We started this project in 2015. multumult proposed from then on what it’s still trying to do now: the
practice of free music exclusively, but also to create a group where different improvising artists can
meet and manifest. This explains our changing avatars, sometimes acoustic, others electric, taking the
ever changing shapes of duets, trios or cvartets.
The nucleus around which all these stories are spinning is comprised of:
Calin Torsan (wind instruments),
Marius Achim (percussion)
Vasile Gherghel (acoustic scenography).
In December 2015 we launched our debut album –
ZIGZAG – with the Thirsty Leaves Music label from Salonic. It contains 3 pieces and was recorded with
Andrei Kivu (electric cello) and Juan Carlos Negretti (drums). The live illustration of the silent film
Din groazele lumei, the launch of our disc (both in 2015), the recent appearance at UNAgaleria and the
FUNEBRU spectacle are our emblematical concerts. A special show was the one given at Mogosoaia Palace at
the Night of the Museums, with Irinel Anghel as guest, an important name in the Romanian improvisation
The next material that we are preparing (FUNEBRU) is scouring the sound space of funerary musics. It takes place in a more ample setting, with a video projection, vocals and dance. A special type of appearance, completely acoustic, is Oglinzi din Orient (Mirrors from the Orient), where the inspiration comes from old Ottoman Empire music. The exotic nature of the soundscape is completed with didgeridoo, tibetan bowls and a non-conventional base of percussion instruments.
"Personnel: Calin Torsan on clarinet, alto sax, recorder & flute; Victor Podeanu on electric guitar; Andrei Kivu on electric cello and Juan Carlos Negretti on drums. Recorded in Bucharest, Romania, in a studio early 2015. While listening to this disc, I tried to recall any other Romanian musicians or composers that I was familiar with. Here’s my short list: three great composers: George Enesco, Iancu Dumitrescu and Horatu Radulescu plus Taraf De Haidouks & Mahala Rai Banda (two ethnic ensembles, pianist Lucian Ban, vocalist Maria Raducanu (with a CD on Tzadik) and violinist Frederika Krier, who played here at DMG in the past. Multumult don’t quite sound like anyone else. On the first piece, “Zig”, the quartet improvise but soon get into a rocking groove which doesn’t last very long. It sounds like No Wave at this pony but soon slows down with some James Chance like bent sax. I like that the quartet settle down to a calm episode for “Dedal”, just under five minutes and just enough time to mellow a bit. The music doesn’t seem to sound Romanian in any way as there of no folk-like melodies to speak of. It is more non-idiomatic, free-flowing, episodic yet organic… The guitarist moves through fleeting Jon Abercrombie-like flashes to Phil Gibbs-like twists & turns. When they speed up again, the clarinet and drums play those quick fluttering lines together. There is a section on the 20-minute piece called, “Zag”, where they nearly Henry Cow-like, but with Olly Halsall replacing Frith (in spurts) for some sections. There is even a short section of wacky vocals which are buried a bit yet fit just right. Since Multumult don’t quite sound like anyone else, I can compare then to anyone else. I am impressed since they seem to move to their own twisted logic. An unexpected treat that seems most promising, especially if this is their debut. - Bruce Lee Gallanter, DMG"
Elektrodoine - a musical program born from our natural attitude and desire to knowing your own roots. If from your family footsteps in time you inherit the still photographs, folklore blesses you with the freedom to play with it, as the potter's clay. As musical improvisers, we have come to the traditional areas where the form was completely absent. Or from the ones where she - the form - it was configured in real time: then and there. Romanian song doina is such an Eldorado, having correspondence all over the world. For the concert structure, we chose some emblematic tools for our consecrated space: whistle, tilinca and caval. We have inserted in the melodic material some details specific to the peasant interpretation, structuring our repertoire so as to reach all the major areas of the musical life of the old community: winter customs, sun invocations, dances, wedding songs and children's games. We poured all this melted silver from the ancestor dwelling directly into the mixer, giving birth to a very tasty sound – as a fabric made out of pixels with tassels.
Oriental Mirrors is a concert formula which digs in to the improvisational methods of the oriental soundscape, with a special accent of the turkish one. The concept was made by natural ways, on the slipstream of our preocupations regarding improvisational music, and also as a response for the specifics of some older or newer areas similar to bucharest instrumental music climate. The rhytmic structures and chromatic modes are the seeds which we have started from, and filling the exotic side with the timbre of some distinct and diffrent musical instruments: the turkish clarinet keyed in G and a muzical instrument called “zurna”, from oboe family. The Oriental Mirrors can be asorted with a video projection, with turkish delights and a foretaste of a special drink called “braga”, and sometimes the music can be intersected with the presentation of the novel called “The Feast” (wrote by Calin Torsan), which tells a story of a political journey to Istanbul. We propose this concept as a symbolic continuum of what has sung over centuries in the south part of our country - Romania, a consequence of the naturally historical turkish occupation.
FUNEBRU is a concert conceived as a contemporary extension for a few funerary musical sources. Each moment has it’s own epic justification, even when things appear to go completely crazy. The preludium’s texture hints at noernia, the romans’ burial song, exclusively executed on the flute. The saxophone is meant to be, in turn, alpenhorn, fanfare element and sonorous climax generator, suggesting in the final dispute with the electric guitar some of the Romanian onomatopoeically games from Trâmpoiele (Alba county), carried on in the first night of the wake. The instrumental grunts are sustained by a video moment, passing the alms to the public and a broken dance.
ZIG-ZAG: Never did them sirens ensnare sailors through beauty, instead magnificence of song. Have not shielded Ulises from bewitchment neither potency of mast he tied his body to nor beeswax he thrust in ear. Has shielded only inner voice, whispering Ithaca. Wandering awhile the labyrinth of exile, home we returned at last. Upon our way was learned that music is but sound. Color, that is.