„It took a simple idea, something like a joke : the clock would be the clock of my sequencer. I used only one clock because I like to work with a single sound and try to dig into this sound until I feel I’ve found everything I could within it.

So, I used the sound produced by the clock, transformed it into electric signal through my modular system and sent that signal to my sequencer, dividing or multiplying it to drive the synthesiser sequences.

This led to some random rythm and melodies that I played with.

Beside, I used the initial sound of the clock as a rythm, transforming it into something like a kick, a snare or a charley, not quite in time, but having a nice life to it.

I tried to make the sound of the clock unrecognizable : sometimes it’s seems like it’s a train passing, or maybe an insect.

And, as always when making music, I try to capture the feeling of the place i’m playing in. This was made in my garden, on a nice and sunny morning : we can faintly hear birds singing, wind rushing through the leaves of the vine below me, cars passing in the street… all those sounds and light led me to the music I made.”

Bio:

Sometimes, when people ask me what music I make, I answer: folk, but with synthesizers. Initially trained in documentary filmmaking in Nantes, Paris and Montreal, it is through movies that I discovered sound work, as a sound recordist and director. My films are wordless, but sonorous.

Then encounters led me to live performance, contemporary dance and theatre. Since 2004, collaborations as a sound designer for many companies (Cie Silenda, Cie Noesis, L'accord Sensible, Toutito Teatro, Le Clair Obscur...) encourage me to always renew myself, to question the place of sound, to find new ways of working with it.

At the same time, I am developing sound and video installation work.

Video recording with the help of Aloïs Villerbu