Saint-Ghislain, WAL, Belgium
Anantakara, a Sanskrit adjective meaning to make infinite, is a Belgium based multi-instrumentalist composing and publishing music since 2011. Philippe Wauman , the man behind the project, likes to describe himself as sound calligrapher: making delicate blends of ambient, electronica, downtempo, ethnic, neo-classical and jazz.
I see myself as a passer of intensities… I somehow trace a path that goes from sound to being, in the quest for a meeting point between opposing tensions: a mysterious point that regenerates and fulfills… Probe the unfathomable, one could say.
Album “Transmuted By on Aural films (October 2019)
single Riding the Flickering Crests (The Shaman Lodge Song) (September 2019)
single Show Me Me Your Wonder (June 2019)
single Shimmering (April 2019)n
single Link to Mountain (January 2019)
Album “Momentum Lapses” – (2018)
Album “The Never Dying Fire” – (2017) – Dance between joy and sorrow coiled in the cells of time – the colors of the heart
Album “Follow The Vertical Hollow” – (2015) – Cinematic explorations and film music
Album “Hymns 64:46” – (2014) – Sound and acousmatic journey played live in the Romanesque churches of Waha and Somal
Album “Third Eye Manifesto” – (2013) Anantakara & Mukti – Musical duo – electro-ambient, guitars and vocal singing combined.
Album “Unlock An Immortal Seal” (2012) A journey into the closed spaces of consciousness: it is about death, immortality, motherhood, trance, incantations, the soul and its depths, anger, the inner horizon, presence, the path from the heart to the self…
Album “la couleur des jours” (2011) – First opus of a series exploring the concept of Musique des Couleurs. Between contemplation and pulsation
would you smile to introduce yourself?
I see myself as an artist-philosopher. A passer of intensities… I somehow trace a path that goes from sound to being, in the quest for a meeting point between opposing tensions: a mysterious point that regenerates and fulfills… Probe the unfathomable, one could say. What is central to me is to let myself be crossed by a verticality that infuses a horizontality and creates a state of openness within “sound spaces” where the Vast and the Intimate dance together.
Could you describe your music in a general way?
Musically I am in a sound that could be called electro dreamlike or contemplative experimental ambient. I compose what I call “sound and vibration calligraphies”. I “draw” sound figures that use multiple VST (Virtual Studio Technology) instruments ranging from mbira (African thumb piano) to changing synthetic textures, as well as rather electro rhythmic structures. Sometimes melodic volutes led by string quartets arc… For me it is a question of visiting the pivotal experiences of human existence. From one album to another I can dive from the bright to the darker, or the other way around, through my life experiences and encounters. I want my freedom to explore what is happening rather than conform to a style or musical trend of the moment.
Let’s come to Momentum Lapses. How would you present this particular album?
This album is the expression of a year of journey: the one I went through following a brain hemorrhage and the chaos it caused… It is an invitation to initiate a dynamic of resilience, to find unknown springs, and to welcome a new development. When the praise of luminescence comes to sing on the parapets of reality, the night undresses under the gaze of the luminous… The waiting was long and the languor fertile. The sunrise shows its beauty: the one that cannot be grasped, but which can be seen on the edge of a dawn full of crystalline pleasure…
What is the substance and instrumentation of this album made of?
Immensity of sound animated by pulsating movements, soft rhythms slightly hypnotic, the fine light of a piano, emanations of plucked strings dancing, brass vibrating, joyful and colorful ethnic percussion….
The title and subtitle of this album refer to time and its suspension. A classic question in Philosophy is “Can man escape time?” What do you think about Momentum Lapses and especially about the song Spiral Bridge To Timelessness?
On this track I used a sequencer that generates infinite spiral structures. I pick up the progressions of notes like so many shooting stars emerging from the sidereal which orders their appearance. A kind of temporal apnea extracted from a sound pattern that could extend indefinitely. We have all experienced moments of “suspended time”, kinds of oases that give the subjective impression that the course of time has stopped for a moment. Children who play are familiar with this state of mind. Some meditative practices also lead to it, as does artistic activity.
To rebound on the more philosophical part of your question: what time are we talking about here? The “clock time”, quantified, scientific? The linear one, in which a story, a narrative, a piece is inscribed? BERGSON spoke of duration as the intimate time of consciousness, more “real” than measured time. He believed that art allowed access to a kind of knowledge of what escapes measurement and opens the door to the metaphysical dimension. JANKELÉLÉVITCH, his disciple, will amplify this intuition in his “aesthetics of the ineffable”. We do not escape mechanical time, of course, but there are temporalities that are as many rhythms of consciousness, some of which lead to other temporal spatialities. In this way, music offers a privileged support that paradoxically passes through a performance in a time made up of measures.