We are celebrating 5 years of activism and offering more than 1 exclusive works showcasing the importance of analog electronic music! For me, it was important to start this series with a rather long title, as a way of inviting the listener to sit back, take their time and not rush through the listening. Firstly, it reflects my commitment to fighting against the society around me that exploits individuals, forcing them to do ever more tasks and make ever greater efforts in order to subsist or simply get on with their lives.
Thinking of the Japanese concept of Ma which has been described as Β« a pause in time, an interval or emptiness in space. Ma is the time and space life needs to breath, to feel and connect.
If we have no time, if our space is restricted, we cannot grow. This universal principle applies to every aspect of life Β». My way of asking you to spend a moment with me, relaxed, and above all in the hope that everyone will repeat such gesture on a daily basis. For me it is crucial to maintain a policy of performing everything myself and therefore choose which instruments to use.
Just as a classical composer would write for such and such group of instruments, knowing that their timbres would complement each other, I want to think of associations that work for me, to my ear, and thus give my music a personal character. In her improvisations, she looks for frictions, tensions and energies. She practices a non-idiomatic music that relies on organic drones. This piece seeks to embody a paradoxical inversion: a rooted feather and a floating, light tree, thus subverting our usual perception of sound.
To make this idea of sound tangible, I have integrated acoustic materials such as birdsong, those natural voices that rise directly from the environment. This intimate link between living nature and modular electronic sounds creates a tension where the organic world dialogues with singing machines: Music Easel, MS20, Persephone, Quadrantid.
