Grand Bruit / Stop! l'horizon
Christian Zanési
Grand Bruit / Stop! l'horizon
Boomkat Product Review:
INA-GRM’s Christian Zanési, artistic director behind the invaluable Recollection GRM archive reissues with François Bonnet and Editions Mego’s Peter Rehberg, cues up his own turn on the series with 1st ever download and vinyl editions of Stop! l’horizon [1990]; his absorbing debut of electro-acoustic process for the Parisian institute’s nonpareil label.
Notching up Recollection GRM’s 20th release since the label started with Pierre Schaeffer’s Le Trièdre Fertile [1978] in 2012, the two works Grand Bruit / Stop! l’horizon offer a grippingly fascinating insight to Zanési’s personal oeuvre and, by turns, the ears behind some of the most important, educational electronic music reissue series to emerge in the last decade.
Both works on offer are relatively modern, when compared with much of the Recollection GRM catalogue, which dates back to ‘60s. In that sense, they feel comparatively fresh, with Grand Bruit [1991] recalling a densely layered and techno-psychedelic sci-fi soundtrack, like some extended scene from Alien 3 spent hiding from a xenomorph, while Stop! l’horizon [1983] could just as easily be the accompaniment to a scene from Alien where Ripley gets utterly lost in the maze of air ducts on Nostromo.
Safe to say this is a must-listen for fans of sci-fi sonics and abstract electro-acoustic music. But of course that’s just one glib interpretation of these brilliant works, so we’ve included Zanési’s own notes for disambiguation below.
Grand Bruit (1991), 28’55
The great mobile sound bodies have an ordinary yet amazing ability to place the listener-traveller within, as if he or she was inside a giant double bass, in this case a train stroked by a double bow: the rails and the air. In 1991, I explored this phenomenon during my daily commute from the studio to my home. I used only a 21 minutes recording and treated it as a single sound object. I then processed and enhanced it as a photographer would have done, immersing it in successive 'baths'. The title I chose for this singular form was Grand Bruit.
Stop ! l’horizon (1983), 18’05
Saturday morning, nine o’clock as I reach the studio.
No one here. I only turn on the spotlights as the fluorescent tubes are too noisy. I switch the power on, shut the door, unplug the telephone. I then switch the mixing desk on, which sends an electronic impulse into the amps. The four speakers react individually with a very brief and low hiss. A kind of presence. I haven't listened to anything since the evening before and my ear is refreshed by a night’s sleep.
I feed the original mix into the master recorder and sit down in the centre.
Remote control: PLAY
With the first sound I close my eyes. The studio instantly vanishes. Another place, a much larger space opens up.
I enter it.
I have the very distinct feeling that music is merely a “great noise”, chiselled inside with a thousand details. It opens up like a living organism to let my hearing wander across it. A magnetic relation quickly occur and all the sounds that constitute this great noise draw me towards the East.
I accept this direction.
Later, much later, I reach a distant point on the horizon which pulls me towards it.”
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Boomkat Product Review:
INA-GRM’s Christian Zanési, artistic director behind the invaluable Recollection GRM archive reissues with François Bonnet and Editions Mego’s Peter Rehberg, cues up his own turn on the series with 1st ever download and vinyl editions of Stop! l’horizon [1990]; his absorbing debut of electro-acoustic process for the Parisian institute’s nonpareil label.
Notching up Recollection GRM’s 20th release since the label started with Pierre Schaeffer’s Le Trièdre Fertile [1978] in 2012, the two works Grand Bruit / Stop! l’horizon offer a grippingly fascinating insight to Zanési’s personal oeuvre and, by turns, the ears behind some of the most important, educational electronic music reissue series to emerge in the last decade.
Both works on offer are relatively modern, when compared with much of the Recollection GRM catalogue, which dates back to ‘60s. In that sense, they feel comparatively fresh, with Grand Bruit [1991] recalling a densely layered and techno-psychedelic sci-fi soundtrack, like some extended scene from Alien 3 spent hiding from a xenomorph, while Stop! l’horizon [1983] could just as easily be the accompaniment to a scene from Alien where Ripley gets utterly lost in the maze of air ducts on Nostromo.
Safe to say this is a must-listen for fans of sci-fi sonics and abstract electro-acoustic music. But of course that’s just one glib interpretation of these brilliant works, so we’ve included Zanési’s own notes for disambiguation below.
Grand Bruit (1991), 28’55
The great mobile sound bodies have an ordinary yet amazing ability to place the listener-traveller within, as if he or she was inside a giant double bass, in this case a train stroked by a double bow: the rails and the air. In 1991, I explored this phenomenon during my daily commute from the studio to my home. I used only a 21 minutes recording and treated it as a single sound object. I then processed and enhanced it as a photographer would have done, immersing it in successive 'baths'. The title I chose for this singular form was Grand Bruit.
Stop ! l’horizon (1983), 18’05
Saturday morning, nine o’clock as I reach the studio.
No one here. I only turn on the spotlights as the fluorescent tubes are too noisy. I switch the power on, shut the door, unplug the telephone. I then switch the mixing desk on, which sends an electronic impulse into the amps. The four speakers react individually with a very brief and low hiss. A kind of presence. I haven't listened to anything since the evening before and my ear is refreshed by a night’s sleep.
I feed the original mix into the master recorder and sit down in the centre.
Remote control: PLAY
With the first sound I close my eyes. The studio instantly vanishes. Another place, a much larger space opens up.
I enter it.
I have the very distinct feeling that music is merely a “great noise”, chiselled inside with a thousand details. It opens up like a living organism to let my hearing wander across it. A magnetic relation quickly occur and all the sounds that constitute this great noise draw me towards the East.
I accept this direction.
Later, much later, I reach a distant point on the horizon which pulls me towards it.”
Boomkat Product Review:
INA-GRM’s Christian Zanési, artistic director behind the invaluable Recollection GRM archive reissues with François Bonnet and Editions Mego’s Peter Rehberg, cues up his own turn on the series with 1st ever download and vinyl editions of Stop! l’horizon [1990]; his absorbing debut of electro-acoustic process for the Parisian institute’s nonpareil label.
Notching up Recollection GRM’s 20th release since the label started with Pierre Schaeffer’s Le Trièdre Fertile [1978] in 2012, the two works Grand Bruit / Stop! l’horizon offer a grippingly fascinating insight to Zanési’s personal oeuvre and, by turns, the ears behind some of the most important, educational electronic music reissue series to emerge in the last decade.
Both works on offer are relatively modern, when compared with much of the Recollection GRM catalogue, which dates back to ‘60s. In that sense, they feel comparatively fresh, with Grand Bruit [1991] recalling a densely layered and techno-psychedelic sci-fi soundtrack, like some extended scene from Alien 3 spent hiding from a xenomorph, while Stop! l’horizon [1983] could just as easily be the accompaniment to a scene from Alien where Ripley gets utterly lost in the maze of air ducts on Nostromo.
Safe to say this is a must-listen for fans of sci-fi sonics and abstract electro-acoustic music. But of course that’s just one glib interpretation of these brilliant works, so we’ve included Zanési’s own notes for disambiguation below.
Grand Bruit (1991), 28’55
The great mobile sound bodies have an ordinary yet amazing ability to place the listener-traveller within, as if he or she was inside a giant double bass, in this case a train stroked by a double bow: the rails and the air. In 1991, I explored this phenomenon during my daily commute from the studio to my home. I used only a 21 minutes recording and treated it as a single sound object. I then processed and enhanced it as a photographer would have done, immersing it in successive 'baths'. The title I chose for this singular form was Grand Bruit.
Stop ! l’horizon (1983), 18’05
Saturday morning, nine o’clock as I reach the studio.
No one here. I only turn on the spotlights as the fluorescent tubes are too noisy. I switch the power on, shut the door, unplug the telephone. I then switch the mixing desk on, which sends an electronic impulse into the amps. The four speakers react individually with a very brief and low hiss. A kind of presence. I haven't listened to anything since the evening before and my ear is refreshed by a night’s sleep.
I feed the original mix into the master recorder and sit down in the centre.
Remote control: PLAY
With the first sound I close my eyes. The studio instantly vanishes. Another place, a much larger space opens up.
I enter it.
I have the very distinct feeling that music is merely a “great noise”, chiselled inside with a thousand details. It opens up like a living organism to let my hearing wander across it. A magnetic relation quickly occur and all the sounds that constitute this great noise draw me towards the East.
I accept this direction.
Later, much later, I reach a distant point on the horizon which pulls me towards it.”
Boomkat Product Review:
INA-GRM’s Christian Zanési, artistic director behind the invaluable Recollection GRM archive reissues with François Bonnet and Editions Mego’s Peter Rehberg, cues up his own turn on the series with 1st ever download and vinyl editions of Stop! l’horizon [1990]; his absorbing debut of electro-acoustic process for the Parisian institute’s nonpareil label.
Notching up Recollection GRM’s 20th release since the label started with Pierre Schaeffer’s Le Trièdre Fertile [1978] in 2012, the two works Grand Bruit / Stop! l’horizon offer a grippingly fascinating insight to Zanési’s personal oeuvre and, by turns, the ears behind some of the most important, educational electronic music reissue series to emerge in the last decade.
Both works on offer are relatively modern, when compared with much of the Recollection GRM catalogue, which dates back to ‘60s. In that sense, they feel comparatively fresh, with Grand Bruit [1991] recalling a densely layered and techno-psychedelic sci-fi soundtrack, like some extended scene from Alien 3 spent hiding from a xenomorph, while Stop! l’horizon [1983] could just as easily be the accompaniment to a scene from Alien where Ripley gets utterly lost in the maze of air ducts on Nostromo.
Safe to say this is a must-listen for fans of sci-fi sonics and abstract electro-acoustic music. But of course that’s just one glib interpretation of these brilliant works, so we’ve included Zanési’s own notes for disambiguation below.
Grand Bruit (1991), 28’55
The great mobile sound bodies have an ordinary yet amazing ability to place the listener-traveller within, as if he or she was inside a giant double bass, in this case a train stroked by a double bow: the rails and the air. In 1991, I explored this phenomenon during my daily commute from the studio to my home. I used only a 21 minutes recording and treated it as a single sound object. I then processed and enhanced it as a photographer would have done, immersing it in successive 'baths'. The title I chose for this singular form was Grand Bruit.
Stop ! l’horizon (1983), 18’05
Saturday morning, nine o’clock as I reach the studio.
No one here. I only turn on the spotlights as the fluorescent tubes are too noisy. I switch the power on, shut the door, unplug the telephone. I then switch the mixing desk on, which sends an electronic impulse into the amps. The four speakers react individually with a very brief and low hiss. A kind of presence. I haven't listened to anything since the evening before and my ear is refreshed by a night’s sleep.
I feed the original mix into the master recorder and sit down in the centre.
Remote control: PLAY
With the first sound I close my eyes. The studio instantly vanishes. Another place, a much larger space opens up.
I enter it.
I have the very distinct feeling that music is merely a “great noise”, chiselled inside with a thousand details. It opens up like a living organism to let my hearing wander across it. A magnetic relation quickly occur and all the sounds that constitute this great noise draw me towards the East.
I accept this direction.
Later, much later, I reach a distant point on the horizon which pulls me towards it.”
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Boomkat Product Review:
INA-GRM’s Christian Zanési, artistic director behind the invaluable Recollection GRM archive reissues with François Bonnet and Editions Mego’s Peter Rehberg, cues up his own turn on the series with 1st ever download and vinyl editions of Stop! l’horizon [1990]; his absorbing debut of electro-acoustic process for the Parisian institute’s nonpareil label.
Notching up Recollection GRM’s 20th release since the label started with Pierre Schaeffer’s Le Trièdre Fertile [1978] in 2012, the two works Grand Bruit / Stop! l’horizon offer a grippingly fascinating insight to Zanési’s personal oeuvre and, by turns, the ears behind some of the most important, educational electronic music reissue series to emerge in the last decade.
Both works on offer are relatively modern, when compared with much of the Recollection GRM catalogue, which dates back to ‘60s. In that sense, they feel comparatively fresh, with Grand Bruit [1991] recalling a densely layered and techno-psychedelic sci-fi soundtrack, like some extended scene from Alien 3 spent hiding from a xenomorph, while Stop! l’horizon [1983] could just as easily be the accompaniment to a scene from Alien where Ripley gets utterly lost in the maze of air ducts on Nostromo.
Safe to say this is a must-listen for fans of sci-fi sonics and abstract electro-acoustic music. But of course that’s just one glib interpretation of these brilliant works, so we’ve included Zanési’s own notes for disambiguation below.
Grand Bruit (1991), 28’55
The great mobile sound bodies have an ordinary yet amazing ability to place the listener-traveller within, as if he or she was inside a giant double bass, in this case a train stroked by a double bow: the rails and the air. In 1991, I explored this phenomenon during my daily commute from the studio to my home. I used only a 21 minutes recording and treated it as a single sound object. I then processed and enhanced it as a photographer would have done, immersing it in successive 'baths'. The title I chose for this singular form was Grand Bruit.
Stop ! l’horizon (1983), 18’05
Saturday morning, nine o’clock as I reach the studio.
No one here. I only turn on the spotlights as the fluorescent tubes are too noisy. I switch the power on, shut the door, unplug the telephone. I then switch the mixing desk on, which sends an electronic impulse into the amps. The four speakers react individually with a very brief and low hiss. A kind of presence. I haven't listened to anything since the evening before and my ear is refreshed by a night’s sleep.
I feed the original mix into the master recorder and sit down in the centre.
Remote control: PLAY
With the first sound I close my eyes. The studio instantly vanishes. Another place, a much larger space opens up.
I enter it.
I have the very distinct feeling that music is merely a “great noise”, chiselled inside with a thousand details. It opens up like a living organism to let my hearing wander across it. A magnetic relation quickly occur and all the sounds that constitute this great noise draw me towards the East.
I accept this direction.
Later, much later, I reach a distant point on the horizon which pulls me towards it.”
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