Produced across France, Canada and Portugal between 2015 and 2017, Mathème explores the beauty of choice rather than a balance forever postponed.

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What a man really has, is what is in him. What is outside of him should be a matter of no importance.
After silence, that which comes nearest to expressing the inexpressible is music…
Words from STURQEN.
Words from MEROVEE.

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Concerto des ambiguïtés for piano (1950) First performance on August 7, 1950, over the French National Radio. Coreographic version by Maurice Béjart under the title ‘Voyage au cœur d’un enfant (Trip Into The Heart Of A Child)‘, first performed on September 6, 1955, with Patrick Benda, at the Théâtre de l’Etoile in Paris.

Electronic / avant-garde music pioneer and founder of the French musique concrète movement, Pierre Schaeffer, a radio engineer, believed that any sound could be music, and was one of the first to experiment with tape looping, splicing and sampling. He was also one of the first to record music on magnetic tape. Drawing inspiration from the Italian Futurists, he emphasized the double meaning of the word ‘play‘, meaning to play an instrument, but also to have fun and enjoy onesself.

Pierre Henry, a classically trained musician, was one of Schaeffer‘s disciples and together they co-wrote the revolutionary Symphonie pour un Homme Seul, recorded in 1950. Despite its title, it is not a symphony in the classical sense, but a kind of suite divided into 12 movements. It is a musical collage featuring vocal fragments, that are at times recorded backwards, accelerated or repeated, and other sounds like whistles, footsteps, doors slamming, metallic sounds, and a prepared piano. However, what is important about this piece is not merely its intrinsic musical value, but its influence on so many future generations of musicians in so many genres. Symphonie pour un Homme Seul, over half a century later, remains a pioneering experiment in the search for new aural horizons. The Concerto side reveals Henry‘s personal approach to dissonance, with a strong impact of illogical sequences in the piano ‘duel’: the two instruments seem to collide in a furious rejection of the traditional idea of music, generating a clash of noises that reproduce the sonic pollution of the modern times.

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The dread energy of grime and bleep techno distilled into pungent electro-acoustic ooze.

Paranoid street music meets the cosmic disturbances of musique concrete, the spine-freeze of isolationism and England’s Hidden Reverse.

Staccato string stabs, murmured voices, black holes of reverb and pulverising, body-numbing bass.

Drums optional. Unwanted side-effects include nosebleeds, earaches, stomach cramps, and nausea.

Just say naaahhh.

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His mesmerizing ambient excursions come under the title of Cold Radiance, and the album features eight tracks that suck you right into his world. Each track here is a long and absorbing affair that slowly unfolds and pulls you right into its grainy core. There are dark, texturally rich tracks that are full of menace as well as more heavenly, suspensory and angelic ambient offerings.

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You Ware Nowhere is the remix companion to Port-Royal‘s critically acclaimed album Where Are You Now featuring remixes by artist across the ambient experimental and EDM spectrum. John Tejada, The Sight Below, Arovane, Tonik Ensemble, Bvdub, Ocoeur, Ambidextrous, Northcape, To Destroy A City, Nseven and Attilio Novellino as well as two remix contest winners HatGuy and Gustaf Fjelstrom. Nearly 80 minutes of reimagined versions of tracks taken form Port-Royal‘s most recent album.

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This time, instead of drum machines and sequencers on a stage of a club, both artists by sheer coincidence found themselves confronted and intrigued by a completely different set of instruments: two pianos (a midi- and an acoustic one) that were standing in a tiny lobby of a hotel in niigata – Japan (the Grand Blue Hotel). The beauty of Grand Blue may lay in the total lack of intention, musical concept and, related to that, stereotypes!

In other words, Grand Blue is a truly naïve, spontaneous and direct recording. It was neither driven by fulfilling a musical plan, a marketing concept nor by the egos of two artists firing at each other with the sophisticated knowledge of complex chord progressions. In fact, the lack of all that, and the resulting passages of fragile, drifting musical code make Grand Blue such a unique and emotional piece of work.

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