Now appears on Forecast Proof - 2009, available here.

I composed this mostly electronic song (with exceptions : vocals, two violins and a trombone; for this last one, a lo-fi recording that is electronic in quality) with plenty of frequencies that are never heard in acoustic chamber music. I didn't want any instrument or set of instruments to lead the way. This way, each instrument can build its own life. Frédéric Szymañski adds guitars of electronic flavors. Viveka only needs two takes these days ! Now appears on Forecast Proof - 2009, available here.

Vocals composed by Viveka Eriksson and Liz Alice, edited and mixed by Berger Rond. Instrumental composition and original lyrics by Berger Rond (modified by Viveka and Liz). Now appears with a different mix on Etrange en Compagnie - 2010, available here.

Intention dévorante

Devouring intention

C’était la nuit devant
Encore une attente préliminaire
Je croyais me déprendre systématiquement

Quelque part, il y a des oublis vitaux
Nous allons tirer des possibles
Quelque part, des possibles oublis vitaux
Oublis, nous allons en tirer

Diva ! Devouring intention

Devouring in tension ! / vitaux

Be there, we need you
a preliminary wait / youuuu...

Diva ! Devour..
From them, devouring !

Prendre la porte !

Vocals composed by Viveka Eriksson and Daniel Knox, edited and mixed by Berger Rond. Instrumental composition and original lyrics by Berger Rond (played with by Daniel and Viveka). Now appears on Etrange en Compagnie - 2010, available here.

Me détester quand je l'aime

Pourquoi les gens me détestent ?
Je l’aime !

Wanting to be wrong !

Why people hate me so much ?
Maybe ‘cause there’s too many to love me !

Some come from lonely places,
(others from countries) where it is hot
I love places where it’s hot
even if I don’t spend a lot of time outside
‘cause there are too many sick people
packed one one another
where it’s hot

I love to walk
but I find this
really weak
of character
to become
a war machine

Composition, lyrics, keyboards, editing, mixing and vocals by Vincent Berger Rond. It means Dark tides, I don't miss and it is about thousands of dark petrol tides in the sea. Now appears on Etrange en Compagnie - 2010, available here.

Du noir marre j’en ai

Marée noire
Tache d’argile
Désormais..
approbation pas d’autre puits
de la nature peur bleue
d’être un poltron à devenir
du noir dessein
d’un enfant en amusement park
de la vie sans Mais l’héroïsme / de la nature peur bleue
of nature’s blue funk
a Pole “tiny” troon
du noir dessin
while becoming a Pole “tiny” troon
du seul côté du miroir qu’il nous reste

En vase clos
par feu éteint si tôt

Now appears on [{ }] - 2011, available here.

Un homme décide d'ignorer sa propre mort ;

[ from Werner Herzog's 1976 film Herz aus Glas (Heart of Glass) ]
http://www.youtube.com/watch?v=TVYE9uyK09Q&feature=related

Werner Herzog n'a jamais trouvé la mort malgré une vie alimentée par la recherche de périples jamais tentés auparavant et terriblement casse-cou, souvent en compagnie de probablement l'acteur le moins recommandable dans l'histoire du cinéma (Klaus Kinski).

Herzog got shot, bleed, but continue the interview without complaining
http://www.youtube.com/watch?v=ylXqc8TQ15w&p=D339C379B2D5EC52&playnext=1...

Herzog on the obscenity of the jungle

Free adaptation of Temple Grandin's Squeeze machine translated in French as "machine à câlins" (Cuddle Machine). I made most of the patterns with cello sounds that reminded me of wood planks worked out together. Drone guitars heard are by Charles Barabé. Poem in French on the same subject at the end (truly can't find any place for it on the music, it stands as a poem to be read carefully unlike most of my impulsive lyrics, in comparison)...Now appears on [{ }] - 2011, available here.

From the Errol Morris tv series First Person.
This episode features the remarkable autistic college professor and expert on humane cattle slaughter techniques Temple Grandin.
http://www.youtube.com/watch?v=8QCWeMHU6y0&feature=related

Here it is for my "naturalist" composition. Musically, it's my first composition up to 19 instruments and it is a tribute to the oboe, my favorite wind instrument. Also made to be listened on a computer system with careful balance for high frequencies. Now appears on [{ }] - 2011, available here.

Être un oiseau en novembre

En novembre un oiseau être
(bandé des yeux)
Balancer ses ailes dans la perte de soi
un damné comme crier dans

de bienveillante trahison l’absence
VOLon.taire égarement en
émergeant ce trajet en V de..
En attendant le hibou-harpe...
pour échapper aux Hauts-Bois des escapades

Nombreux à me dicter le chemin ils sont
(prennent-ils forcément la bonne décision ?
Absolument suivre faut-il ?
Qui est absolument fautif ?)

Ma composition la moins électronique en effet sur l'auditeur. Je la crois mélodique et très douce. Également un mélange de plusieurs de mes styles lyriques dans mon chant accepté tel qu'il est (chant-parlé cartoon, en dehors de plusieurs choses avec joie). Apparaît sur l'album Un doux rêveur dans. Homme Sauvage dit. avec un mixage légèrement différent. / My least electronic sounding composition perhaps, that I believe to be melodic and really soft through many organic shifts. Also a mix of many of my lyrical styles that I was able to sing with satisfaction, accepting my natural tendencies (cartoonish sing-talk, out of many things with joy). I translated the original poem from French to English with great care so here are both versions of the poem.

Izanami (for Alexandra Fol). First, I have to acknowledge and send thanks to the composer and musician Alexandra Fol who have made the month of September 2011 a little less gloomy for me in a year of personal disasters. This is my first professional commission after, what I would evaluate as 10 years of quality music composition.
http://alexandrafol.blog.com/
http://www.codesdacces.org/2010/03/09/alexandrafol/

This piece ends up on my album Elle avait raison Hathor (2012) under a song format with dense Laura Kilty vocal layers.
http://www.freakywaves.com/bergerrond/fr/node/395

A version of this piece for a project of minimal instrumentation in 2012. It will feature pieces with 3 or 4 instruments (including eventual vocals or else). Special mention to Kawol Samarkand on acoustic guitar. Here, I spread less my sound fragments than usual, staying close to his short abstract piece Bitter Soup that strikes me right away for its rich textures : http://soundcloud.com/kawol/bitter-soup
Elles disparaissent à la pensée also features Chris Vaisvil on fretless guitar that was already beautifully recorded, stereo panned too, but considerably slower and not jumpy like it is here : http://chrisvaisvil.com/

This is the second step in the pre-dream during which people, places and paintings that I don't remember seeing in real life or in a film or anywhere appeared in my mind. Now, I can think about it and it doesn't go away ! This is to me a comedy horror that is meant to feel unsettled, but the piece kept transforming during the process, from what I thought would sound like a slow nocturne of my kind to this version. I didn't know what to think until I listen in speakers at the end, I was once again surprised by it.

The piece includes a recomposed version of 858 (first mix) made out of a cello and live electronics by _scape : http://soundcloud.com/underscorescape/858-first-mix

A stellar work so far where I compose a short synthesis with my hardest and most delicate sounds, as well as with my love for unusual atmosphere, for the first time for me with an African witch ritual (creating an illusion of field recording sometimes), but without forgetting also my most mathematical abstraction through sound and romantic/symphonic edge. The lo-fi recorded guitars are played by a Brazilian guitarist, a microtonal enthusiast who comes out African here and there. The piano is played by a man who repair and tune up instruments.

Ce prochain projet demeure obscure pour moi aussi, je ne connais pas tout. Mon hommage au monde des insectes.
...

This next project is obscure for me too, I really don't see the whole picture yet. Perhaps it is still what was described here recently, perhaps not. I composed a piece for which I thought the keyboards and flutes and percussion noises reminded me of ants sometimes. For the moment, it is me pushing the limit of instrumental abstraction here. So this is my tribute to the world of insects !

Funny when I looked for one cello piece I was using without any info about it (not even the title was right, I didn't have the player's name, but was much amazed by the rich textures after 10's hours of composition), and find this :