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The composition began at home studio in September 2013 and then in 2 weeks residency in September/October 2014 at the GMEM in Marseille with the technical support of Jérôme Decque, then recorded in October 2014 at GMEM concert room in real time & finally mixed in September 2015 in GMEM studio.
A piece in tribute to the French composer pioneer of the minimalist electronic music 'drone' (continuous sound), Eliane Radigue.
'Since 2002 and the edition of the trilogy piece 'Adnos', on the American label Table Of The Elements, the music of Eliane Radigue did not stop influencing my own approach of electronic composer & composition in general already familiarised in the shape of the drone through the discovery, two years earlier, of La Monte Young, by the meeting of the cellist Charles Curtis (Interpret dedicatee of him as well as E. Radigue). The work on the continuous sound, the long lastings, the slowness, the textures, the pulsations, the exploitation of the extremities of the sound spectrum, the feedback as the source (she began the composition with piece for feedback of magnetic tapes on tape recorders lent by Pierre Henry, from who she was musical assistant). My intention with this piece is certainly to restore certain spirit belonging to her but through the prism of my listening, my own device, my own rules of composition / recording. So, this piece represents all which moves closer to us, just as much as what separates us. Her device : mainly a synthesizer ARP 2500 (or tape recorders) on her side), laptop (with intern laptop microphone in feedback as source of the sound) + mixing desk, harmonicas, drums brooms, tuner and voice on mine. The process of composition / recording: meticulous editing of multiple magnetic tapes for her, via the real time performances, the composition is built in the course of multiple rehearsals, listening, regulations, notations, without cut, nor later collage to the live version as for me. This piece aims at making known this music type and the music of Eliane Radigue in particular, forsaken free woman in men's environment which did not hesitate to go against the codes of the concrete music of Pierre Schaeffer (to whom she was close) to make her own music.' (Hervé Boghossian)