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?
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.
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
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.