Ce que la sylve révèle de l’astre jeune

Joseph Schiano Di Lambo

« I like the idea that the watchtower, originally designed to kill, was only used here to watch the star being born and fall between the trees. »

« WHAT TOUCHES ME ABOVE ALL WITH SYNESTHESIA IS PRECISELY THIS: ITS ENCOURAGEMENT TO JOIN WHAT IS DISJOINTED, TO WEAVE INVISIBLE BONDS. »

Joseph Schiano Di Lambo

Dallol

Cyrus Bayandor

"I was keen to portray the idea of wanting to stay in this beguiling place longer, but you physically can't because of the heat. In the departure from the acid bath is not only the beginning of consciousness but also the first moment of the landscape 'reacting to you'."

« TO PORTRAY THE IDEA OF WANTING TO STAY IN THIS BEGUILING PLACE LONGER, BUT YOU CAN'T BECAUSE OF THE HEAT. »

Cyrus Bayandor

Quanta

Erwan Sene

"Multiple grains layered on 50% of each other, and played at different speeds, phases, volume, and frequencies to create new bridges between sense receptors with the sound. To use the idea of color in music, that is open to reformulation."

« HUMAN SCENT USES APPROXIMATELY 400 OLFACTORY RECEPTORS WHILE ALL THE COLORS WE CAN PERCEIVE IN THE VISUAL SPECTRUM ARE THE RESULT OF ONLY THREE TYPES OF VISUAL COLORS. »

Erwan Sene

I saw the manta

Buvette - Cédric Streuli

"I just had to imagine that I was deep under the sea, or in the belly of a whale,’ writes Streuli. Having no formal training, he eschews the vocabulary of time signatures, diatonic scales and tempo, and communicates instead via the language of ‘sensations, dream memories […], smells, tastes and panoramas’ when collaborating with others."

« IT WAS ALL ABOUT COLORS, SMELLS AND SENSATIONS. THE PIECE HAD TO BE MORE ‘BURNT’, ‘LIQUID’, OR ‘YELLOW’. I REALLY WANT YOU TO FEEL THE WATERINESS IN 'I SAW THE MANTA’— FEELING YOUR BODY FLOATING, SURROUNDED BY BUBBLES IN HALF-LIGHT. »

Buvette - Cédric Streuli

11-11

Clément Varièras

Using fading smoke as a metaphor for the phenomenon of disappearance, Variéras engages multiple synthesizers, including an Arp Odyssey, in delay effect and repetition, to ‘erode the original source at every iteration, and thus make it slowly disappear, like a curl of smoke in the air.’

« MANY OF MY COMPOSITIONS ARE RESIDUAL NOTES FROM MY BODY TO MY MIND, HELPING ME TO RECALL WHAT CAN’T BE WRITTEN IN WORDS. »

Clément Varièras

FIRST TIME

Cédric Marszewski, Clément Froissard, Pilooski, voice by Jarvis Cocker

Memory and the ocean underpin two compositions resulting from a collaboration between French DJ Cédric Marszewski—better known as Pilooski—and musician and composer Clément Froissart.

« SOUNDS ARE DIRECTLY LINKED TO A MOMENT. THEY CAN FORM A BASIS FOR WORK, OR ACCOMPANY OTHER SOUNDS. BLENDING SOUNDS, CREATING LAYERS, IS THE KEY. »

Cédric Marszewski, Clément Froissard, Pilooski, voice by Jarvis Cocker

NOLINA

Pierre Rousseau

Invited to transfigure ‘matter’— the essential base of this first sequence, present in each of its preceding constituents—as sound, Pierre Rousseau envisaged a sort of talisman: ‘a constant to be carried around regardless of context, modifying any space passed through by the wearer’.

"THE OVERARCHING MOTIVATION BEHIND ANYTHING I DO IS ALWAYS TO TESTIFY, OR TRANSMIT, THE FUNDAMENTAL BEAUTY THAT I FEEL FOR CONTRASTS AND CONTRADICTIONS WITHIN PIECES OF MUSIC AND ART."

Pierre Rousseau