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Tactile synths from Romain de Ferron provide melodic volleys and lead-ins, filling in with atmospheric swells. Taken as a whole, each track is an exercise that sees all parts settling into a groove, gaining the elastic energy of Ege Bamyasi or some of the less proggy albums on Silence Records. Sung in her native language, lyrically my schoolboy French is missing a lot of the finer details; but boy her voice is lovely, skips effortlessly on through.
Its origins are uprooted to flow more dub-like in a brushed reggae-like elegance spiked in a loose concussive unwind. Florence Giroud: The story begins in the Great lakes area with early rehearsals in , bringing together five musicians to write a full-length album to stand in for the third act of an opera I was working on at the time. The word opera, melding together equal parts sculpture, installation art, performance as well as concerts, delves into a kind of ritual endeavour, meant to be a free-form experience influenced by cut-up and fragmentary composition.
From the onset it all comes from a floating world, the unreal, its scraps, visions. Then comes the transformation into written word, images, music, voices, artefacts, becoming lost, becoming tales, in search of a specific language. My sculptures feed on stories and prompt their own sequences, they bring about music, while having no set future, in their essence remaining shape-shifting.
Through its instinctive nature, music can focus attention on a certain framework. On graduation night we had a big party in an old disused railroad tunnel with a bunch of wild bands playing live, there were about fifty of us and it was insanely intense.