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    Since Lieven Martens Moana's(Dolphins Into The Future) last lp, the massively
    overlooked "Music from the Guardhouse", our composer has moved from the
    islands of Okinawa to the Swampland of Mexico City to the Portuguese
    countryside, running his Private Press, and composing music for ensemble and
    commercials. This very pluralistic life-style and commitment has led us to his first
    full length record in three years: "Idylls". Presented as a 12 page book with an LP
    disc, the listener first hears concentrated and intentional sound-prose poems of
    the life of Robert Louis Stevenson as Martens attempts to "see through the eyes
    of RLS". Because of Martens ability to poetically reflect Stevens' obsessions, we
    can hear field recordings, not just as documents, but as compositions and
    imaginative story-boards of a poets journals in the locales of Polynesia. As we flip
    sides we enter into the colorful and active aspect of Marten's palate. Flowing from
    active electronically treated thumb piano to tranquil serene alien piano, growing
    towards a rumbling volcano and settling into archaic Goldberg Variations by Mia
    Prce of Miaux, the listener is now startled by Captain Moana's refusal for his
    music to be pure inspired decoration, but instead a world of prose and storytelling.
    By now, we ask ourselves what has changed in the music of Lieven
    Martens Moana? Its is for certain on "Idylls", that with a Polynesian Fascination
    seemingly unchanged, the intellectual palate has grown so much, that what we
    have in front of us, are wildly colorful and intellectual compositions that seem to
    have arrived from a literary mode, and grown into pieces that have an illusively
    romantic allure. The uniqueness of "Idylls" rests upon the artists willingness to
    arrive at strange and difficult compositions by way of natural story-telling and
    inspired readings; Martens further exacts his process, away from just
    appreciating Polynesia, and into the act, that Gaugain and Stevenson might have
    enjoyed, of symbiotic immersion. We can for certain hear from the Captain
    "Being("Idylls") a portrait, an ethnographic study, an exotic illustration and a ritual. The latter
    used in the most mundane sense ever, since I’d like to stay far away from a sensational
    bubblegum approach to (religious) ethnography, to the copying of ethnic behaviour, or to
    approaching it as something odd or weird. These behaviourisms unavoidably invoke the end of
    all rituals, thus making the world a duller place. As being interested in the exotic, (c.q. the
    exotist), an act under constant scrutiny, it is a duty to observe and sustain, to withdraw and
    Pacific City Sound VIsions is extremely stoked to present the new works by
    Lieven Martens Moana, in the year 2017, as we continue to grow and expand with
    an artist revelling in pushing his initially beautiful instincts to a point where they
    begin to be outright living intellectual endeavors.
    -Spencer Clark, Pacific City Antwerp, Belgium

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released July 18, 2017


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