Un événement

From the record by Maja S. K. Ratkje with the same title released on Rune Grammofon 2002. 

Voice

The rural landscape of Bucks County, Pennsylvania has seen many of it's field-stone structures fall into disrepair and decay as its farm fields became subdivisions and condominiums. Trying To Remember A House is the beginning of a consideration of this entropy. 
Trips from, returns to, memories of walking through and swimming in the summer… 
The sounds of the fall line remain. This is an attempt to record the sounds of this area as they where heard and impart them with them the essence they once embodied. 
This is the first in a series of works by Mirande inspired by impressionist painter Daniel Garber, who vividly documented life in the Delaware River Valley.

Recorded, edited, and mixed by Christian Mirande using room and field recordings on iphone and tape, open-reel tape manipulations, and digital re-synthesis. 

Mastered by Jason Lescalleet at Glistening Labs USA

https://glisteningexamples.bandcamp.com/album/trying-to-remember-a-house

Trying To Remember A House

Christian Mirande - True Sincerity

¡ we will woo ! last 4 tracks album released by El Cuarto Elastico in January 2017   
>>-> - - - - - <3 - - - - - >>> 
https://elcuartoelasticomusica.bandcamp.com/album/cayuco

c a y u c o

02_como aire

AUDIO VISIT TAPE CARD 
Tokyo Sept 2017 C-12 
Praat5383

Xilo Obachia Que Tentenna

https://ultraeczema.bandcamp.com/album/dark-arc

Dan Melchior & Sigtryggur Berg Sigmarsson (Dark Arc A Side)

Trompe-l'oreille

Progressive Looping

J'amène la foudre à moi
l'eau de Cologne coule
sous les bras
Karl mets mon nez dans le trou du mur
son visage pur


brasser le chat
dos de pelles
truies et dentelles
s'associent


pluie pâtes
metal câpre
pi rare
cave graal
mie rouille


c'est nous c'est nous c'est nous
je suis grand dans le fond du nous
c'est nous c'est moi c'est nous
on est grands dans le fond du nous
c'est moi c'est nous
je suis grand dans le fond du nous
c'est clair c'est moi c'est nous
on est beaux dans le ventre du nous
c'est nous nous
on est tous dans le fond du nous

l'internet a cassé
karl répare mal

"à table!"
fais le chien
dans la verrière
sous la guirlande de Saint-Tulle


car tout le monde le sait
qu'on sauve les nids
au centre commercial

commercial 
drap housse
pince crabe drap housse
ha la bobotte à Karl
elle s'essuie sur les draps housse
ha la bobotte à karl
elle aime distribuer des coups
ha la bobotte à karl
elle s'essuie sur les draps housses
ha la bobotte à karl
distribuer des coups
S'asseoir sur les draps housses

***

Percussions - Johan Mazé

Èlg - Karl est en Dedans - from "Dans le Salon du Nous" LP - 2021 - Vlek

It makes less sense to say that Maths Balance Volumes formed in 2002 than to say that, since that year, they have been collapsing into something, again and again. Just as the three members fell together with no plan or allegiance to any style or genre, each track falls together as the broken pieces of songs and sounds meet to make a temporary and frightening whole. Things make their way into a Maths Balance Volumes song when they don’t or won’t work anymore, when they have escaped their owner, or hidden away where nobody is supposed to find them. When things fall together—when the wooden creaks and radio hisses gather for a minute alongside bass lines and melancholy voice—there is a beauty that sounds like it was made by nobody and for nobody.

The city of Mankato, Minnesota has been the steady gathering point for the band since its beginnings. Mankato had always provided an ominous backdrop: built on stolen Dakota land, the city was the site of the largest mass execution in US history, when 38 Dakota prisoners were hanged on in 1862 in a straightforward act of genocide. But in their music of the past twelve years, Maths Balance Volumes has made music in and of a hometown overshadowed and unsettled by its history, music for a world in which things have never been okay. Traditional American folk genres seep in at times, but never as the incarnation of a living popular culture—only as ghosts or unliving effigies.

A Year Closer tells us already in its title what its theme is: approaching death, time ticking away and getting closer with each track of the record. We are told in the first song that our protective mask isn’t working, warned by the storm clouds and a ticking bedroom clock in “Dark Skies.” We hear fears of death approaching in the sad words exchanged by lovers who see they will run out of time, or already have, as in “We Had Time” or the romantic lament of “When I Drink.” In “Work Last Monday,” all of life passes with cold automatism in an “office apartment,” as a narrator broods over early onset dementia, remembers the details of rituals for respecting the dead, and thinks of how a hole is opening up in reality itself. The singer of “Over the Hill” isn’t apparently afraid of growing older and becoming a “man,” but only leaks a few disjointed details of his plans for disappearing, collapsing, turning into a tree, and finding a home. “Angel of Mercy” tries to resurrect the Christian promise of a life after death, anxiously asking if anyone is up there waiting for us after the oblivion of this world. 

But these are just the moments when A Year Closer speaks in words clear and audible enough to be understood. The giddy, agitated voice of “The Price” speaks only to itself in a private language, hidden away in a tin can somewhere. Musically, A Year Closer is a series of pieces that make symphonies out of separate processes of decay and disappearance: unidentified cracking and creaking objects, broken equipment, and lost melodies that seem to have escaped other songs and wandered into the room looking for a place to hide. These are the moments that the listener of Maths Balance Volumes always knows are coming, waits for, and settles in temporarily for a moment of repose. Maybe this is the meaning of A Year Closer: while waiting for the worst, things come together, a “we” with no name but with a rhythm, a tenuous but definite harmony to share as the clock ticks. Even if, when the lights are turned on, it turns out nobody was there. - Paul Buchholz

Taken from PP48 A Year Closer LP coming soon

Christian Mirande - True Sincerity

Glistening Examples

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