Search …

Finds the word(s) if they exist anywhere in the product information. To restrict the search to a fixed phrase, "put it in quotes".

(Échos)

26143
  • Title: (Échos)
  • Artist: Pali Meursault
  • Label: Dôme
  • Format: LP
  • Genres: Experimental Electronic, Electro-Acoustic, Field Recordings, Ambient, Noise, Misc France
  • Price: €14,50EU (incl. 19% VAT)€12,18non-EU

"(ÉCHOS) is not a documentation about a festival, it is not a compilation or a remix album. And yet some of these things and more are infusing through the 15 tracks of the record. But mostly, (ÉCHOS) is the interpretation of a place and moment in sounds, an essay in alpine electroacoustics.

The proposal made to pali meursault was both very clear and a bit vague: recording a place, the context of a festival and the music made by 14 artists, in order to recompose an original creation. With, for reassurance, a formal request addressed to all: “would you agree to have your music captured, appropriated, revisited, re-interpreted, maybe even betrayed?”

If such a thing was possible and had any meaning at all, it would be because of the place: the valley of Faï and the giant horn speakers that had been set up there 20 years before to echo against the cliff on the other side. Invited the previous year, pali knew that playing there implied to let go of sounds (more than usual). To hear them - to almost look at them - disappear into the mountain and come back transformed: a few seconds' echo and already they belong to the valley.

So the place was appropriate for listening (and capturing) the music with the environment, without making one more important than the other. Recording, without distinction: man-made and amplified sounds together with the acoustics of the place (the famous echoes), with the climate (the weather changes swiftly at that altitude, you know), animal presences (wild and domesticated), society (the valley is inhabited, and overcrowded during the festival), all that through the filter of technology (some devices are interesting because they go beyond normal hearing, but also for their flaws, the accidents)… The list goes on.

Deconstruction and interpretation are always a part of sound recording. They are always part of listening, actually: our perception is cut out from reality and then recomposed. Here, such an idea is carried out as a working process. And the possibility (as implicitly offered to the audience of the festival) of transforming the music in real-time by walking and experiencing the landscape, is defined as a method. The electroacoustic sound matters that compose (ÉCHOS) were collected in proximity, from a distance, from very far away, underwater, off of resonant surfaces, through the ground… A chance hike along the paths of the valley looking for what sounds, what it sounds like, how far it would sound.

And then came the time for composing in the studio, with its decision-makings, tricks and recipes, attempts and dead-ends. But that is not so interesting: it was only about slowly growing what was already in the recordings."