Program

Gabriel Andruzzi, Moon Temple

Music

Moon Temple parts I & II released on WT Records October 21, 2016 are two 12" EP that make one LP.

 

The spastic mechanical marches, obtuse interludes and orchestrated techno stompers of the Moon Temple are the work of Gabriel Andruzzi, a one-time sax player and current electronic studio noodler. Andruzzi brings to sonic life the Moon Temple of his imagination by cultivating a palette of tuning forks, voltage-tuned percussion, and the usual hodgepodge of synthesizers everyone seems to be so gaga about these days.

 

While Moon Temple appears to fit into the big-tent genres of “techno” and “ambient,” the two records also, to put it plainly, subtly subvert these appellations by gilding the lily of their notionally minimal aesthetic and eschewing lo-fi tape hiss for a near-ugly high fidelity.

 

When both records are listened to end to end, there emerges a satisfying sequence of sound events linearly resonating with the classical dramatic mode of protasis, epitasis and catastrophe. One might also call it a narrative. The astute listener is transported to a terrestrial ritual worship of Luna in all her phases. While the less shrewd listener may be not so much transported as moved, or perhaps nudged, but will still find aural enjoyment in the rich intonations of lunar devotion.

 

Moon Temple references diverse influences such as Laurie Spiegel, the tuned bells and gongs of the Balinese countryside, and minimal music of both the techno and the new-music varieties. But Andruzzi eschews authorship and claims the sounds are merely field recordings from the future. “One might say I had nothing to do with it, but I wouldn’t say that. You see, I was able to visit the Moon Temple in some future time and place via techniques gleaned from the ancient sage Patanjali and his commentators. Through pure focus I discovered the temple, is its ritual and people. I had my recording gear on hand, no thanks to the limits of space and time (you know what you are), which allowed me to document the first musicological trip to the future.”