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ELOY, JEAN-CLAUDE — Etats-Limites ou les cris de Petra
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" 'Borderlines or Petra's shouts. Songs for the other half of the sky NVII' (2013). After some reissues or first edition of old compositions, here's a brand new composition from Jean-Claude Eloy. Made mostly with voice, bells and synthetic sounds this piece works like an electroacoustic lightning. 'A kind of salutary madness." [label info]
"In the early nineties French composer Jean-Claude Eloy worked on a commission for the German radio, and recorded a bunch of female voices, reciting texts by his favourite female German writers and decided he also needed some 'vocal material', like sighing, shouting, rustles, whispers and for that he recorded one afternoon the voice of Petra Meinel-Winkelbach. That recording he kept and was found last year again and used for this piece, 'Borderlines' (which is incidentally also the name of his label, as he's fascinated with borderline individuals), which makes this a very recent piece, as opposed to some of the older pieces he has been releasing in recent times. It lasts almost eighty minutes and at its foundation is the voice material as well as his set of cowbells, all of them from his own collection. Miss Meinel-Winkelbach died a few years ago and this work is in her memory. It's a great work; starting out loud with pitched bell sounds, stretched voice material and then in the
middle it's all very quiet and spooky. Buzzing, sparkling, glissandi, sustaining and broken up: all those ingredients of a fine musique concrete piece are in here. It seems to be always on the move however, never staying any long in a particular place, but something new comes in and changes the form of the piece over and over again. This is one to those pieces, at least, that's how it worked for me best, and to sit back and simply let it roll out, all over you. Don't spend too much time thinking about it; just close your eyes and enjoy." [FdW/Vital Weekly]
"In the early nineties French composer Jean-Claude Eloy worked on a commission for the German radio, and recorded a bunch of female voices, reciting texts by his favourite female German writers and decided he also needed some 'vocal material', like sighing, shouting, rustles, whispers and for that he recorded one afternoon the voice of Petra Meinel-Winkelbach. That recording he kept and was found last year again and used for this piece, 'Borderlines' (which is incidentally also the name of his label, as he's fascinated with borderline individuals), which makes this a very recent piece, as opposed to some of the older pieces he has been releasing in recent times. It lasts almost eighty minutes and at its foundation is the voice material as well as his set of cowbells, all of them from his own collection. Miss Meinel-Winkelbach died a few years ago and this work is in her memory. It's a great work; starting out loud with pitched bell sounds, stretched voice material and then in the
middle it's all very quiet and spooky. Buzzing, sparkling, glissandi, sustaining and broken up: all those ingredients of a fine musique concrete piece are in here. It seems to be always on the move however, never staying any long in a particular place, but something new comes in and changes the form of the piece over and over again. This is one to those pieces, at least, that's how it worked for me best, and to sit back and simply let it roll out, all over you. Don't spend too much time thinking about it; just close your eyes and enjoy." [FdW/Vital Weekly]