jour, je collecte et capture des images sonores que je retire de leur
réalité tangible. La nuit lorsque tout est calme en surface,
ces fragments m'apparaissent sous un autre aspect sublimé qui
modifie ma perception initiale. Mon attention se porte sur la myriade
de micro détails produits par la captation sonore. Je m'abandonne
alors à révéler les imperceptibilités de
de leur structure inhérente.
Modélisant cette matière ineffable, je m'efforce de concevoir
une architecture du non visible. Hors de toute temporalité, mon
esprit accomplit son voyage nocturne."
the day, I collect and capture sound images that I separate from their
tangible reality. At night, when everything seems calm on the surface,
these fragments appear to be sublimed and changed in aspect, which modifies
my initial perception.
My attention is set on the myriad of micro details produced by the sound
capture. I then abandon myself to reveal the imperceptibilities
inherant to their structure. Modelling this unspeakable matter, I strive
to conceive an architecture of the non visible.
Out of all temporality, my spirit accomplishes its nocturnal journey."
Jérémie Mathes, January
French sound handler Jérémie Mathes
is nourished by the tonal vibrations of the region he lives in, in south
He has been studying electro acoustic composition, as well as acousmatic
and concrete methods with Bruno Dozon, & Patrick
Using field recordings, improvisation with found objects, he shows a
clear propensity to elaborate organic textures combined with electronic
treatments. His compositions are carefully carved in detailed layers
with a strong power of evocation...
"árset" is his proper significative
debut, and is based on the following materials : sea shells, reef, shore,
sand, rumbled, insects, cymbals, candle holder, bass, ebow, horn, various
percussions and electronic devices.
into a shapeless lush magma...
Tangled & crackling softly...
Open waters ooze life
enlarging the circle,
swallowing up everything...
Ever shifting, pushing things
closer to the faraway horizon,
as elusive as a morning breeze
hovering myriads of alluvium...
Low scrapings & shards
amplified waves & ricocheting dreams...
A song from the inner depths,
yet with so many refractions...
"árset" unfurls a primal tone
linking past & present...
A taking root for our searching souls...
01. mary celeste
03. nocturnal journey
05. insularis -
VITAL WEEKLY 762|Frans
Mystery Sea continues to surprise us
with new names. Here we have the debut album (or rather 'his proper
significative debut', which may hint at other releases) of Jérémie
Mathes, from France. He studied electro-acoustic composition
and uses on this album sea shells, reef, shore, sand, rumbled, insects
but also cymbals, candle holder, bass, ebow, horn, various percussions
and electronic devices. Not that its easy to tell from what I heard
as Mathes knows very well how to transform whatever
it is that he uses into five pieces of what is best described as 'sound
matter'. Its not easy to detect some aquatic theme to it, usually required
by the label (other than perhaps such titles as 'Mary Celeste' and 'Sund'),
but Mathes creates some fine drone like music that
goes well with the label's catalogue (which, come to think of it, taking
in account their ongoing release schedule, can be placed along the lines
of Drone Records and Taalem, except Mystery Sea does them one at a time).
The acousmatic approach used by Mathes is not that
of gliding scales of sound going up and down, but slowly building blocks
of sound. His music resembles in a way that of Kassel Jaeger, another
new name from 2010, that holds promise for the future and in some ways
also Main/Robert Hampson comes close. Mathes delivers
quite a good debut album. Not really a surprise in terms of 'new' music,
but its all crafted in a more than excellent way.
--- NEW !
On debut Árset
French electro-acoustician Jérémie Mathes,
a new name to the dream of fields, wields seashells, reef, shore, sand,
rumbled (sic), and insects in addition to the more conventional cymbals,
candle holder, bass, ebow, horn, percussion and electronic devices.
Not that you'd be able to tag them, so transformative is his processing.
The MS aquatic theme is titularly signalled ("Mary Celeste,"
"Sund"), as Mathes creates a soundtrack to
fogbound navigations and dimlit palaeontologies. Using field recordings,
improvisation with found objects, he shows a propensity for elaborating
organic textures combined with electronic treatments, his compositions
carefully sculpted with a certain suggestive resonance.
In that odd combination of cod-shamanic poetics and unashamedly stilted
Euro-English sanctioned by MS bard, Crokaert, Mathes muses:
"During the day, I collect and capture sound images that I separate
from their tangible reality. At night, when everything seems calm on
the surface, these fragments appear to be sublimed and changed in aspect,
which modifies my initial perception. My attention is set on the myriad
of micro details produced by the sound capture. I then abandon myself
to reveal the imperceptibilities inherent to their structure. Modelling
this unspeakable matter, I strive to conceive an architecture of the
non visible. Out of all temporality, my spirit accomplishes its nocturnal
And nocturnal indeed is the mood and shade of Árset,
which finds Mathes exhibiting a command of dark arts
and archaeology - dark in the sense of a dense documenting, of rich
textural seams, rather than the dulling gloom-mongering exercises of
amateur-hour Dark Ambient genre-drabs. Mathes manages
to transform fragments of his environs into narcotic scenes haunted
with sinister resonance. Witness "Inherent," whose unmoored
drift teems with the particulate matter of his 'architecture of the
Lots of new names to Wonderful Wooden
Reasons this issue and amongst them we find this French musician.
Mathes has for his debut Mystery Sea release amalgamated
a variety of (unspecified) electronic devices, a variety of conventional
(bass, horn) and percussive (cymbals) instruments with a variety of
seashore ephemera (shells, sand). He has turned this unorthodox
conglomeration into a deep, dark undulating morass of sound full
of prismatic flashes and flutters. It's a nice album. A little
too polite maybe as it readily surrenders itself to the background but
still a very fine listen that I've returned to often over the last month.
wonderful wooden reasons