label for electronic,psychedelic,dark wave, industrial, ambient, experimental, neokraut and freestyle music —————————– distributed worldwide on any portals ————-
Inspired by a novel from Edgar Allan Poe « A Descent Into The Maelstrom » evokes the struggle of a Man who follows
a path leading him to the edge of a steep cliff from where he hears the tumultuous waves of a «synthesized whirlwind», screaming and roaring incessantly that traps him within an ocean of rhythmic sound-in-fusion. A very «sciencefrictional» madness radiates, no frontiers are heard and yet the composer invites us to cross them all by penetrating into the depths of two autonomous and complementary universes…
A chromatic complementarity between the ultra-coloured and vibrant sounds, inviting adventurous spectators/listeners to a « sinesthési-Kosmiche » journey, played on a mythic vintage machine: The Buchla Easel - The Electric Music Box,as can be read on the keyboard of that original instrument which is why Philippe Petit wanted to preserve an electric side, sometimes close to a guitar sound.
Easel which in English refers to the painter’s easel. A painter uses an easel to support the canvas on which he creates his works. So the Buchla Easel is the ideal support to hold a canvas on which Petit wants to create his sound paintings.
«For a long time Buchla would simply refuse to add a keyboard to his instruments. According to him, the synthesizer should be... a tool for music and experimental musicians. A keyboard would be an invitation to the conventional scale set...» so I chose not to use it.
Recorded in one shot to preserve the spontaneity and using the instrument connected to an Avantone Pro CLA-200 amplifer and recorded on 2 separate tracks, each treated differently with a GRM «comb flter» to create true stereo spatialization and an even more effcient voltage intercourses between oscillator, modulator, pulser, LFO or other voltage sequencer. A unique vision of the Buchla for a Psychedelico-Shoegaze rendering, whose Drone thickness can
also evoke MBV that would rub shoulders with the early Grateful Dead, of the time when Don Buchla was one of them and that his electronic-modular ﬂights made the public lose all meaning under acid.
Lysergic West-Coast Electro crazyness… ------------------------------------------
Philippe Petit:" Not musically trained/educated I lie outside the Classical genre but my scores incorporate traditional classical components in a predominantly unconventional manner which allowed me to being asked by Iancu Dumitrescu
& Ana Maria Avram to join forces as a soloist in their hyperion Ensemble + being invited by Jean-Paul Dessy (Musiques Nouvelles ensemble) and Raoul Lay (Ensemble Télémaque) to become in charge of electronics/turntables in their ambitious E. C. O. (European Chamber Orchestra) formation comprising of 33 soloists… Fortunate enough to work with what people call a dream-team of collaborators: joining Lydia Lunch, Murcof, The European Contemporary Orchestra (E.C.O.), Mark Cunningham (MARS), Cindytalk, Orkest De Ereprijs, Audrey Chen, Mia Zabelka, Iancu Dumitrescu’s hyperion Ensemble, Stephen O’Malley, yannick Barman, PAS or Faust onstage and-or in studio.
Besides I did some recordings with: Eugene Robinson (Oxbow), Edward Ka-Spel (Legendary Pink Dots), Simon Fisher Turner, Kumo, Scott McCloud (Girls Against Boys), Cosey Fanni Tutti (Throbbing Gristle), My Brightest Diamond,
Sybarite, Foetus, Pantaleimon, Graham Lewis (Wire), Barry Adamson, Andy Diagram, Scanner, Machinefabriek, Mira Calix, Kammerﬂimmer Kollektief, Justin K. Broadrick, James Johnston (Gallon Drunk/Bad Seeds/Faust), ASVA, Jarboe, Jad Fair, Martin Dupont and many more...
I am also the founder (w/ hervé Vincenti) of the international collective Strings Of Consciousness
I was aso the man behind the cult labels Pandemonium Rdz. (www.pandemoniumrecords.com) and BiP_hOp (www.bip-hop.com).
A journalist for various magazines/radios since 1983, as well as a musical activist, I have celebrated 35 years of activism, sharing my musical