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SANSON, GIL & BRUNO DUPLANT — Blank
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"Dabbling in this and that, eager collaborator & french composer Bruno Duplant has gradually nurtured a sensitive style of his own on the border between multi-instrumentation, improvisation, and site-specific recordingshere he teams up with like-minded transgressor and Venezuelan artist Gil Sansn, who already appeared on labels such as Winds Measure Recordings & Con-V, and Lengua da Lava. Often working on the basis of self-imposed premises & convoluted concepts, Gil shapes patiently questioning intense sound forms
blank opens with distant hum, a faraway pervasive sea,
an opaline world,
just a way of falling into line with each fluctuation,
the wobble of things
marksscattered objectstraces of passage
all become the elements of a receptive score
Urban moans, muffled motion
a sea yet to surge,
a scraped slate,
refusing all appearances,
blank captures the diaphanous, the transient,
the diffuse or dazzling instant
A script of perceptiveness
It punctuates, cuts,
incisions drawing unseen reliefs
blank infuses you in revelatory intervals
::: TRACKS :::
1. foliage, brackets, skidmarks
2. blank
3. detachment
::: DURATION :::
66:20
::: FORMAT :::
CD ltd to 200 copies
all copies come with an additional art card on 300 gr satin paper." [label info]
www.mysterysea.net
"In terms of expectance, this is certainly one of the stranger releases on Mystery Sea in some time. Many of the releases on this label have some connection with 'sea', 'water', 'rivers' and such like, but that doesn't seem to be the case here. Although Bruno Duplant may use, perhaps, field recordings of the watery kind in this work, it all seems to be more the work of improvisation music on real instruments. Duplant plays horn, double bass and electronics and Gil Sanson (did I ever hear from him?) plays electric guitar and amplifier, broken mandolin, empty maraca and 'phonographies'. He also wrote the score for the first and the last piece, and Duplant for the one in the middle. So, instead of having improvised music, this is composed music, which just happen to sound like improvised music. Three pieces, as said, and they are all around twenty-two minutes, and they deal with a lot of quiet sounds. A plink here, a plonk there, all carefully played, quiet and spacious. There is a bit of bird sounds, large chunks of unidentified field recordings rumble play an important role. I think (!) I like it, but I am not too sure: I do know that it's all a bit long. I think I would have been equally satisfied with two of these pieces instead of three. Maybe I just lack the right amount of concentration today? Maybe I think it's a bit too much of the same thing? Mystery Sea makes a daring move, however, with this release, making it different from the ones we already know." [FdW/Vital Weekly]
blank opens with distant hum, a faraway pervasive sea,
an opaline world,
just a way of falling into line with each fluctuation,
the wobble of things
marksscattered objectstraces of passage
all become the elements of a receptive score
Urban moans, muffled motion
a sea yet to surge,
a scraped slate,
refusing all appearances,
blank captures the diaphanous, the transient,
the diffuse or dazzling instant
A script of perceptiveness
It punctuates, cuts,
incisions drawing unseen reliefs
blank infuses you in revelatory intervals
::: TRACKS :::
1. foliage, brackets, skidmarks
2. blank
3. detachment
::: DURATION :::
66:20
::: FORMAT :::
CD ltd to 200 copies
all copies come with an additional art card on 300 gr satin paper." [label info]
www.mysterysea.net
"In terms of expectance, this is certainly one of the stranger releases on Mystery Sea in some time. Many of the releases on this label have some connection with 'sea', 'water', 'rivers' and such like, but that doesn't seem to be the case here. Although Bruno Duplant may use, perhaps, field recordings of the watery kind in this work, it all seems to be more the work of improvisation music on real instruments. Duplant plays horn, double bass and electronics and Gil Sanson (did I ever hear from him?) plays electric guitar and amplifier, broken mandolin, empty maraca and 'phonographies'. He also wrote the score for the first and the last piece, and Duplant for the one in the middle. So, instead of having improvised music, this is composed music, which just happen to sound like improvised music. Three pieces, as said, and they are all around twenty-two minutes, and they deal with a lot of quiet sounds. A plink here, a plonk there, all carefully played, quiet and spacious. There is a bit of bird sounds, large chunks of unidentified field recordings rumble play an important role. I think (!) I like it, but I am not too sure: I do know that it's all a bit long. I think I would have been equally satisfied with two of these pieces instead of three. Maybe I just lack the right amount of concentration today? Maybe I think it's a bit too much of the same thing? Mystery Sea makes a daring move, however, with this release, making it different from the ones we already know." [FdW/Vital Weekly]