Over a triptych of albums, Soundwalk Collective and Patti Smith have explored the work of three defiantly individualistic French writers: Antonin Artaud, Arthur Rimbaud, and now, René Daumal. The primary inspiration for the collaboration’s latest and concluding chapter, Peradam – streaming at Bandcamp – is Daumal’s final, unfinished 1944 surrealist work Mount Analogue: a Novel of Symbolically Authentic Non-Euclidean Adventures in Mountain Climbing. The album title references the philosopher’s stone in Daumal’s narrative, which is visible only to the truly enlightened.
In keeping with the rest of the records, this one features both found sounds and musical performances. Septuagenarian Sherpa Dhan Singh Rana sings the opening number, Nanda Devi a-cappella in his native vernacular over sounds of wind off the Himalayan mountain. Smith narrates the title track over Tenzin Choegyal‘s singing bowls and spare, hypnotically loopy percussion. “The gateway to the invisible must be visible; the gateway to the visible must be invisible,” she observes.
Knowledge of the Self features Anoushka Shankar’s lingering sitar: she has a distant connection to Daumal, as he went on American tour with her uncle, dancer Uday Shankar. “Your fondest theories vanish before the wall of appearances, that veil of colored shapes, sounds…this is where you started, but you chose the wrong door, instead you fell asleep at the threshold and dreamed your beliefs about the world ” Smith intones in Spiritual Death, a gnomic, Gurdjieff-like challenge to seek enlightenment.
Charlotte Gainsbourg half-whispers The Four Cardinal Times in Daumal’s original French over jungly nocturnal sounds and atmospheric keys from either the group’s Stephan Crasneanscki or Simone Merli. Smith offers an English translation of this shaman in action, which continues with greater detail over temple bells in Hymn to the Liquid.
Anoushka Shankar returns for Vera, a strangely murky tableau. Smith’s poem The Rat, an eco-disaster parable, closes the album over ambient samples and a bassy thud. This album doesn’t have the chilling intensity of the ensemble’s previous Rimbaud tribute; then again, it wasn’t meant to.