christöphilax as formative of the function of the I, the second auditory artefact from noted art-music enfant terrible christöphilax, is a most provoking work. Following on from last year’s itch, it displays a natural progression of the themes explored in the latter excursion, and in a much more focussed manner. However, the scope of the subject matter, which was almost claustrophobic on itch, has been expanded to cover all manner of topics. More than anything, christöphilax as formative of the function of the I is a testament to the labours of fellow cultural workers. The opening track "dwyle flonker," for example, links a traditional English pub-game with Mikhail Bakhtin’s analysis of the dialogic or polyphonic nature of linguistic production in a manner that I can only conceive of christöphilax accomplishing successfully. Elsewhere, Louis Althusser’s attempts to reconcile Marxism with Structuralism are feted on "louder lads, the lord can’t hear you." Sadly missed workers in the field of sound are also celebrated in "The Ears of Drachen Theaker" and "Cornelius Cardew Crosses the Road."
The characteristic theme of the works of christöphilax is the role of the artist as writer. The ground/figure distinction which is a central theme of itch emerges again in "psora3," although in a more structuralist sense. In a sense, the subject is contextualised into a neocapitalist theory that includes truth as a totality.
Given the above subject matter, this collection could, in other, less adept hands, have resulted in a somewhat dry and academic excursion into what Levi-Strauss refers to as the penumbra of symbolic efficacity. As it stands, however, christophilax’s work is alleviated by flashes of pure lightheartedness such as "Chimps’ Corner." Mention should also be given to the stirring "Skye Boat Song," in which a wall of multi-layered bagpipes (as impenetrable as Hadrian's original) serves as a metaphor for the subjugation of the Scottish people. Another track that stands out particularly for me is "Death by Budgerigar," which seems to address, in part at least, some of the same ornitho-centric issues explored by 391 on the track "Menaced by Nightingales."
Overall, christöphilax’s decomposition of conventional rhythm and harmony, and the reconstruction of it in violently synchronic provisional arrangements, makes this CD a valuable postmodernist document. Highly recommended.
