released September 13, 2017
Mappa editions presents special project of Bruno Duplant and Pedro Chambel duo which connects field recordings (2 CD) and Duplant’s photographic project emerging from the same concept.
“All my new pieces with field recordings are „autofictions/self-fictions“. Field recordings, like always with me came from lot of places. I don’t care about where were recorded the sound, but much more how to create new entities, territories (the self-fictions/autofictions), which are both fictive, intimate and personal. I like the idea that listeners will enter in that fictive places like if they were real, like they did with a great novel.”
Bruno Duplant is sound enthusiast, composer, improviser and multi-instrumentalist living in the north of France. In his work he is creating new fictional universes and uncharted territories using many field recordings collected in different parts of world. Architecture and culture of these sonic environments is created in two ways. First one is listening and collecting of surrounding sounds, not especially “natural” ones, but more “cultural” ones. Second one is shaping the sound and the composition itself.
“Recording and editing are two different states, one more passive for me (the recording) and the other more active (the work on the sounds, the composition itself). The collection of sounds can be seen as fishing, an artisanal harvest in which one can have good surprises and less good ones. The whole approach is about accepting to make do with this. With this method of work I have to accept the hollow periods, failures and even the doubt.”
In this case the role of active listening is shifted from recording in certain time and space towards studio work and to finding new sound elements, relations and spaces.
“I see and name my compositional process (whether for instruments or for field recordings) as an „attempt at organizing chance“. The composition allows me to assemble more or less logically and incongruously the different sounds collected. I never try to reproduce the sounds that surround me in a logical and precise way. I try to create something new, a new fictional entity that I have named “autofiction”, „self-fiction“.”
The result is discreet witness of everyday life, where the listening ear is trying to decode and create an imaginative model of well-known place. It is a timeless place, which is possible to visit again and again and explore its hidden corners and details. The orientation in space is not easy since whole surroundings is misted by electronic sounds of Portuguese musician Pedro Chambel.
“The use of discreet electronic sounds came from the idea about to ask oneself the question: where does those sounds came from? Are they from the field recordings? Some sounds came from there, some other not, but which ones? I also like the idea of using those sounds as some disruptive elements, like in most of stories, novels or movies.”
Duplant is autodidact who following and renewing concepts of John Cage, Luc Ferrari, Rolf Julius or Toshiya Tsunoda. In his work we can also find parallels to literary techniques and space or to forms of reading.
“First of all, I am teacher, a librarian teacher. I only make music when I have time, in the evening, on the week-end, in my holidays. I spend most of my time surrounded in books. I have this opportunity. Some authors, some texts, some works have become great sources of inspiration for me. This is the case for all the poetry of Francis Ponge, the texts of Georges Perec, the philosophy of Gaston Bachelard. So, my life, my practices are not compartmentalized.“
Besides collaborative sound projects duo Duplant/Chambel is also known for their curatorial work in delicious label Rhizome.s. In past they collaborated with Ilia Belorukov, Lance Austin Olsen, Barry Chabala, Nate Wooley, Ryoko Akama, Manfred Werder.
Quotes are taken from interview between Bruno Duplant and Tobias Fischer for 15 Questions.
Pedro Chambel | discreet electronicsDedicated to Georges Perec. Assembled in Waziers during 2016/2017
photos from self-fictions/autofictions series by Bruno Duplant
design by Jakub Juhás
thanks to Alžbeta Halušková
released by mappa as MAP08 in 2017→→→→→→
Electronic tones purr and whine like connective filaments of curiosity or obsession. The ambience of a mall morphs into a railway station. Waspish circuitry vies with a classical recital. Accidental encounters and everyday ephemera supply the raw material; the edit brings a kind of coherence to the intrinsically haphazard, the vectors of daily experience, the temporary contents of the recorder’s consciousness. Life itself: a user’s manual… Julian Cowley (The Wire)
In itself they use some pretty interesting sound material, setting natural elements, birds for instance, against a city environment, like inner spaces of tower blocks and occasional electric whirring of the urban space, but it’s perhaps at the same time no more than just a bunch of field recordings mixed together, and as such creates a space that doesn’t exist, but isn’t that to say of all pieces that involve field recordings. There is, as far as I can see and hear not really a story behind all of this… Frans de Waard (Vital Weekly)
Sometimes they overlap, sometimes they don’t; sometimes their sound envelope is similar to the fields’, sometimes not. As before, the track is too dense, riddled with snatches of conversation, and accompanied by arbitrarily improvised instruments and electronics to provide ambience; then again there aren’t enough subtleties or thematic events to warrant deep listening. Some listeners may find it more palatable for its rather monolithic nature – after the shift at minute 19, the track quickly returns to its initial dynamics for its remainder. As a result, is perhaps more successful in creating a ‘fictive place’… (CUT AND RUN)