Boomkat Product Review:
For his Shelter Press debut, Thomas Bonvalet aka L'ocelle Mare presents an album that’s considerably more than the sum of its conceptual parts, constructing "anti-compositions" that are - on the face of it - utilitarian rotations through an array of instruments, with a tracklisting that reads like nothing more than a basic gear list. Through some sort of alchemy, the recordings transform into a poetic body of work, an engrossing sleight of hand that lands somewhere between Pierre Bastien’s mechanical installations and the oblique mysticism of sacred music, buried between the notes.
Since his 2006 debut under the L'Ocelle Mare moniker, Bonvalet has gradually moved away from traditional notions of composition and diverted his attention purely to the textural and timbral quality of sound. His tenure playing guitar in various bands - notably Cheval De Frise and Powerdove - provides the experience needed to isolate his instruments, zeroing-in on the gestures of performance - plucks, strums, vibrations - using them to assemble component parts that are essentially free by design.
Flute, piano, strings and various percussive instruments collide with all manner of effects and assorted sound objects like a telephone, metronome - even masking tape, each recorded and assembled through a no-method process that rejects traditional notions of composition. But while the assembly is for all intents and purposes dispassionate - just take a look at the track names - the resulting recordings are a marvel, gradually building into individual mood pieces that betray a buried instinct for harmony.
Take 'Guitare Classique, Métronome, Tambourins…’ as an example - Spanish guitar, pitch bent, a frenzied metronome, an arpeggio, something rattles - a non-linear, complex rendition, a miracle of sound that lands like the most inspirational film music you’ll have heard in years. Or on 'Piano, Banjo, Orgue, Métronome' - a more angular, interesting take on the sort of thing Alva Noto and Ryuichi Sakamoto have tried over a number of collaborative albums - a 3 minute recital punctuated by increasingly agitated piano notes, all moving key changes and brittle strings.
Through its curious construction, 'Sans Chemin’ (literally, ‘without path’) feels to highlight the way our instinctive interaction with harmony, beauty, and dissonance can quickly ignite or extinguish heightened feelings without easy explanation. Perhaps all the pieces here were really made without direction - an aimless meander through sound - or maybe there’s something significantly more intricate and complicated at play. Either way, the result is the same; a richly textured and evocative, often startling transition from chaos and into the sublime, mirroring our own complex existential topographies.