Frank Vigroux’s latest release »Magnetoscope« refers to the eighties, a “terrifying time” as he calls it. A time that influenced him and us; »Blade Runner« dystopia, Polaroid colors and VHS video recorder aesthetics (in French »Magnétoscope«) form the conceptual foundation of the sound aesthetics used here.
The compositions, between progressive pop (»VHS«), Vangelis romanticism (»L.A.«) and dark, abstract layers of sound (»Stream«), are worked out in detail, driving forward, and can also be harmonically complex. Nevertheless, as usual from Vigroux, they somehow always remain timeless and classic. New on »Magnetoscope« is a kind of melodic euphoria paired with machine-funk elements, like on »Cassette«.
»Magnetoscope« is part of a series of releases (including Vigroux’s predecessor »Ballades sur lac gelé« from 2020) that interrelate strict and cool analog sounds, drum machines and noise landscapes in an epic, almost cinematic way. Let’s leave it open whether this artistic attitude is also a child of the 80s.
»Magnetoscope« will be released on CD and digitally on November 25, 2022. Cover photo by Kurt d’Haeseleer.

Magnetoscope

Franck Vigroux »Cassette« taken from »Magnotoscope«

Dj/ producer based in St-Petersburg. Main focused on minimal/microhouse/melodic techno/acid and experimental sound

I was trained in tradition, yet I stepped beyond its walls. Sound is my language, not to decorate but to liberate. Composer, performer, and listener — one fire, three sparks, inseparable.

I write and compose to uncover what is hidden: the truth buried beneath power, the dignity of the ordinary, the current of awareness that flows through all.

I belong to no authority, only to sound, to truth, to the silence from which all begins. My work is not mastery, but remembrance — a manifesto in every note, every word, every breath.

I am a composer of the 21st century: a studio artist. The studio is my forge, my battlefield, my sanctuary. Machines hum like choirs, circuits burn like torches, cables twist like roots in the earth. Tradition breaks open in this fire — the score turns to light, the instrument becomes the world itself.

To be a studio artist is to seize sound at its rawest, to sculpt electricity and breath as one, to summon the invisible power that belongs to all. Here music is not bound by walls, not enslaved by profit, not tamed by form. It is free, untouchable, unending — a living flame for the century that is ours.

Founded in 2002, D'Autres Cordes first turned towards improvised music, contemporary jazz and electro-acoustics. In 2015, the label increasingly assert its penchant for exploratory music, notably electronic, becoming DAC Records.

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