Produced by the french label Prisme, this album is an experimental music collaboration between eight artists : Joël Lavoie, Bruno Bernard, Léopold LeRoy, Chienvoler, Trismus, Léopold Cordier and the Terre Synthe duo.
Narrativa, my contribution to this unique project, is an exploration, in the form of a sonic story, of multiple emotional plasticities, oscillating between turmoil and sweetness.
To support the raw aesthetics that come out of this compilation, visual artist 6mash6 (Martin Saint-Hillier) has created an experimental film based on VHS camera archives, slides, scratches, collages and paintings.
2023-2024
Margo is a patched composition in which I had fun manipulating loops from an improvisation played on an organ from the seventies as well as a rhodes keyboard full of character.
The narration of the piece is strongly supported by ambient recordings that I have captured in various places between Provence and the French oceanic coasts, under the kinds of humid rains inviting friendly snails.
For the video, inspired by the work of Jacques Perconte, I trained myself in the destruction of visual materials through a process called datamoshing, breaking images in a way that seemed to me to be attuned to the means I put into action in musical composition.
2022
Textures Organiques is an experimental musical collage composed initially for a project by Théo Brice, which displayed magnificent close-up photographs of various vegetation.
The beauty of his work, captured during his travels, inspired me as much this music as this video, which I created from recordings made during my own expeditions in France.
Places captured on the microphone and-or the camcorder:
• Atlantic Ocean from Noirmoutier
• Vercors forests
• Mediterranean of CollioureMéditerranée de Collioure
• Lake PaladruLac de Paladru
• Lake NantuaLac de Nantua
• Pyrenean Train
2020 – 2022
Vent d’Antan is an instrumental music composed for a client wishing to have meditative original music with ‘Ancient Egypt’ sounds. For this, I used a Duduk, a Pku, an Oude, a Kemençe, as well as a Double bass.
This composition gave rise to a version with voice, which I mixed and of which here is an excerpt :
March 2021
The idea of this composition was born from the desire to symbolize the gentle and slow arrival of an orgasm, through repetition, a cycle without real rhythmic support point, in which sensations are forgotten, last forever and merge.
A short making-of video explaining the origins of the clip is available here.
October 2018
Fantomas is a semi-improvised composition in three acts mixing the sound textures of a church organ with those of a granular Rhodes piano, all accompanied by a modular synthesizer.
2018 – 2020
Pépins is an improvisation mixing piano and granular synthesis in a dreamlike sound journey.
2018
Rétrophyte is a 43-minute improvised performance on the occasion of the second edition of the Variations Numériques festival in Saint-Étienne, whose aim was to confront the sounds of an organ from the 70s with those of the modular synthesizer.
Sound and recording : Philippe Landrivon
Video : Variations Numériques
Visuals : Anne-Sophie Brunet
February 2020
Convalescence, un camp des sens
A stay in a hospital was for me the opportunity to put myself under the constraint of writing and improvising with only the modular synthesizer as an instrument.
January 2020
Départ is my first completed solo composition. This one was born both from the growing need to tell stories without text, but also from my encounter with the universe of electro-acoustic music. Although composition does not belong to this genre, it is the method and reflection of this “school” that I started using informal tutoying to facilitate the relationship between the piano and ambient sounds.
September 2018
Agora is my first attempt at purely electroacoustic composition. The exercise was to first imagine the story of a person feeling as bad outside as inside, then to go capture each of the necessary sounds without using my sound bank already made, in the spirit of working by constraint. The pure electroacoustic genre does not attract me more than that, I appreciate the work and reflection of the montage it requires, but do not know to this day if it will be repeated.
November 2018
Technolobby is, in fact, an editing exercise. I fished out an improvisation session with a friend, in order to practice musical editing with a size constraint: five instruments are recorded on two mono tracks. The electronic and noisy nature of most sounds led me to direct my writing towards the idea of a travelling camera traveling through different industrial atmospheres. I was able to use sounds recorded in factories for this purpose, notably an inner tube.
September 2018