"Triola (1978) marked my return to the studio after several years of absence, a return, which for unknown reasons, needed to be part of a rather ambitious project - a strictly personal idea... this is how my mind slowly turned towards the design of a musical narrative meant to stand for a relearning of the trade, the temptation to use purely electronic material so as change it into something other than itself, a wide range of form(s) and, when possible, a work, if not a musical piece. In order to understand Bizarra (1972), it has always been possible to follow two paths, quite different if not divergent. The first one relies on an imagery whose roots I would gladly trace back to Lautréamont's "deserted swamps" and "emanations" and to which I would add boiling lands, wet forests, volcanic landscapes and all kinds of entrails. The other path is that of the realities of a studio where, like a craftsman, the composer manipulates, stretches and releases with his fingers a (magnetic) tape, facing the ears of a (magnetic) head, trying to find the narrow door for the "real" sound to pass through." (I.Malec)
soon in stock - please pre-order | AT| 2012| RECOLLECTION GRM | 16.90

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