transformation, and emergence in performing a mass by 15th century composer Leonel Power before coursing through the works of 20th century masters such as Ivan Moody, Gavin Bryars, Andrew Smith, and Ukrainian composer Oleh Harkavyy. Soir, Dit-Elle, is a mirror image of the trio's debut album, Words of the Angel. While the former recording engaged anonymous laudes from as early as the 12th century and combined them with a mass written by Ivan Moody, here, it is Harkavyy 's "Kyrie," which bleeds into Powell's "Gloria," and opens onto the field of history itself. Powell is the only early-music contributor here, though his work is woven throughout the new pieces as a touchstone, a place in the mystical nature of sacred music through polyphony and chant and informs th rough the vioes of the trio, newer works it is interspersed with: Gavin Bryars uses original Marian texts for his Laudes and "Ave Regina" --before reverting back to Powell for his "Credo." In the sequential pieces Bryars again, then Andrew Smith, Powell, and Moody begin to shapeshift into one another, referencing and paying ...
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