new to stock as of
june 22nd, 2009
|ina-grm (france) #ina e 5012 cd|
patrick ascione “primitive • espaces paradoxes” compact disc
- primitive (15:01) 1995
- espaces paradoxes (18:00) 1987-1989
|2002 release ; two pieces from patrick ascione, notable for their abstention from late-80s / mid-90s “syter” cliches (in fact, this is some of the warmer, most “analogue” sounding concrète from the era) ... the cycling rhythms & harpischord drones of “espaces paradoxes” (listen to the sound-sample) are especially nice ...|
|primitive - 1995 - 15’01|
|long ago on cave walls the artist drew shapes, signs, applied colours, attempting to lay the foundations of a burgeoning art he was almost unaware of ... |
depending just as much on this idea of a medium, acousmatic art cannot be reduced, nor converted, nor encoded into another language. even if it makes use of the most recent and the most sophisticated tools, in just the same way as paintings or engravings, it remains one of the most paradoxically primitive means of expression there is.
just how far can this fundamental act of organising and capturing the fabric of sound, which has with progress become so malleable, go?
where are these steps leading us all unawares? the obvious answer has to lie in the contradiction between a «music» as abstract as its design is prosaic.
commissioned by ina-grm
espaces-paradoxes (1987-1989) ,
|the first acousmatic work designed and projected in 16 real tracks, in full stereo. it deals with the question of writing a three dimensional space into the very act of studio composition.|
1- colour-split. 2- reverse poles. 3- fossil screen. 4- spherical songs. 5- blue shards. 6- monochrome dance.
a continuum of singular spaces, real and suggested, give rhythm to the overall structure. the alternating of imagined spatial situations that oppose each other, answer each other or superimpose on each other, and wherein the sound effects are seemingly but a pretext for these figures in space. in return, and paradoxically, these give a sense and a life to the sound forms themselves. thus, a specific form of discourse is borne of the simultaneous and successive perception of all these planes, trajectories and centres transmitting distinct sounds into the air. at the concert, the listener, taking the place of the standard «mix» becomes a kind of active and strategic receiver of the elements making up the masterwork ...
commissioned by ina-grm