REMISE EN BOUCHE / PALATE CLEANSER

by Lola de la Mata

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1.	prelude 01:04	buy track
2.	landscape 05:06	buy track
3.	remise en bouche (palate cleanser) 01:00	buy track
4.	(self) portrait 06:16	buy track
5.	voiceless 01:03	buy track
6.	curtain call 04:04	buy track
7.	reveries 03:38	buy track
8.	O . aka hidden track 01:25	buy track

about

The album REMISE EN BOUCHE, which translates as palate cleanser, or in the mouth, is both an act of refreshment for the ears, and a commentary on the misogyny women experience in the creative industries.

The titles take for inspiration structures and forms found in Classical Music, Fine Art, Theatre andDance. Their relationship is abstract and in some cases signifiers of their purpose in the ensemble of the album.

The album combines field recordings, classical rifts, untrained voice, violin, toy whistle and transformed feedback noise. The layers co exist, tangle and overlap to form a textured sonic world, full of movement, with sounds appearing and receding into dark voids.

Everything you hear in this album was generated acoustically either with instrumentation or concrete sound sources.

REVIEWED by Richard Allen for 'a closer listen': acloserlisten.com/2018/05/30/the-women-of-pan-y-rosa-discos/

"we encounter the work of London’s Lola de la Mata, an impossible to categorize artist whose work demonstrates incredible intelligence and complexity. de la Mata’s main interest is the kinesthetic nature of the body in relation to movement and sound. Her work has often been used in dance performances, as the nuances of her compositions lend themselves well to creative interpretations. In Remise en Bouche (Palate Cleanser), one can hear percussive breath and snapshots of song, along with static and feedback, trains and bells, violin and voice. The immersive track “self (portrait)” simultaneously struggles for expression and is expression, serving as a metaphor for the album’s theme of “the misogyny women experience in the creative industries.” Are we hearing each other, or reducing each other to fragments of sound? “Voiceless” is the album’s most chilling piece, as a pitched-down voice intones, “I am here, I’m at your disposal,” representing the infantilizing attitude of dismissive men. While short, the track manages to make an uncomfortable impact, reminiscent of that felt while listening to Holly Herndon’s “Lonely at the Top.” It’s hard not to hear the ticking of “Curtain Call” as a sociopolitical bomb. The strained choral presence of “Reveries” sounds like an elegy for innocence: a reverent pause, a gathering of strength before the telling of redacted truths."

credits

released April 22, 2018

composition / mix / album art: Lola de la Mata

mastering: Andrew Larrabee & Lola de la Mata

released on Chicago based net label Pan Y Rosas Discos

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about

Lola de la Mata London, UK

Lola de la Mata,

composer / performer (violin voice, theremin) with a background in weaving, printmaking and Labanotation.

PhD research around Tinnitus & Maryanne Amacher

SHOWS

April 5th
Fluid Studio
Liverpool, UK

May 15th
Stephen Lawrence Gallery
London, UK

June 27th
WORM
Rotterdam, NL ... more

loladelamata.com

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