condition (record/cover): NM / NM - Cordes-ci, Cordes-ça / La Discordatura on La Voix De Son Maître (Pathé Marconi EMI) marks the first release of Françoise Barrière's work and only the second appearance on disc for Christian Clozier, the wife-and-husband team who in 1970 founded the GMEB (Groupe de Musique Expérimentale de Bourges). This 1972 split LP documents their studio's early aesthetic before institutional growth brought international recognition.

Barrière's three-part "Cordes-ci, Cordes-ça" occupies the A-side, deploying a homogeneous yet unusual instrumental ensemble: her own harpsichord, Clozier's violin, and the hurdy-gurdy of Swiss musician René Zosso, amplified through contact microphones. Zosso, whose later Chante & Vielle on Le Chant Du Monde and duo LP with Anne Osnowycz on Harmonia Mundi would establish him as a master of medieval revival, here provides droning counterpoint to Barrière's keyboard filigrees. The electronics warp and extend these acoustic sources into something unmistakably concrète, strings stretched across tape manipulation until their origins blur.

Clozier's seven-part "La Discordatura" fills the B-side, treating clipped solo and ensemble string playing to studio processing that ranges from subtle, almost imperceptible edits to radical pitch transformations. The title's reference to Baroque scordatura (deliberate mistuning) becomes metaphor for the entire electroacoustic project: instruments detuned not physically but through electronic intervention, familiar timbres made strange. The suite unfolds as meditation on what strings can become when the studio intervenes between bow and ear.