2014, May. I spend some days at my grand-father place in Boucq, Lorraine. All is very calm, the surroundings are bursting with insects, frogs, birds and animals. I decide to set up the mics very early, to capture the night and the rising sun. The forest is just by the house, the night is very silent, and the dawn chorus suddenly emerges.
Recorded with a pair of Sennheiser MKH8040 on a Sonosax Minir.
Day 9, 4.30 in the morning. We arrive at the Limpopo river just before the cicadas’ chorus. The birds are already here. A bridge is crossing the river, and I set the mics just in the middle, facing North. Some baboons are arguing in the distance. On the other side lies Botswana, that we were exploring a few days ago. It’s the ninth day in this incredible place. It’s also approximately the number of hours I’ve slept since the beginning of the residency. I go back to the truck for a nap in the rising dawn, surrounded by birds and cicadas.
This recording have been made during the first Sonic Mmabolela, a residency / workshop organized by Francisco Lopez and James Webb in Mmabolela, South Africa. Many thanks to them.
Night and day under and near a baobab in the South African bush, Limpopo state, Mmabolela reserve.
1 – Night in the open land Mmabolela reserve, around 1AM. The mics are inside a small group of bushes, in the open land behind the baobab.
2 – Dawn at the water hole A water hole lies at a hundred meters from the baobab. It’s 5AM and a small group of deers comes to vent their thirst. As the sun appears above the horizon, swarm of birds are flying by. Some make a stop to drink, while cicadas wake up. I grab the mics at 7AM, the sun is already high and the temperature is increasing.
3 – The baobab A typical hot and sunny november afternoon under the baobab of Tuli. Groups of birds are playing around the mics, and a probable coqui francolin comes to feed just in front of them. The cicadas chorus resonates and turns all around, before a solitary bird takes over.
These recordings have been made during the first Sonic Mmabolela, a residency / workshop organized by Francisco Lopez and James Webb. Many thanks to them. Recorded with a pair of Sennheiser MKH8040 on a Sonosax Minir.
Recorded in an open area in the South African bush, Limpopo state, Mmabolela reserve.
The landscape at midnight, at the beginning of summer while the nights are still fresh. It has been raining for the past three days and the temperature have dropped. The place is very open. Dead trees with fantastic forms populate the land. The microphones are under one of these.
This recording was made during the first Sonic Mmabolela, a residency / workshop organized by Francisco Lopez and James Webb. Many thanks to them.
Recorded with a pair of Sennheiser MKH8040 on a Sonosax Minir.
Tracks mainly composed when I was at the Conservatoire de Chalon-sur-Saône, in the electroacoustic class of Jean-Marc Weber. Eanna, in 2010, marks the beginning of my exploration of the sedative quality of drone music. Le pèlerin face à l’arbre sec, 2013, is also featured in this album. This was the first time I worked with a musician and wrote a score with staves and notes. I would love to expand Vögel, Käfer und Johann Jacob Froberger mit ein Mikrophon but I have somehow lost the session and all the recordings it is based on.
Old tracks from when I started to compose. Having no musical formation at that time, I experimented and improvised with digital no-input and auto-oscillating filters. Bronzonium is based on heavily processed recordings of a singing bowl. Kosmiche Muzak is also based on the same recordings of the same singing bowl, plus other things that I don’t remember. I remind that it was only a few tracks composed of big stackings of midi notes to trigger samples at different speeds / pitches. All the tracks were done inside Ableton Live and Logic Pro, with the onboard effects. All the original sessions are now lost.
Mage mythique de la Perse antique, Ostanès aurait été parmi les premiers à transmettre les savoirs magiques orientaux aux Grecs. Son rapport à la nature en fait aussi un des pères antiques de l’alchimie. Prenant pour stimulant principal ce rapport aux mystères, la pièce prend pour base le SATOR AREPO, carré magique de l’antiquité romaine, auquel viennent se mêler des mots indo-européens et perses tirés de la tradition zoroastrienne, Ostanès étant dit de la lignée de Zoroastre. Ces mots tournent majoritairement autour du feu, dans sa dimension sacrée et alchimique du feu visible et invisible. Leur signification littérale est toutefois rapidement mise de côté, la musique se chargeant seule de l’exposition et du dévoilement des paroles obliques de l’oracle, qui ne peuvent passer à travers le langage.
Ab uno, ad unum.
Arsys Bourgogne, conducted by Mihály Zeke. La Cité de la Voix, Vézelay. Recording, mixing: Jean-Baptiste Masson.
Commissioned by Why Note. special thanks to Nicolas Thirion and Mihály Zeke.
2018, for radio waves, electric guitar and feedback. This is the first release of Colonne Drone.
For the last concert of my two-year collaboration with Why Note, I invited Nicolas Canot to join me on stage. I was working on radio waves and feedback and I saw his work on mathematical formulas. Colonne Drone was born. What should have been a traditional concert became an audio visual experience, greatly enhanced by the presence of Julien Guillamat and his Klang acousmonium.
Nicolas Canot : video, Zvex Fuzz Factory, Electro-Harmonix Canyon, Electro-Harmonix Pitch Fork. Jean-Baptiste Masson : Vermona Retroverb Lancet, Mr Black Supermoon Chrome, Mooer Tender Octaver Pro, Mooer Hustle Drive, radio receiver, VLF receiver, BC Rich Mockingbird, Mackie VLZ1604. Sound projection: Julien Guillamat. La Vapeur, Dijon, 10 November 2018. Recording, mixing: Jean-Baptiste Masson.
Commissioned by Why Note. special thanks to Nicolas Canot, Nicolas Thirion, Julien Guillamat, La Vapeur.