The Story of Robert Volant – Album Review

At the beginning of the year, with The Story of Robert Volant came the first album by musician marc moraire. Not only is the album design a real eye-catcher, but the structural composition of the album also stands out immediately: five acts, ten scenes. A musical drama in English. With Ben Westerath (Studi(o)bühne) and Kim Helbing (Band: Macondo), he has brought two further artists on board to underscore Robert's soul journey through their voices. In an interview, the former student spoke with us about the album's intention.

Online, you don't find much about the artist marc moraire, who also built up his artist page with the album release at the beginning of the year. "I make music to get rid of what the big wide world puts into my head. I let myself be influenced by everything that surrounds me. I would like to create music for art films and actively participate in such projects. I am always looking for interested parties, so if you can imagine to work with me, feel free to contact me!", he reveals in the self-description of his Facebook profile. He wants to get rid of through his music what the world puts into his head. He makes psychedelic music with influences from the entire history of music. In personal conversation with the artist, it becomes clear that this is no mere platitude, because marc moraire has successfully studied musicology in Würzburg through to his Master's degree. The accumulated knowledge, as well as the breadth of historical and international instruments, are clearly reflected in the album and merge into an extremely successful composition. He says: "I definitely wanted to have made an album by the end of my Bachelor's, now it took a bit longer. I was very pleased when I finally had the CD in my hands. And I am very, very satisfied."

The Story of Robert Volant is a musical drama in English, conceived in the sense of Aristotelian drama. The classical five acts are subdivided into ten scenes. One act consists of two scenes, one spoken and one musical. In alternation, the protagonist Robert Volant tells what he has experienced, followed by the musical part, in which the chorus enters into conversation. Ben Westerath reads Robert Volant, Kim Helbing sings the chorus or the voices. The five acts together form the classical dramaturgical triangular structure: beginning with the exposition, in which the characters Robert Volant and the voices are introduced and the situation is set, the action intensifies in Act II, reaches its climax in Act III and then falls away again, until in Act V the catastrophe occurs. The story begins with the protagonist finding himself in nature. He describes what he perceives, how the shadow of a tree tickles his eyes and he awakens from what seems to be a daydream when he hears voices. With a gong, these voices announce themselves, the sounds gradually intensify, become more electronic, more dynamic and yet remain restrained. Robert Volant addresses the voices directly, asks what they want from him, and begs them to reveal themselves to him. They obey his call and in Act II Scene II resound still gently, but with a clear message: "We are the past passing through, and most of all, we are you". The music charmingly leads to the climax of the action. Alongside the voices of the chorus, Robert Volant suddenly also hears the voices of the deceased, ancient spirits. The spirit world touches him and tells him: "We did not die for this". And he stands before the grave that we dig for ourselves, feels the destruction of nature and the betrayal of his ancestors. "When the wick is burnt down, there is no garden of eden. Only desert", he speaks and in the next step probably addresses all listeners or himself when he says: "Choose life. Are you brave enough?" Calm guitar sounds calm the mood at first. Short pauses emerge and are broken through by the powerful voice of Kim Helbing: "What are you hiding? Why are you pretending? What will you stand for?", the voices ask. Experimental percussion and rhythmic guitar sounds mix with high, free tones of the singer. With a calm voice, Robert Volant then stands by the river, sees in the water's surface the reflection of a person he barely knows. In the face of the blurred, staring mask, the eyes open a window to the soul and he immerses himself. The voices want to take possession of him, say that now is the time for him to die and transcend. Whether Robert Volant actually dies at the end of this story and catastrophe occurs, however, remains open to the interpretation of the listeners. Skilfully, marc moraire opens a paradox here at the end, before the chorus resounds one last time and takes the protagonist with it into eternity. Gentle sounds, various percussion instruments and a delicate rustling at the end accompany and complete the soul journey.

Musically, quite a lot is on offer; the artist revealed that many of the instruments used come from the historical instrument collection of the Institute for Music Research. From singing bowls and shamanic drums to an old piano and various percussion instruments from the African, Asian and South American continents, everything is represented. Everything was recorded by himself and mixed by WillWasser Riddims. Musically, Pink Floyd and The Doors provided the inspiration for such a cohesive, harmonious album, whilst literarily it was some French Symbolists such as Charles Baudelaire and Arthur Rimbaud. During his bachelor thesis, he also engaged intensively with The Doors' song The End. The influences are reflected in the symbolic and metaphorical language. Between the motifs of knowledge, escapism, change of mind and soul journey, the question arose as to how similar Robert Volant and marc moraire are. marc moraire: "(laughs) I think quite similar. I think there's quite a lot in there."

It is a very elevated language that has been chosen here, and in the sense of Early Modern English it recalls the Elizabethan age and Shakespeare. He received support from Michael Labate in this regard. Good English language skills are definitely required. Anglophiles will get their money's worth; for everyone else it would be advisable to have the text to hand.  

Conclusion: This album is both acoustically and literarily a genuine pleasure and thus not just something for music lovers. The only drawback remains the missing booklet. However, the artist reveals that he is happy to send these personally upon request. You can reach him via Facebook or Instagram (@marc.moraire). The album can be found on Spotify, Amazon MP3 and YouTube Music. Also as a CD at H20 Records (Karmelitenstraße 28). 

marc moraire recommends studying musicology in Würzburg: "It is still very conservative, but even if you are interested in pop music, there are a few lecturers and ways to bring your interests in. I really enjoyed studying there."