Transportées
Marie de la nuit
Transportées
Boomkat Product Review:
Valentina Magaletti & Fanny Chiarello’s Permanent Draft label serve a special debut physical edition of sound artist Marie Guérin (aka Marie De La Nuit)’s Gallic hauntology; a subtly febrile flux of cut-up concrète textures and nocturnal soundings hinting at ‘70s GRM and Radiophonics as much as fleeting memories of ‘90s free parties and ethnographic field recordings - RIYL Alan Lomax, Beatriz Ferreyra, Mark Gergis, The Conet Project, Thomas Brinkmann.
Broadcasting from Brest, on the NW tip of France, Marie De La Nuit makes music that poetically probes fissures of pop, folk, and personal consciousnesses in a fragmentary documentary style disjointed from time. She follows in the footsteps of Irene Bianco and her Permanent Draft label bosses along hallucinatory and hyper-realised vectors of thought on ‘Transportées’, where they use a spectra of sound design techniques - from lo-fi to hi-tech - to manifest thoughts at the intersection of myth and nostalgia.
Ephemeral traces of Arabic folk chants are dissolved into the aether and swept up with stray radio waves and glimmers of pulsating electric studio phantoms across eight parts that leave you with a sense of disorientation as you attempt to follow her thread or breadcrumb trail of logic into an uncanny stillness of night. The boundaries of fact and fiction appear to dissolve and blur into something else, invoking a 3rd place that becomes apparent when you feel it, kinda like the point around the 2nd half of Mulholland Drive when identities and narrative really unravel.
Along the way, Arabic incantations, possibly Tunisian in provenance, are frayed into a hypnagogic collage underlaid by a palpitating thrum, passing out into fractured street scenes, again hinting at Tunisian origins on a standout ‘Mon Fantom’, but also literally pointing to her home region of Brittany in the swirling mantra of ‘Bah’, somehow existing in two (or more) places at once, and ultimately shoring up in the domestic situation of folksong recalling vintage paranormal recordings on ‘La Mandaniya by Beira’, leaving you wondering how they got there.
Tip!
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Boomkat Product Review:
Valentina Magaletti & Fanny Chiarello’s Permanent Draft label serve a special debut physical edition of sound artist Marie Guérin (aka Marie De La Nuit)’s Gallic hauntology; a subtly febrile flux of cut-up concrète textures and nocturnal soundings hinting at ‘70s GRM and Radiophonics as much as fleeting memories of ‘90s free parties and ethnographic field recordings - RIYL Alan Lomax, Beatriz Ferreyra, Mark Gergis, The Conet Project, Thomas Brinkmann.
Broadcasting from Brest, on the NW tip of France, Marie De La Nuit makes music that poetically probes fissures of pop, folk, and personal consciousnesses in a fragmentary documentary style disjointed from time. She follows in the footsteps of Irene Bianco and her Permanent Draft label bosses along hallucinatory and hyper-realised vectors of thought on ‘Transportées’, where they use a spectra of sound design techniques - from lo-fi to hi-tech - to manifest thoughts at the intersection of myth and nostalgia.
Ephemeral traces of Arabic folk chants are dissolved into the aether and swept up with stray radio waves and glimmers of pulsating electric studio phantoms across eight parts that leave you with a sense of disorientation as you attempt to follow her thread or breadcrumb trail of logic into an uncanny stillness of night. The boundaries of fact and fiction appear to dissolve and blur into something else, invoking a 3rd place that becomes apparent when you feel it, kinda like the point around the 2nd half of Mulholland Drive when identities and narrative really unravel.
Along the way, Arabic incantations, possibly Tunisian in provenance, are frayed into a hypnagogic collage underlaid by a palpitating thrum, passing out into fractured street scenes, again hinting at Tunisian origins on a standout ‘Mon Fantom’, but also literally pointing to her home region of Brittany in the swirling mantra of ‘Bah’, somehow existing in two (or more) places at once, and ultimately shoring up in the domestic situation of folksong recalling vintage paranormal recordings on ‘La Mandaniya by Beira’, leaving you wondering how they got there.
Tip!
Boomkat Product Review:
Valentina Magaletti & Fanny Chiarello’s Permanent Draft label serve a special debut physical edition of sound artist Marie Guérin (aka Marie De La Nuit)’s Gallic hauntology; a subtly febrile flux of cut-up concrète textures and nocturnal soundings hinting at ‘70s GRM and Radiophonics as much as fleeting memories of ‘90s free parties and ethnographic field recordings - RIYL Alan Lomax, Beatriz Ferreyra, Mark Gergis, The Conet Project, Thomas Brinkmann.
Broadcasting from Brest, on the NW tip of France, Marie De La Nuit makes music that poetically probes fissures of pop, folk, and personal consciousnesses in a fragmentary documentary style disjointed from time. She follows in the footsteps of Irene Bianco and her Permanent Draft label bosses along hallucinatory and hyper-realised vectors of thought on ‘Transportées’, where they use a spectra of sound design techniques - from lo-fi to hi-tech - to manifest thoughts at the intersection of myth and nostalgia.
Ephemeral traces of Arabic folk chants are dissolved into the aether and swept up with stray radio waves and glimmers of pulsating electric studio phantoms across eight parts that leave you with a sense of disorientation as you attempt to follow her thread or breadcrumb trail of logic into an uncanny stillness of night. The boundaries of fact and fiction appear to dissolve and blur into something else, invoking a 3rd place that becomes apparent when you feel it, kinda like the point around the 2nd half of Mulholland Drive when identities and narrative really unravel.
Along the way, Arabic incantations, possibly Tunisian in provenance, are frayed into a hypnagogic collage underlaid by a palpitating thrum, passing out into fractured street scenes, again hinting at Tunisian origins on a standout ‘Mon Fantom’, but also literally pointing to her home region of Brittany in the swirling mantra of ‘Bah’, somehow existing in two (or more) places at once, and ultimately shoring up in the domestic situation of folksong recalling vintage paranormal recordings on ‘La Mandaniya by Beira’, leaving you wondering how they got there.
Tip!
Boomkat Product Review:
Valentina Magaletti & Fanny Chiarello’s Permanent Draft label serve a special debut physical edition of sound artist Marie Guérin (aka Marie De La Nuit)’s Gallic hauntology; a subtly febrile flux of cut-up concrète textures and nocturnal soundings hinting at ‘70s GRM and Radiophonics as much as fleeting memories of ‘90s free parties and ethnographic field recordings - RIYL Alan Lomax, Beatriz Ferreyra, Mark Gergis, The Conet Project, Thomas Brinkmann.
Broadcasting from Brest, on the NW tip of France, Marie De La Nuit makes music that poetically probes fissures of pop, folk, and personal consciousnesses in a fragmentary documentary style disjointed from time. She follows in the footsteps of Irene Bianco and her Permanent Draft label bosses along hallucinatory and hyper-realised vectors of thought on ‘Transportées’, where they use a spectra of sound design techniques - from lo-fi to hi-tech - to manifest thoughts at the intersection of myth and nostalgia.
Ephemeral traces of Arabic folk chants are dissolved into the aether and swept up with stray radio waves and glimmers of pulsating electric studio phantoms across eight parts that leave you with a sense of disorientation as you attempt to follow her thread or breadcrumb trail of logic into an uncanny stillness of night. The boundaries of fact and fiction appear to dissolve and blur into something else, invoking a 3rd place that becomes apparent when you feel it, kinda like the point around the 2nd half of Mulholland Drive when identities and narrative really unravel.
Along the way, Arabic incantations, possibly Tunisian in provenance, are frayed into a hypnagogic collage underlaid by a palpitating thrum, passing out into fractured street scenes, again hinting at Tunisian origins on a standout ‘Mon Fantom’, but also literally pointing to her home region of Brittany in the swirling mantra of ‘Bah’, somehow existing in two (or more) places at once, and ultimately shoring up in the domestic situation of folksong recalling vintage paranormal recordings on ‘La Mandaniya by Beira’, leaving you wondering how they got there.
Tip!
Edition of 300 copies pressed on black vinyl with b/w reverse board cover.
Out of Stock
Boomkat Product Review:
Valentina Magaletti & Fanny Chiarello’s Permanent Draft label serve a special debut physical edition of sound artist Marie Guérin (aka Marie De La Nuit)’s Gallic hauntology; a subtly febrile flux of cut-up concrète textures and nocturnal soundings hinting at ‘70s GRM and Radiophonics as much as fleeting memories of ‘90s free parties and ethnographic field recordings - RIYL Alan Lomax, Beatriz Ferreyra, Mark Gergis, The Conet Project, Thomas Brinkmann.
Broadcasting from Brest, on the NW tip of France, Marie De La Nuit makes music that poetically probes fissures of pop, folk, and personal consciousnesses in a fragmentary documentary style disjointed from time. She follows in the footsteps of Irene Bianco and her Permanent Draft label bosses along hallucinatory and hyper-realised vectors of thought on ‘Transportées’, where they use a spectra of sound design techniques - from lo-fi to hi-tech - to manifest thoughts at the intersection of myth and nostalgia.
Ephemeral traces of Arabic folk chants are dissolved into the aether and swept up with stray radio waves and glimmers of pulsating electric studio phantoms across eight parts that leave you with a sense of disorientation as you attempt to follow her thread or breadcrumb trail of logic into an uncanny stillness of night. The boundaries of fact and fiction appear to dissolve and blur into something else, invoking a 3rd place that becomes apparent when you feel it, kinda like the point around the 2nd half of Mulholland Drive when identities and narrative really unravel.
Along the way, Arabic incantations, possibly Tunisian in provenance, are frayed into a hypnagogic collage underlaid by a palpitating thrum, passing out into fractured street scenes, again hinting at Tunisian origins on a standout ‘Mon Fantom’, but also literally pointing to her home region of Brittany in the swirling mantra of ‘Bah’, somehow existing in two (or more) places at once, and ultimately shoring up in the domestic situation of folksong recalling vintage paranormal recordings on ‘La Mandaniya by Beira’, leaving you wondering how they got there.
Tip!
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