Living Room
Roméo Poirier
Living Room
Boomkat Product Review:
Roméo Poirier's third album is a perfect fit for Jan Jelinek's Faitiche label - using underwater speakers, a sample collection from his dad, and endlessly resampled loops, the sferic alum spins close-knit sounds into inverted dreamworlds that sound like Jelinek's own "Loop Finding Jazz Records" slowed to a crawl.
'Living Room' is the French producer's most autobiographical album yet, and as its title suggests, is pieced together from sounds close at hand. His starting points are often his own material, re-worked and re-sampled as a way of questioning and reworking his past, but here's where it gets really interesting. Poirier used a waterproof speaker and a hydrophone to attempt to create an aquatic world not unlike GRM legend Michel Redolfi's. This technique is particularly potent on tracks like 'Porte contre', where snatched instrumentation is diluted into fluid, tonal hydration.
Poirier used to be a drummer, so it's curious that the biggest difference between his material and that of his influences - Jan Jelinek particularly - is his interest in avoiding obvious rhythms. That's not to say "Living Room" is ambient music, but its pulse is as aqueous as many of its samples, rippling and teeming like a forest stream. The album is also the first time Poirier has used vocals, taken from his musician father's own sample collection. These elements perfectly feed into the Poirier's personal autobiographical narrative: just as he has dedicated himself to resampling and re-evaluating his own history, he's able to draw on his father's history too and add it to his palette. Quite lovely.
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Boomkat Product Review:
Roméo Poirier's third album is a perfect fit for Jan Jelinek's Faitiche label - using underwater speakers, a sample collection from his dad, and endlessly resampled loops, the sferic alum spins close-knit sounds into inverted dreamworlds that sound like Jelinek's own "Loop Finding Jazz Records" slowed to a crawl.
'Living Room' is the French producer's most autobiographical album yet, and as its title suggests, is pieced together from sounds close at hand. His starting points are often his own material, re-worked and re-sampled as a way of questioning and reworking his past, but here's where it gets really interesting. Poirier used a waterproof speaker and a hydrophone to attempt to create an aquatic world not unlike GRM legend Michel Redolfi's. This technique is particularly potent on tracks like 'Porte contre', where snatched instrumentation is diluted into fluid, tonal hydration.
Poirier used to be a drummer, so it's curious that the biggest difference between his material and that of his influences - Jan Jelinek particularly - is his interest in avoiding obvious rhythms. That's not to say "Living Room" is ambient music, but its pulse is as aqueous as many of its samples, rippling and teeming like a forest stream. The album is also the first time Poirier has used vocals, taken from his musician father's own sample collection. These elements perfectly feed into the Poirier's personal autobiographical narrative: just as he has dedicated himself to resampling and re-evaluating his own history, he's able to draw on his father's history too and add it to his palette. Quite lovely.
Boomkat Product Review:
Roméo Poirier's third album is a perfect fit for Jan Jelinek's Faitiche label - using underwater speakers, a sample collection from his dad, and endlessly resampled loops, the sferic alum spins close-knit sounds into inverted dreamworlds that sound like Jelinek's own "Loop Finding Jazz Records" slowed to a crawl.
'Living Room' is the French producer's most autobiographical album yet, and as its title suggests, is pieced together from sounds close at hand. His starting points are often his own material, re-worked and re-sampled as a way of questioning and reworking his past, but here's where it gets really interesting. Poirier used a waterproof speaker and a hydrophone to attempt to create an aquatic world not unlike GRM legend Michel Redolfi's. This technique is particularly potent on tracks like 'Porte contre', where snatched instrumentation is diluted into fluid, tonal hydration.
Poirier used to be a drummer, so it's curious that the biggest difference between his material and that of his influences - Jan Jelinek particularly - is his interest in avoiding obvious rhythms. That's not to say "Living Room" is ambient music, but its pulse is as aqueous as many of its samples, rippling and teeming like a forest stream. The album is also the first time Poirier has used vocals, taken from his musician father's own sample collection. These elements perfectly feed into the Poirier's personal autobiographical narrative: just as he has dedicated himself to resampling and re-evaluating his own history, he's able to draw on his father's history too and add it to his palette. Quite lovely.
Boomkat Product Review:
Roméo Poirier's third album is a perfect fit for Jan Jelinek's Faitiche label - using underwater speakers, a sample collection from his dad, and endlessly resampled loops, the sferic alum spins close-knit sounds into inverted dreamworlds that sound like Jelinek's own "Loop Finding Jazz Records" slowed to a crawl.
'Living Room' is the French producer's most autobiographical album yet, and as its title suggests, is pieced together from sounds close at hand. His starting points are often his own material, re-worked and re-sampled as a way of questioning and reworking his past, but here's where it gets really interesting. Poirier used a waterproof speaker and a hydrophone to attempt to create an aquatic world not unlike GRM legend Michel Redolfi's. This technique is particularly potent on tracks like 'Porte contre', where snatched instrumentation is diluted into fluid, tonal hydration.
Poirier used to be a drummer, so it's curious that the biggest difference between his material and that of his influences - Jan Jelinek particularly - is his interest in avoiding obvious rhythms. That's not to say "Living Room" is ambient music, but its pulse is as aqueous as many of its samples, rippling and teeming like a forest stream. The album is also the first time Poirier has used vocals, taken from his musician father's own sample collection. These elements perfectly feed into the Poirier's personal autobiographical narrative: just as he has dedicated himself to resampling and re-evaluating his own history, he's able to draw on his father's history too and add it to his palette. Quite lovely.
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Boomkat Product Review:
Roméo Poirier's third album is a perfect fit for Jan Jelinek's Faitiche label - using underwater speakers, a sample collection from his dad, and endlessly resampled loops, the sferic alum spins close-knit sounds into inverted dreamworlds that sound like Jelinek's own "Loop Finding Jazz Records" slowed to a crawl.
'Living Room' is the French producer's most autobiographical album yet, and as its title suggests, is pieced together from sounds close at hand. His starting points are often his own material, re-worked and re-sampled as a way of questioning and reworking his past, but here's where it gets really interesting. Poirier used a waterproof speaker and a hydrophone to attempt to create an aquatic world not unlike GRM legend Michel Redolfi's. This technique is particularly potent on tracks like 'Porte contre', where snatched instrumentation is diluted into fluid, tonal hydration.
Poirier used to be a drummer, so it's curious that the biggest difference between his material and that of his influences - Jan Jelinek particularly - is his interest in avoiding obvious rhythms. That's not to say "Living Room" is ambient music, but its pulse is as aqueous as many of its samples, rippling and teeming like a forest stream. The album is also the first time Poirier has used vocals, taken from his musician father's own sample collection. These elements perfectly feed into the Poirier's personal autobiographical narrative: just as he has dedicated himself to resampling and re-evaluating his own history, he's able to draw on his father's history too and add it to his palette. Quite lovely.
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