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INA GRM and Editions MEGO are pleased to announce the creation of a new collection of releases, the Portraits GRM series. Continuing the fertile collaboration initiated in 2012 with Recollection GRM, the GRM and Editions MEGO have decided to offer a complementary series, no longer focused on the "classic" GRM repertoire but towards recent creations commissioned by the GRM to artists from all horizons. This Portraits GRM series will focus on important and emerging figures of the experimental music scene and will highlight the notion of work rather than album. Many releases in the collection will be contemporary works by two different musicians, each piece taking up the space of one side. Longer works however, will fill an entire record. This new series will come to life with the release of two records, the first devoted to the piece Shutting Down Here by Jim O'Rourke, and the second to the works Metabolist Meter (Foster, Cottin, Caetani, and a Fly) by Max Eilbacher and Forma by Lucy Railton. By reaffirming the concept of musical work, the Portraits GRM series seeks to renew with the pioneering work that the GRM Collection series but also the Philips Prospective 21e Siècle collection had achieved so admirably: offer a panorama of current musical experimentations and embrace a more durable scope with works that manage to extract themselves from an increasingly tyrannical and increasingly hazardous present-time. At a time when nothing knows how to "leave a mark", this series aims to address both current listeners, and explorers of the future.
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LP
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SPGRM 008LP
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"Félicia Atkinson's Ni envers ni endroit que cette roche brûlante (Pour Georgia O'Keeffe) is approached as a meditation, not as meditative music, but as a reflection on the art of creation: how to inhabit one's creation, how to convey it, domesticate it and live with it. Drawing inspiration from the artist Georgia O' Keeffe, both in her work as a painter and in the houses in which she lived in New Mexico, and even in the landscapes that surround them, Félicia Atkinson has composed a piece that evokes and celebrates, in a poetic and holistic way, the mystery of art, the somnambulic oscillation that accompanies the act of creating. Blending fragmentary voices, islands of piano, electronic textures and patterns, and field recordings, Félicia Atkinson's music is sincere and inspired, a meditation, then, but also a lesson we sometimes forget: being an artist is not an activity, even less a profession, it's a singular way of approaching the world and, in so doing, densifying it. Richard Chartier's music takes up residence at the frontiers of the audible, on the edge where sound diffracts into an inter-dimensionality where sounds, space, listening and silence recombine in an arborescence of becomings that present themselves to us and then disappear. The space-time in which Richard Chartier's music unfolds is a stretched space-time, barely emerging in the world of sound. The delicacy, precision and accuracy of the composition Recurrence.Expansion lies precisely in this dialogue between a shape that is exposed and developed in an inspired and masterful way, and the sonic biotope in which this shape develops. It is from such an encounter that the singularity of Richard Chartier's music emerges, music of attentive listening, but also sensitive, inhabited music, a music of discreet metamorphosis." --Francois J. Bonnet, Paris, March 2023
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