Pascal Le Gall-Part one (A tribute to John Cage) 1. Pascal Le Gall-Part one (A tribute to John Cage)
Pascal Le Gall-Part four 2. Pascal Le Gall-Part four
PASCAL LE GALL - RETURNS
(CD housed in a hand-made sleeve 19,5x19,5 cm and a plastic one - Duration : 28'11")
Great offer : 12€ (instead of 14,40€) from 09/28 to 10/12/2018
(First album always available : Landscapes - LP - 10" - WARM#008 - 2017)
RETURNS is a suite in four parts. At the beginning each part was a musical composition as such but finaly after a while the idea of an organisation of this different parts was introduced. The first part, mixed with the sound of different broken glasses, is a musical overture and introduce with his rhythms and his melodies the following parts. The three following parts are mixed with different sounds from records played on turntables with variable-speed drives.
With the intense focus of a scientist fed up with pointless repetition, Pascal takes a scalpel to composition, improvisation and performance, and (with the most basic means) examines their sameness, and their miniscule but important differences.
Tracks listing and credits :
01 - Part one (A tribute to John Cage) (0’55’’)
02 - Part two (10’45’’)
03 - Part three (12’52’’)
04 - Part four (3’39’’)
Recorded and mixed in Tours (France) between 2017 and 2018.
Mastering : Mathias Delplanque
Photographies : Willy Durand
PASCAL LE GALL is born in 1970 in Paris. He lives and works in Tours (France). Composer of electro-acoustic music for himself and the choregrapher Bernardo Montet (Des Hommes, Isao, Lux Tenebrae, Carne, Le Soleil du Nom, (Des)Incarnat(s)), he has also worked with Marc Baron, Jean-Luc Cappozzo, Jean-Luc Guionnet, Patrice Grente... Since 2007 all his compositions are based on sounds from records played on turntables with variable-speed drives.
Following his debut 'Landscapes', a 10" record also released by Warm (see Vital Weekly 1067), here is 'Returns', a rather short CD by Pascal le Gall. Short as in twenty-nine minutes only. Le Gall works with "records played on turntables with variable-speed drives', which I admit sounds like a rather dull description. There is a short introduction piece with sound of broken glasses, and it is called 'Part One (A Tribute To John Cage)', followed by two long pieces and one that is a bit shorter, but none go with any title or dedication. I believe, based actually on his previous release that Le Gall is inspired by the Cageian work with records such as he did in his 'Imaginary Landscape' series, with records spinning in various speeds. Le Gall likes his varispeed turntables to spin the records considerable slower speed and paint a rather dark and obscure picture in sound. It means that, just like his 10" before, he's very much into the world of ambient music, even when Le Gall uses the collage form quite a bit. In the second part there is some multi-speed percussive sound, and while I am not sure if Le Gall uses sound effects (I believe he does), his delay and reverb treatment work very well to garner that much loved dark atmospheric feeling. Like before it is not something I haven't heard before but perhaps that something one can say for many of the turntable musicians. It is overall quite good, and it is perhaps a pity it is over after thirty minutes, as I wouldn't mind some more and not get up and change the tune. (FdW)
Pascal Le Gall a travaillé pour la danse avec le chorégraphe Bernardo Montet. Il lui est arrivé également de côtoyer Jean-Luc Cappozzo et Jean-Luc Guionnet. Et il a écrit sur son site personnel (pascal.le.gall.free.fr) un essai poétique, intitulé Temps sur temps : fragments sur la musique. Ceci est son deuxième enregistrement, après le 25cm Landscapes en 2017. Returns propose cette fois, sur un CD inséré dans une pochette plastifiée de 19,5x19,5cm, quatre pièces électroacoustiques. La première, dédiée à John Cage, est faite de bruits de récipients en verre qui s’entrechoquent et se brisent, offrant de stimulants effets de percussions. Les trois autres moments, réalisés à partir de disques passés sur des électrophones à 16 et 6 tours/minute, font aussi appel de temps à autres à des sons percutés, et l’utilisation de boucles y est fréquente. Tout cela pour dire que l’on ne s’étonnera pas que Pascal ait été batteur de jazz : il lui en reste quelque chose. La matière de sa musique ne se limite pas pour autant à cela, et l’on appréciera tout au long de Returns l’heureuse combinaison entre la riche épaisseur des matières et leur lisibilité constante.