7. François BayleJeîta Ou Murmure Des Eaux
That’s the guiding role of pure sound, it’s almost like sound design. Musique concrète is really interesting also, where you’re not allowed to recognise the source of the sound. It’s diving into pure sound matter and sound landscapes, tweaking the tapes basically. It’s something I really like doing although I haven’t done it a lot. We’ve done it more with this album, with the software you can do amazing stuff. Not to say that I’m like François Bayle! I also like what musique concrete allows, like when you have sounds that you recognise originally but they become soundscapes, and I’ve used quite a bit of that on the album. If you notice there are voice sounds, background stuff, it’s almost like a film in a way – you don’t know where you are, it’s a bit disorientating.
Like the chatter in the background on ‘True, False, Fictive’?
Almost in the foreground actually! With other noises coming in. And the chatter is from different sources, for this one I used old videos from 20 years ago that I made with friends, sitting and talking so we have layers. I like the idea that there’s a superimposition of layers of time and people.
