“My life like a picture so real to the touch !” says Lee Ranaldo in his album Dirty Windows.
This sentence was the inspiration and the starting point for this album, originally published on Another Records. At this time I was deeply inspired by situationists and their reflexion on the concept of spectacle. Since then a lot of things have changed and some of my views too.
Life has become, for many of us, a part of fiction thanks to social media. Indeed there are a lot of stories we tell ourselves to give shape to what is “real” and remains something out of our reach anyhow. The modern subject is always divided but it doesn't mean that no self remains. Searching for it is an enquiry that can be made through sound and music.
This piece of electro acoustic manipulation is like some demiurgic build, a crafting of sound, like tectonic plates moving during the creation of a world. A mythology is built through sound, some original story not necessarily matching with what is real, but to what is musically-logically-self consistant. (I remind a conversation with Dana Hilliot when he was telling me something close to these ideas)
It is true I was searching some symphonic elaboration though I don't have the possibility of writing a score for an orchestra. I was deeply influenced by Remove the need from Jim O'Rourke at this time. The track start from psychedelic then goes to chaos after resonant sounds. It ends in a melancholic melody, guitar being played with a bow. Listening to this 15 years later show me that this music is also a narrative : like a birth at start, then an explosion, and then death (or at least diminishment).
The hypnotic sounds, appearing at the beginning, where made out of a very poor sound gear but they remain interesting. Now with a new mastering where the dynamic is more controlled, the sound became also warmer but very dry with a very specific form of harshness. Some digital clics can be heard and like 50Hz Hum on guitar amp, this kind of sound flaw has become part of our sonic environment.
I like to hear them being part of the chaos involved in this creation. Correcting them would cost more to the sound than the benefit of cleanliness.

Sandra Reignoux painted a portrait showing the picture she had about me at that precise moment.
Now the new picture is a photo of some form of altar I have in my apartment.
The cover I choose now is a moment of My Life. But why can’t we imagine an album cover that could be updated at many moments, a cover that could be adjusted not to the mood but to some key points of fate,
a movement picture that is a picture of life, in brief the reversal of Life like a picture, isomorphic to the subtlety of what is the metaphysical subject, parallel to the movement of life itself : moving. Pictures like life,
matching our ipseity but already forgotten. I will end with these words by Nietzsche who speaks very well about this necessity of forgetting :

“Occasionally close the doors and windows of consciousness remain insensitive to noise and fight the underworld in our bodies to help each book or destroy each other, be silent, a little to clean slate in our consciousness so that there is again room for new things, and in particular for the functions and noblest servants, to govern, to anticipate, to sense (because our body is a true oligarchy) Here, again, the role of the active faculty of forgetfulness, a kind of guardian, a supervisor responsible for maintaining the psychic, tranquility label. We immediately conclude that no happiness, no serenity, no hope, no pride, no enjoyment of the present moment could not exist without the possibility of forgetting.“

Nietzsche Genealogy of moral. (translation taken from www.the-philosophy.com)