Not the theme song for my new album anymore, but a dense yet quiet melodic and direct one ! Marco Rosano : bass clarinet, clarinet, bass saxophone, tenor saxophone ; Viveka Eriksson : vocals and some lyrics ideas Jörg Fischer : cymbals centered drums ; Markus Breuss : trutruca ; Thilo Schacht : high electronic noises ; Marco Oppedisano : some electroacoustic guitar samples. Now appears with a different vocal mix on Le savant devait arriver avant songeur - 2008, available here.

Marco Oppedisano : ambient, clean sounding, fuzzy and electroacoustic guitars (5 different kinds of guitar sounds) Viveka Eriksson : vocals Tiny Orchestra : oddly recorded tribal winds Gregory Jacobsen : electroacoustic sample . Now appears with a different vocal mix on Le savant devait arriver avant songeur - 2008, available here.

It is perhaps my most accessible song with easily my most melodic and carefully recorded vocals (and what about the lyrics..). It is a synthesis of all my ideas (everything else is in Audiomachie perhaps). On some way, the instrumentation takes me back to 2001 when I first made a piece with organ, violins and hidden organic textures. It was around that time when I started to really sound like something I enjoyed. Obviously, this new piece is a little bit more complex than the piece I made back then. A recurring sound in my mind is now fully developed in reality.
Now appears on Audiomachie / Logomachie - 2009, available here.

Another one with many violins and cellos. Ondes louvier, layers of vst plug-ins experiments and timpani are also dominating the mix. Drums by Jörg Fischer and some sampler soundscapes by Carlo Serafini (really organic) add a little something. I sing the vocals with Viveka Eriksson. Now appears on Audiomachie / Logomachie - 2009, available here.

The propensity to go forward..
is an assimilation
of improbable variations
before I saw it !

Could you pretend to believe in them
No, I just need them to
live with the desire
Single mistakes of daily life dominate us / I saw here

It should be used with discretion
I prepare a mixture of time and reason
No time should be wasted without my permission

Only caring is not caring (x2)
“Adelina...”

Now appears on Forecast Proof - 2009, available here.

Perhaps my most natural sounding composition; made with bass viole de gambe (such a terrific resonance, this instrument), cellos and violas, transversal flute (with haunting hiss), various heavy and light percussions. It features almost no dissonance and in terms of imagery, it is the alter ego of Bruissement de griserie. Perhaps, to fix a ship, we need to invent upside down navigation. Only two takes were needed by Viveka Eriksson, all these incredible vocals were in there !! 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 ?)

Still love this minimal piece that has some quality classical guitars, strange shifts and details (mixing patience) from my love of acoustic sounds to pure electronic music toward the end. It really works fine still to me, after 11 years of intense composition experience. A little bit amateurish charm in the lo-fi manipulation of sound too. From the unavailable Celebral Divisions conceived in 2000.
http://www.allmusic.com/album/cerebral-divisions-r558425

Another souvenir piece because I compose this kind of music since 1997 and not since 2004 like my available songs albums make it look like. Back then, as a listener, I was into original pop and rock, little into chamber music and more progressive music. I didn't dare singing too (and now I can't do it anymore so it feels like an imaginary loop somehow). Dreamworld really surprised me in my new mixing system ! Some striking ideas I am still haunted by in 2011 and other ones I didn't visit once again. Sometimes, you forget about your own music :) Good feeling to rediscover !
http://www.allmusic.com/album/cerebral-divisions-r558425

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.