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CD
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SHELTER 136CD
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A ritornello that awakens, unfolds, disappears, resurfaces, transforms, forgets itself, awakens again. A ritornello in folds and hollows, which gives us something to see as well as to listen, a theater of acoustic shadows where each timbre, each rhythm, each modulation, is born from a meticulously refined gesture. "I don't write music, it's an assemblage of gestural memories", says Thomas Bonvalet. Gestures found, accidentally or not, through long practice: such keyboard rubs on such guitar while preparing a concert, such tambourine vibrates in a singular way when placed on such amp, the duration and intensity of breath given to the flute so that the strings of the open piano decline and reverberate the harmonics... Gestures that are both very skillful and very simple, that sovereignly refuse the categories of modern and archaic, natural and cultural. Instead, they summon an entire genealogy, both intimate and collective, musical and technical, the memory of a thousand different pieces from a thousand different eras. There is no path, in fact, no path at all in this dismantled world. There are, however, these gestures that allow us to search for the human measure, that allow for a new attention to be given to bodies, objects, space. Gestures that invent new relationships between themselves and other ways of being alive, gestures to be worked on and shared endlessly. "It's fragile, it can always fall apart. I have to fight, to stay in tune with what is at stake in a piece, to breathe into it what will make it stand up. And so, the ritornello continues its mutations in the folds and hollows of our own memories."
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LP
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SHELTER 136LP
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LP version. A ritornello that awakens, unfolds, disappears, resurfaces, transforms, forgets itself, awakens again. A ritornello in folds and hollows, which gives us something to see as well as to listen, a theater of acoustic shadows where each timbre, each rhythm, each modulation, is born from a meticulously refined gesture. "I don't write music, it's an assemblage of gestural memories", says Thomas Bonvalet. Gestures found, accidentally or not, through long practice: such keyboard rubs on such guitar while preparing a concert, such tambourine vibrates in a singular way when placed on such amp, the duration and intensity of breath given to the flute so that the strings of the open piano decline and reverberate the harmonics... Gestures that are both very skillful and very simple, that sovereignly refuse the categories of modern and archaic, natural and cultural. Instead, they summon an entire genealogy, both intimate and collective, musical and technical, the memory of a thousand different pieces from a thousand different eras. There is no path, in fact, no path at all in this dismantled world. There are, however, these gestures that allow us to search for the human measure, that allow for a new attention to be given to bodies, objects, space. Gestures that invent new relationships between themselves and other ways of being alive, gestures to be worked on and shared endlessly. "It's fragile, it can always fall apart. I have to fight, to stay in tune with what is at stake in a piece, to breathe into it what will make it stand up. And so, the ritornello continues its mutations in the folds and hollows of our own memories."
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CD
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SRR 048CD
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"L'Ocelle Mare is the solo project from Thomas Bonvalet, guitarist from Cheval de Frise. Energy, technicity and sincerity characterize this new recording. Think about an original soundtrack from a French movie produced in a quarry or in a neglected old church, and you are listening to L'Ocelle Mare. Thomas toured with bands such as Deerhoof (Kill Rock Stars), Gorge Trio (Skin Graft), RadiKal Satan (Potagers Natures) and Chevreuil (RuminanCe) and his musical language wants to tell us something beautiful: playing guitar only, he's looking for new tones and acoustics. His musical approach reminds us of John Fahey and David Grubbs. Recorded in different deserted French places in July 2006 (one week), you can heard silence in a ruined stable and bats in obscurity. Thomas already had the passion for those places and give us for the first time -- on recording -- the real sensation to be set down with him in those dark places. Sounds of guitar and percussion throw us in an obscurity where each musical note is a light."
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