Pascal Le Gall - Landscapes

Face A

1 - Tribute to Bach (3:52)

2 - Interlude 1 (1:05)

3 - Landscapes (4:57)

Face B

1 - Interlude 2 (3:47)

2 - Tribute to Schubert (7:05)

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Landscapes a été conçu, réalisé et mixé dans le home-studio de Pascal le Gall à Tours en mars 2016.

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Pascal le Gall : Électrophone Phillips (vitesse de rotation 6 rpm, modification effectuée par Patrice Semblat), laptop.

Mastering : Mathias Delplanque

Photographies : Willy Durand / www.rosesetpoireau.fr

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Pascal Le Gall remercie les personnes suivantes qui l’ont aidé, par leurs soutiens et réflexions de toutes sortes, à poursuivre ses travaux en toute confiance et sérénité : Jacques et Émilia Le Gall, famille Hervault, Bernardo Montet, Patrice Grente, Loïc Blairon, Marc Baron, Antoine Daurès, Bernard Aimé, Patrice Semblat, Adrien Chiquet, Jean-François Landeau, Pierrick Menuau, François-Marie Texier, Stéphane Warnet, Daniel Humair, Jean-Luc Cappozzo, Michel Macé, Alain Henry, Rémi Boinot, Sébastien Holtzener, Pascal Maupeu, Guillaume Bellanger, Didier Sallé, Éric Onillon, Paul Laurent, Thomas Lebrun, la librairie Le Livre et La Chapelle (Tours), Willy Durand, Armelle Pain, et toutes et tous qui se reconnaîtront…

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PASCAL LE GALL - LANDSCAPES (10" by Warm)

"Just like the miniCD the 10" is a format of doom. Too little to be a full length, too much to be a single. Pascal Le Gall is called a 'curious French percussionist of jazz and musical thinker. Composer of musique electroacoustic for himself and the choreographer Bernardo Montet, he performed alone or with the musician Marc Baron'. On the cover of his 10" record Gall gets credit for playing 'Electrophon Philips (6rpm) and laptop', so looking at titles as 'Tribute to Schubert' and 'Tribute To Bach' (along with two 'interludes' and the title piece), knowing he plays an ancient record player, makes me believe that Le Gall puts on a record, reduces the speed to 6rpm and maybe there is some further transformation inside the laptop of the record that he is spinning. That he is actually spinning very slowly and listening to the two piano pieces one can't help thinking of Satie, but in the other three pieces, this all becomes more musique concrete version of Satie's work. One could say these pieces are also ambient, with their slowed down sounds, percussive/bell like in 'Landscapes' (I was thinking of John Cage here and his early foray in the land of using turntables as instruments; think 'Imaginary Landscape', the first and the fifth one, for instance) and in both interludes of a more obscure acoustic nature; the surface of the vinyl becomes an additional player in this music, as was to be expected. It's a neat little concept, I thought, and though not entirely new (I saw Jan van den Dobbelsteen once do a performance with a custom designed turntable spinning very slowly or Bionulor's computer treated piano music by Satie, see Vital Weekly 959), there is a fine sense of moodiness in these pieces. It is ambient music surely, but one with a bit of spice, a certain air of darkness; music that fits the ash grey, rainy day perfectly."

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