Tag: drone

The Art of Drone Warfare

2019, for radiowaves and electronic.

This piece was composed for the Art of Drone Warfare popup exhibition in the Millenium Gallery, Sheffield.

Drones are the first step to an externalisation of war: acquisition of data and engagement are made from a distance, through sensors. Intelligence becomes primordial to contextualise the data received and surveillance – also made from a distance through sensors – arise as a central and constant need. A probably extreme reading of this could be to establish a parallel with predictive maintenance: a constant remote surveillance to establish when, where and how take action.

An underlying ominous presence was then the main idea behind the music. Distant voices, stolen communications, non-directional melodies, juxtaposition of elements: if it’s enough to build something, is it enough to build a meaning?

Commissioned by the University of Sheffield.
special thanks to Beryl Pong

Colonne Dijon

2018

Colonne Dijon is born from the my piece The Irrepassable Gate.
I was therefore following the guidelines of my score, Nicolas was improvising while following his own score for the video.
We had the chance to have our music projected by the expert hands and ears of Julien Guillamat, on his very-own Klang acousmonium.

Église Saint-Vincent-de-Paul, Marseille.

Nicolas Canot : 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.

Recorded and mixed by Jean-Baptiste Masson.
La Vapeur, November 10, 2018.

special thanks to Nicolas Thirion, Julien Guillamat and La Vapeur

Colonne LM

2018

Live impro at Le Lieu minuscule, Reims, September 27.
special thanks to Aurore Dudevant and Philippe Zulaica.

Église Saint-Vincent-de-Paul, Marseille.

Nicolas Canot : Waldorf 2-Pole, Zvex Fuzz Factory, Electro-Harmonix Canyon, Electro-Harmonix Pitch-Fork, Max MSP, Soundcraft Signature 12 MTK.
Jean-Baptiste Masson : Vermona Retroverb Lancet, Mr Black Supermoon Chrome, Mooer Tender Octaver Pro, Mooer Hustle Drive, BC Rich Mockingbird, radio receiver, VLF receiver, field-recording, Mackie VLZ1604.

Drones

2007-2016

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.

Betelgeuse, ESO.

The Irrepassable Gate

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.

Église Saint-Vincent-de-Paul, Marseille.

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.

Le pèlerin face à l’arbre sec

2013, for baryton saxophone, electronic and field recording.

Au fond de la tombe, dans la cendre résiduelle, se cache le diadème du roi.
Prends lui son âme et rends-la lui, car la ruine et la mort d’une chose vont de paire avec l’enfantement d’une autre. Cela veut dire : vide-la de son fluide corrupteur et rends-la grosse de son fluide naturel, qui sera sa vie et sa perfection.

Johann Daniel Mylius, Anatomia Auri, 1628.

Baryton saxophone: Carl-Emmanuel Fisbach.
Field recording, electronic, recording and mixing : Jean-Baptiste Masson.