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Pierre Redon - Solo FLAC album

Pierre Redon - Solo FLAC album

Tracklist

1 Interlude I 4:33
2 Une Oie [A Goose] 13:28
3 Le Cri Du Monstre [The Monster's Cry] 10:56
4 Interlude II 2:34
5 Xème D. [Xth D.] 6:29

Credits

  • Design [Cover Design In Collaboration With] – Jean-Pierre Valette
  • Guitar, Mandolin, Electronics – Pierre Redon
  • Mastered By – Cédric Peyronnet

Notes

For best listening conditions, separate left and right speakers as far away as possible on either side of you, turn up the volume and do nothing else. Don't use headphones.

Guitar pieces 2 and 3 as well as number 5 for the mandolin, were recorded at home in Vassivière in Spring of 2001, on the 5, 6, 7 and 8 May. They all were composed and played using my personal stereo system without over-recording.

Pieces 1 and 4 are improvisations on the mandolin originally recorded in a small room in Limoges at the end of winter, probably between March and May. The recordings are in mono.

Cd mastered by July 2001.

Cover designed in collaboration with Jean-Pierre Valette who used his drawings and designs and also made the cover

Record produced by Oreille Electronique with aid from Hte-Vienne council.

Packaged in a paper sleeve enclosed in a metal frame.

Pierre Redon - Solo FLAC album

Musician performer: Pierre Redon

Title: Solo

Date of release: 2002

Style: Minimal

Genre: Electronic

Size FLAC: 1336 mb

Rating: 4.4 / 5

Votes: 623

Other Formats: AHX APE VQF WMA AIFF MP1 AA

Pierre Redon Minimal 2002

Related to Pierre Redon - Solo FLAC Albums

Nilabor
This album comes in a nice, unusual packaging - a flat, basket-like metal wire construction into which is sat the folded card cover, which, in turn, surrounds the CD itself. The artwork on the cover itself has a sort of doodle KLEE / KANDINSKY look about it - functional-looking shapes which gather like plankton micro-organisms. And somehow the artwork reflects physically what the music itself manages to communicate. Whether intentional or not, there is a definite tendency towards shape and construction in this music - while it remains totally the property of Avant Garde, it nevertheless gravitates into a core - dare I say it - rhythmic construction. Not that you should read any degree of criticism into that. It's nice to have a music which does seem composed and constructed while still having a delicate filigree fragmentation to it's sound. Yes, as suggested with the description of the cover, there is a feeling that the artist has looked into the world of a water droplet, chosen several of the infinitisimally small lifeforms therein to compose depthy essays describing the creatures and their world through the medium of sound. And the true strength within this descriptive medium is the simplicity of each piece - he avoids overcrowding his sparse canvas, focussing instead on the delicate filigree detail herein. There's even a slightly Eastern feel to the lacework construct of track four - a pockmarked spiral performance akin to gamelan but somehow a reflection in sound of some new building of chrome and glass which is still under construction. Briefly, for a moment there, after some Pitch Shifted spiderwebs of guitar, he moved briefly towards the realms of MAIN. And the last piece seems to be a rhythm of bleeps, whirrs and distorted blows, stretched out across such a wide timespan as to be barely recognizable as 'rhythm'. A short (under 40 minutes), sparse collection of images and thoughts which is still nevertheless a breath of fresh mountain air and a slap in the face from icy rainwater. A gossamer wonderland of images. Originally reviewed for Metamorphic Journeyman.
Nilabor
This album comes in a nice, unusual packaging - a flat, basket-like metal wire construction into which is sat the folded card cover, which, in turn, surrounds the CD itself. The artwork on the cover itself has a sort of doodle KLEE / KANDINSKY look about it - functional-looking shapes which gather like plankton micro-organisms. And somehow the artwork reflects physically what the music itself manages to communicate. Whether intentional or not, there is a definite tendency towards shape and construction in this music - while it remains totally the property of Avant Garde, it nevertheless gravitates into a core - dare I say it - rhythmic construction. Not that you should read any degree of criticism into that. It's nice to have a music which does seem composed and constructed while still having a delicate filigree fragmentation to it's sound. Yes, as suggested with the description of the cover, there is a feeling that the artist has looked into the world of a water droplet, chosen several of the infinitisimally small lifeforms therein to compose depthy essays describing the creatures and their world through the medium of sound. And the true strength within this descriptive medium is the simplicity of each piece - he avoids overcrowding his sparse canvas, focussing instead on the delicate filigree detail herein. There's even a slightly Eastern feel to the lacework construct of track four - a pockmarked spiral performance akin to gamelan but somehow a reflection in sound of some new building of chrome and glass which is still under construction. Briefly, for a moment there, after some Pitch Shifted spiderwebs of guitar, he moved briefly towards the realms of MAIN. And the last piece seems to be a rhythm of bleeps, whirrs and distorted blows, stretched out across such a wide timespan as to be barely recognizable as 'rhythm'. A short (under 40 minutes), sparse collection of images and thoughts which is still nevertheless a breath of fresh mountain air and a slap in the face from icy rainwater. A gossamer wonderland of images. Originally reviewed for Metamorphic Journeyman.