« Since I like this musical genre, I have had this urge for
a long time to dabble in repetitive and roughly serial music.
First (just like everybody else?) I discovered, listened to and
loved Terry Riley, then Philip Glass and La Monte Young.
Yes, but how could I have done otherwise ?
Yes, but what could have been done otherwise ?
How to follow in the " Klimperesque " tracks ?
One of the characteristics of " canonical " Klimperei
is the imprecision of the tempo, slight deviations from regular
metronome beats, which pleases our Japanese friends so much. It
is precisely what I tried in some pieces. Beats, minimal differences
in meter and harmonies, light vacillations allow me to stay in familiar
territory while approaching more austere shores (here: no melody).
The first version of Ostinatii was recorded at home, then I was
given the opportunity to play these pieces live (which was not the
plan to start with) (thanks a million Monster K7). In 2013, at number
1Bis in Ivry, with Sabine (Milk & Fruit Juice), Pauline Boisaubert,
David Fenech, Tagubu, André Cheval & Tycho Brahé
(many thanks to them too), a set " with drums " was played
for the audience. The approach is that of a conductor rather than
a composer. It is based on simple outlines which include random
evolutions, within a rather vaguely defined frame. Each piece contains
its own special constraints. After this show, mutually impressed,
Tabugu and I decided to record a version of these pieces "
with drums ". A particularly difficult exercise due to the
aforementioned tempo variation. This was in 2014-2015. Immediately
afterwards Dmitry Vassilyev from the Monochrome Vision label (Russia)
visited us, (him, me, and many others) and we vaguely discussed
the project. It is as of now published on In-Poly-Sons (F) together
with the very select Monochrome Vision. And I must admit I'm really
proud of it ! »