Extraordinary! Denis Levaillant's approach is out of the ordinary [which is too often] papered with uninspired music by the metre
Go directly to track 12, entitled Fuzz Buzz and, from the very first seconds, you will hear a rough, metallic buzzing that one can account for only with the words "Fuzz" and "Buzz" placed beside each other. Succeeding in translating his music with an onomatopoeia is more than a gimmick for making people talk—it means that the manipulator of sounds hears them in his head before creating them. A sort of mental listening that leads him to flee worn-out synthetic products to go in search of things, not necessarily unheard-of, but relatively original.
That is what Denis Levaillant, pianist and theorist of improvisation, did in a disc that cannot be described as brilliant because one senses that the composer has even more amazing music in his head. But this is a disc that clearly stands out.
A nomenclature of sound matters
Since it functions on the concept of matter and textures. The idea of making digital samplings of noises "musical" is certainly not new. What is new and interesting is magnifying those samples by rhythmic and harmonic treatments suitable for each matter. Examples: muffled pulsations for Power Plant, rhythmic crushing and mixing of timbres for Turbulence, filtered whisperings for Wind Voice, metallic hissing with distorted resonances and scansions of boogies on the rails for Night Train, mineralised insect rustling colliding with stalactites for Speleo Song, a jam of Hertzian static for Radio Beam, melodic crystallisations for Quark. A veritable nomenclature of sound matters. Beyond its devotion to your images, which will seem as if they are lit from the inside, this disc is ideally listened to in a dark room
