BSR 020 available April the 22 - pre order link on blackstrobe.lnk.to/RebotiniFrontieres
Réalisé par François Brétéché - Chef opérateur : Nicolas Capiaux - Étalonnage : Mickaël Forrett -VFX : Mickaël Forrett & Sybil Montet - Une production Blackstrobe Records, en partenariat avec INA-GRM.
Tourné aux studios de « La Muse en Circuit – Centre National de Création Musicale ».
Merci à : Sébastien Zsidai, Morgan Ardit, Camille Lézer, Wilfried Wendling, Sébastien Martin, John Charpentier.
blackstroberecords.com/ - inagrm.com/ - alamuse.com/ - brtch.com
(Uk) An imaginary frontier separates Arnaud Rebotini and Christian Zanési. The former, born in 1970, found his place in the world of techno during the 1990s. The latter, born in 1952, is deputy manager and - above all - one of the official composers in the GRM (Groupe de Recherches Musicales - Musical Research Group), an important institution in the world of concrete and electroacoustic music.
No schools, no boundaries
These two styles of music - techno on one side and electroacoustic music on the other - are traditionally pitched against each other. However the two schools have a number of things in common, particularly the way they approach tone and the treatment of sound via electronics. Rebotini, who actually composed for the GRM, has often reaffirmed his admiration for composers like Bernard Parmegiani and Luc Ferrari. As for Zanési, after originally being in awe of Bartok and Stravinsky, he studied under Pierre Schaeffer in the1970s before discovering (rather late) the music of Kraftwerk and Cabaret Voltaire.Sharing the same curiosity for classical, contemporary and electronic music (even noise), the two composers decided to bring together and confront their two styles of music in a shared project called Frontières, first on stage and then in the studio.Over the course of their first live shows, the two musicians began to improvise, varying the intensity and length of the songs, whether playing in a club at 2am or in more traditional surroundings. Since the beginning they have been accompanied by video artist Zita Cochet who composes images to illustrate their tracks and serve as a backdrop to their concerts.
Digital vs. analogue
Playing some of the most revered analogue synthesisers ever manufactured, Rebotini brings to the project his taste for and mastery of arpeggios, layers of sound, percussion and sequences, all of which were behind the success of his classic albums Music Components (2008) and Someone Gave Me Religion (2011). As for Christian Zanési, he uses his laptop to deliver a host of electronic sounds - feather-light, thinned-down, unreal or a little rough - obtained by digitally altering natural and acoustics sounds.
And yet, it would be simplistic to describe the Frontières project as just a suite of techno tracks with added electro-acoustics. The majority of the tracks on the album have a definite sense of dramatic construction, such as “Frontier” which deftly suspends and progresses in a way reminiscent of some forms of cinema, using dense, swirling tones and Arnaud's voice transformed with a vocoder. “Approche/Accumulation” starts with Christian's digital textures and whispering notes, countered by swathes of synth and acid sounds before rising to a frenetic climax. And “Heaven Ill” deliberately has a more ambient, looping hypnotic bent that brings to mind German tracks from the 70s by Cluster or Harmonia.
A unique album, a unique collaboration between the worlds of techno and electro-acoustics, to be discovered during their autumn/winter tour of 2015-2016.
Artwork by H5 - INA GRM partner