“Concret-Sens” reviewed by Déphasage

The show ended with Emmanuel Mieville and “Concret-Sens” released on Cronica at the end of the last year. This french sound artist is close to the electroacoustic school of the GRM from which he took some teaching. This is not a coincidence if he has chosen this title that is a reference to an adjective used by the composer François Bayle to describe in his music, the concrete substance of the sounds he used. Their texture, if we can say that, that gives them a materiality.This term is also playing on the meaning of “sense” that means “direction” here, we can talk about the direction towards the concrete of sounds, in more simple terms, where does their substance lead us ? This is one of the questions that we’re asking to ourselves when we listen to those three pieces appearing of “Concret-Sens”. Emmenuel Mieville plays here with the soul that characterized some sounds, and as the late-lamented Bernard Parmegiani said “the sounds objects are living souls”, we can say that this sentence finds a certain justification with this release. Everything is terribly living no matter the type of sounds we’re hearing, from the neon lights and electrical outlets that we encounter on “Cillages” to the field recordings and other “corps sonores” captured and finally transformed or not. This a true biotope of fixed sounds to which we attend here, a deep wild sonorous life.

via Déphasage

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