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LP
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REGRM 021LP
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"Allégeance Volatile" and "Esquive" each tackle the same issue in their own way. Overcoming time: whether it be successive, additional, enumerative, or repetitive. However, there is nothing here about the ensuing nature of so-called "repetitive" music. These are types of high-end music. And it is more about insistence, the obstinacy of an individual who keeps knocking on a door that will never open. The rustic drumming of "Allégeance", talkative, acidulous, colorful, and over-articulated, with almost clownish desinences, eventually dies out in this very respite. The iterative and puffy shimmering of "Esquive" with its dull, thin and precise sounds, shifts and is engulfed into another sonic world -- which appears as a gaping and collapsed response to this prime insistency. This is, indeed, a "volatile allegiance" and "avoidance" from the sonic to the musical elements: the musical phenomenon anticipated and pursued as the non-sound of sound -- or, in other words, the void of sound. This seems to be the lesson of the concrete attitude in music. Such is the kind of questioning that stirs the composer. He returns with another title: "Contrée", which, once again, speaks of a counter-event. Here, the movement is broader, more generous, more confident. Time spreads and stretches out. What seems to be a landscape of entanglements, trajectories, influx, masses, and points emerges. "Something" rises and presents itself out of the sounds -- these escaping beings, these "relatively short combustion flames" (Schaeffer). The piece consists of five consecutive and uninterrupted parts: "Entrée" and "Stance I" -- "Véhémence De L'air" and "Stance II" -- "Grande Allure". It is the central section of an electroacoustic triptych with Sables (2011) as the first and Nil (2017) as the last. "Contrée" is dedicated to Philippe Mion, whose friendly ears have been entrusted with my music for so many years. Translations by Valérie Vivancos. Layout by Stephen O'Malley; Photos by Stéphane Ouzounoff and Bernard Bruges-Renard. Coordination GRM by François Bonnet. Executive Production by Peter Rehberg; Mastering by Mathias Durand; Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018.
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CD
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INA 5008
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Debut INA GRM CD by this young French composer, featuring 2 works: "Futaie" (1996) & "Tchernoziom" (1998). 33 minutes of music, released as part of INA's cheaper short-length CD series. "'Futaie' unfolds in time like a long, slow sentence in which only the punctuation remains. 'Futaie' is composed of immobile masses and lightning flashes that oppose one another making the piece a fleeting moment that has been hollowed out, widened and extended. A succession of temporal occurrences convey the feeling of dual time, of a 'common presence' of events the duration of which is both individual and joint, similar to the way in which trees form a forest. 'Tchernoziom' is the continuation and amplification of work on the tremor of sound sketched out in the central section of 'Futaie'. It is a study on effusive sound material that is both undeveloped and renewed. The grain of which constantly suggests possible interruption. The result is one of fleeting ideas and precarious stability of the overall structure. 'Tchernoziom means 'black soil' and refers to the lands in the Ukraine that are renowned for being extremely fertile."
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