why we love this
Synthetic and acoustic instruments create a nuanced interplay of echoes, glimmers, and vibrations, spanning a wide range of dynamics, from gentle shimmering to vigorous clashes.
about the record
Over the years, Franco-Swiss composer François J. Bonnet, aka Kassel Jaeger, has been working closely with Shelter Press on different projects, whether as a musician, a theorist, or as director of INA GRM. The common axis of all these actions is the exploration of the deep causes of music, its own potential and its possible appearances.
Shifted in Dreams is a continuation of such research but takes a somewhat deviated path. If we use the metaphor of music as a paradoxical mountain—an unreachable "Mont Analogue"—then this record tries to opens up a way that at first seems simpler and marked out by the distinct presence of familiar harmonic and temporal elements. This path, however, is simple only in appearance, for soon it becomes less clear: its contours get blurred, drowned in the mist. Silhouettes form in the distance, like uncertain shadows. We grope our way forward in this infra-sensitive thickness of the world outside of signs. The recognized markers disappear, giving way, at best, to reminiscences, but increasingly making way to qualities, occurrences, and events. We leave the known world of musical codes to join that of sound apparitions, their memorial imprints, and the impressions they produce.
Following a compositional approach stemming from the musique concrète tradition, without adopting a structuralist aesthetic, Shifted in Dreams explores a wide range of instruments and techniques, going seamlessly from instrumental improvisation to field recording, via micro-editing and asynchronous looping. Mixing the electronic waves of an ARP 2500 synthesizer with the acoustic drones of a positive organ, articulating guitar layers with resonances of a Cristal Baschet, bringing together recordings of slamming windows and sounds produced by complex modular synthesis patches, among other things, Bonnet offers a rich and generous palette of sounds, inviting a constantly renewed sonic investigation.
Shifted in Dreams, despite its title, is not a dreamlike record. The dream here does not designate the symbolical space of interpretation and reinterpretation of reality through cultural patterns. It designates the intermediate, blurred, and uncertain state where the reality of signs loses its consistency, while, paradoxically, the reality of senses and impressions becomes imperative, obvious. The reality of demons.
- 1 - Shifted in Dreams 4:26
- 2 - Barca Solare 5:00
- 3 - Dissipation of Light 6:56
- 4 - Gullintoppa 5:22
- 5 - Sôlên I 5:23
- 6 - Allée des Brouillards 7:13
- 7 - Carcosan Cycles 8:32
€32,00
in stock
- 1 - Shifted in Dreams 4:26
- 2 - Barca Solare 5:00
- 3 - Dissipation of Light 6:56
- 4 - Gullintoppa 5:22
- 5 - Sôlên I 5:23
- 6 - Allée des Brouillards 7:13
- 7 - Carcosan Cycles 8:32
why we love this
Synthetic and acoustic instruments create a nuanced interplay of echoes, glimmers, and vibrations, spanning a wide range of dynamics, from gentle shimmering to vigorous clashes.
about the record
Over the years, Franco-Swiss composer François J. Bonnet, aka Kassel Jaeger, has been working closely with Shelter Press on different projects, whether as a musician, a theorist, or as director of INA GRM. The common axis of all these actions is the exploration of the deep causes of music, its own potential and its possible appearances.
Shifted in Dreams is a continuation of such research but takes a somewhat deviated path. If we use the metaphor of music as a paradoxical mountain—an unreachable "Mont Analogue"—then this record tries to opens up a way that at first seems simpler and marked out by the distinct presence of familiar harmonic and temporal elements. This path, however, is simple only in appearance, for soon it becomes less clear: its contours get blurred, drowned in the mist. Silhouettes form in the distance, like uncertain shadows. We grope our way forward in this infra-sensitive thickness of the world outside of signs. The recognized markers disappear, giving way, at best, to reminiscences, but increasingly making way to qualities, occurrences, and events. We leave the known world of musical codes to join that of sound apparitions, their memorial imprints, and the impressions they produce.
Following a compositional approach stemming from the musique concrète tradition, without adopting a structuralist aesthetic, Shifted in Dreams explores a wide range of instruments and techniques, going seamlessly from instrumental improvisation to field recording, via micro-editing and asynchronous looping. Mixing the electronic waves of an ARP 2500 synthesizer with the acoustic drones of a positive organ, articulating guitar layers with resonances of a Cristal Baschet, bringing together recordings of slamming windows and sounds produced by complex modular synthesis patches, among other things, Bonnet offers a rich and generous palette of sounds, inviting a constantly renewed sonic investigation.
Shifted in Dreams, despite its title, is not a dreamlike record. The dream here does not designate the symbolical space of interpretation and reinterpretation of reality through cultural patterns. It designates the intermediate, blurred, and uncertain state where the reality of signs loses its consistency, while, paradoxically, the reality of senses and impressions becomes imperative, obvious. The reality of demons.
