PARMEGIANI, BERNARD — L'oeil ecoute
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„Die CD enthält auf 51:47 Minuten drei Kompositionen des 1927 geborenen französischen Elektro-Akustikers. Das Titelstück „L’Oeil Écoute“ (1970) setzt einen langen Zug in Bewegung. Zeit wird in Raum umgewandelt. Eine komplexe Fülle an teils harsch anmutender Klangbearbeitung evoziert Kontinuität und strömende Bilder in Linearität. In „La Roue Ferris“ (1971) steigen organische Spiralen auf. Sie überlagern sich in ständiger Bewegung, schonungslos angetrieben durch metallene Keulenschläge. „Especes D’Espace“ (2002 ¬ 03) besticht durch eine heterogene Fülle akkurat gesetzter Klänge. Knarrend tun sich Räume auf, zwitschernd werden sie wieder verlassen. Die Geräuschwelt eines Urwaldes dringt hervor und auch die Stimmen der Menschen, die an seine Tür pochen, in strenger Würde Einlass begehrend. Fold-out-cover mit Booklet.
The CD contains three electro-acoustic compositions from this well known french composer (born 1927). The piece „L’Oeil Écout“ (1970) starts a long train of complex and sometimes harsh sound treatments. Time is transformed into space. The composition evokes continuum and streaming images in linearity. In „La Roue Ferris“ (1971) you hear increasing organic spirals combine in constantly moving, relentlessy urged through metallic blows with a cudgel. „Especes D’Espace“ (2002 ¬ 03) is attractive through the heteregenously abundance of accurately setted sounds. Space reveals itself with a creaking, becomes deserted with a chirp. The noisy world of a primeval forest comes out and the voices of humans knocking on its door, with the desire for getting in there. Fold-out cover with booklet.”
[Peter Schlewinski for Drone Records]
The CD contains three electro-acoustic compositions from this well known french composer (born 1927). The piece „L’Oeil Écout“ (1970) starts a long train of complex and sometimes harsh sound treatments. Time is transformed into space. The composition evokes continuum and streaming images in linearity. In „La Roue Ferris“ (1971) you hear increasing organic spirals combine in constantly moving, relentlessy urged through metallic blows with a cudgel. „Especes D’Espace“ (2002 ¬ 03) is attractive through the heteregenously abundance of accurately setted sounds. Space reveals itself with a creaking, becomes deserted with a chirp. The noisy world of a primeval forest comes out and the voices of humans knocking on its door, with the desire for getting in there. Fold-out cover with booklet.”
[Peter Schlewinski for Drone Records]