Corps perdus

Corps perdus 13’
Sound piece - stereo  
2024

In the electronic device for capturing and manipulating the voice, the body falls and is lost as it dilates, splits and mutates, seemingly without end. Breathing, the trace of our finitude, becomes accessory as well as precious and significant. The breath, pneuma, and the electronic wave, a more or less pure frequency, go back and forth. Between interference, singing and loss of signal, the voice falls into a black hole and spaghettify. The lost bodies are goind spectral. But they are also those behind their connected screens, floating and yet persisting in their finitude (every seven years, each cell is replaced). Finally, the title of the piece also refers to the way in which it is produced, through improvisation with lost bodies, right down to the way it is broadcast on the Acousmonium of GRM. The broadcast was almost entirely improvised live at the mixing desk. 

GRM Accousmonium - Champ sur Marne. 12.04.

Drom vāta śunel ćirla

 

Drom vāta śunel ćirla (9:55) 

2023 

Un bestiaire de chats, de chiens, d'éléphants et de reptiles rencontre un piano préparé et des voix chuchotées se transformant en tornades. Entre un cirque au repos et les dieux de l'Inde ancienne, les esprits d'un voyage méconnu sont exhumés avec beaucoup de persévérance dans la caravane désormais immobile. Un métamorphe, au-delà des genres, animal, humain, voire météorologique, s'élève avec sa voix laissant progressivement place à l'énergie pure du synthétiseur.

A bestiary of cats, dogs, elephants and reptiles meets prepared piano, and whispering voices turning into tornadoes.The title is blending two languages, Romany and Sanskrit. Between a resting circus and the gods from ancient India, spirits of a little-known journey are exhumed with great perseverance in the now immobile caravan.  A shapeshifter, beyond genders, animal, human, even meteorological raises with its voice gradually giving way to the pure energy of the synthesizer.

Métamorphe (4:29)  

Surgissant d'une pluie fine, le souffle d'une femme se mêle au bestiaire d'un écosystème humide, un sous-bois, où les créatures se distinguent à peine : loups, insectes, petits bruits amplifiés, grands bruits assourdis. Des sons qui s'enroulent et tournent au sol et dans les airs réveillent des énergies mutantes entrelacées, qui sont emportées dans une tornade entre tonalité et bruit dans une volée de mouettes.

Emerging from a light rain, a woman's breath mingles with the bestiary of a humid ecosystem, an undergrowth, where creatures are barely distinguishable: wolves, insects, small sounds amplified, big sounds muted.  Sounds winding and spinning on the ground and in the air awaken intertwined mutant energies, which are carried away in a tornado between tonal and noise in a flock of seagulls.

Ina Sup - GRM 2022/23

DOMOTIQUE

Musique : EAU DE SOURCE

Vidéo : EAU DE SOURCE 

(2020) Aucune résolution même mécanique. 

Permutation city

 

PERMUTATION CITY     

Peer is walking vertically along a building in slow motion, Paul is crossing the street engulfed in people's energy and Maria wakes up speechless in a chiffon she never saw before. All are into the plasticity of a virtual world made for their safety.

Music & mise en ondes by Eau de Source
Texts by Greg Egan / Permutation City (2000)

 

 

  

AMIX The brain #036

AMIX THE BRAIN #036

00:00 ROEDELIUS - Final
00:50 RENALDO AND THE LOAF - Gurdy Hurdling
04:25 GUERNICA - Fukko ni ikka
07:42 COY - La cantine du Vatican
13:02 ART OF NOISE - Beatbox (Diversion one)
21:18 VERNON AND BURNS - Tantilizing Twinkles
23:52 VIKTOR ALLES - Schusterlied
27:05 KOSHI MIHARU - Passepied
30:28 HIKASHU - Mask
32:35 MIHARU KOSHI - Vite, Usagi
36:50 LENA PLATONOS - Shadow Of Blood
42:55 KLISCHEE - Solid Space failed N°3
45:22 JAZZBOY - Bora bora
49:26 DIE WILDE JAGD - 2000 Elefanten
56:43 LAUREL HALO - Mk ultra
60:49 WOLFGANG RIECHMANN - Himmel blau

Star Trek the movie (1979)

Exposition universelle, Bruxelles 1958

EAU DE SOURCE

As one must always go back to the source, this also would be futile to attempt putting the toothpaste back into the tube. Hijacking of materials gleaned along the way (video archives, instrumental records, borrowed instruments, antic scores, field recordings) when I’m not composing from scratch, I like rearrange, rewrite and extend. 

Like a musical comedy or a very modest opera show that could find its place in a hat, I aim to take the audience on a cinematic experimental minimal electronic wave, with, inter-alia, post-punkT & Ko(s)miches Musik (kraut) influences.