Around the theme of the ocean symbolising the subconscious, the hidden world and a very personal concept of "loisiveté" a combintion of idleness "oisiveté" and law "loi", Maninkari continues exploring a weird and dreamlike world.
As usual, the Charlot brothers resort almost exclusively to the use of acoustic instruments with oriental origins (bodhran, cymbalom, santoor, zurna).
Percussion instruments especially the bodhran play melodic or textural figures, whereas stringed instruments become repetitive to a point where they embody the rythmics.
The combination of repetition and oriental tones create a heady sound continuum providing the 10 nameless tracks with a mantra-like resonance. A short breathing in the middle of the album with an organ and birdsong is the only quiet moment of this tormented (but without violence), and meditative (but without bliss) record.
The permanent state of tension recalls the rigours of law and repetition provides the calm alternative of idleness "l'oisiveté". The ocean offers all of it's grandeur to this introspective journey.
"Ze brengen bevreemdende, maar meeslepende dromen, waarbij de kracht schuilt in de steeds herhalende klanken. Denk aan een experimentele hybride van Dead Can Dance, Muslimgauze, Badawi, Sam Shalabi, Vidna Obmana, Soma en Richard Skelton. Subliem!"
in De Subjectivisten
"The music of Maninkari reminds me of Rapoon, Muslimgauze (less political of course), but also Desaccord Majeur, to give a French point of reference. I thought it was a bit odd Maninkari doesn't use any titles for their pieces, but perhaps I liked that. No reference which clears your head and think of titles yourself for these dark sound scapes. It is surely another fine addition to their already impressive catalogue of works. (FdW)"
in Vital Weekly
all selections composed, improvised, illustrated by frédéric & olivier charlot
bodhran, cymbalom, viol, santoor, drums, cello, zurna, organ, field recording
mastered at jetlag by julien grandjean