Exclusive premier of ‘Time To Die’ by French composer and multi-instrumentalist Christine Ott.

Christine Ott returns to Gizeh Records for her fourth album ‘Time to Die’, the sequel to the highly regarded ‘Only Silence Remains’ (2016). ‘Time To Die’ is a musical fresco in eight chapters, a sensory journey between the world of the living and the dead, for which the musician weaves a unique dramaturgy between contemporary classical and electro-acoustic music.

<a href="https://gizehrecords.bandcamp.com/album/time-to-die">Time to Die by Christine Ott</a>

The title track picks up the story where ‘Only Silence Remains’ left off … Like it’s centrepiece; ‘Disaster’, the beloved cinematic text – a famous quote from ‘Blade Runner’ – is here read by Casey Brown. Ott seeks to offer strong sensations, without artifice, whether by the power of her compositions on the piano (‘Brumes’, ‘Horizons Fauves’), or by intuitive arrangements mixing her unique practice of ‘Ondes Martenot’ with a maelstrom of Jupiter8, Monotrons, timpani and tubular bells as on the first track. In addition, Ott captivates us with her harp playing on ‘Chasing Harp’, by her aerial singing on ‘Landscape’, or even on the airwaves on ‘Comma Opening’, which ends a triptych of songs after the versions published on ‘Chimères (pour Ondes Martenot)’ (NAHAL 2020) and on ‘Volutes’ from her side-project Snowdrops (Injazero 2020).

This expressive and spontaneous impetus, leitmotif in her musical production, takes a new form within ‘Time to Die’. Through the notes disseminated in an endlessly reinvented minimalist heritage, the interpretation is the ultimate musical glue allowing the pieces to come to life, thereby making this repertoire and its composer-performer unique. This is taken to the extreme in the final piece, the solemn yet luminous ‘Pluie’, a piece that the composer took nearly six years to write. This composition is written for piano, two ondes Martenot, vibraphone and tubular bells, and it may perhaps remind some of Arvo Pärt works.