Lionel Marchetti (France, 1967), a member of the Groupe de Recherches Musicales,
is an apostle of "musique concrete" (as in "tape collage") in the age of the laptop. He also pioneered improvised electroacoustic music.
His recordings document a broad spectrum of ideas, ranging from wild sonic
attacks to ethereal "ambient" music:
Sirrus (2002), containing the 21-minute early composition Sirrus (1990),
the 15-minute suite of the mini-album RISS (2002), composed in 1990,
the 20-minute mini-album L'Incandescence de L'Etoile (Mixer, 2004), a brutal composition from 1991,
the mini-album Mue (composed in 1993),
the two untitled suites of Kitnabudja Town (1997), composed in 1993 and released under the moniker Roger De La Frayssenet,
the 12-minute gothic collage of the mini-album Dans La Montagne (Chloe, 2003), composed in 1996,
the 21-minute suite of the mini-album La Grande Vallee (1998), his first major work (from 1996) that abandons the harsh tones of musique concrete,
the 24-minute L'Oeil Retourne, released on a split with Ralf Wehowsky (Selektion SCD 026, 1998),
the superb 22-minute suite of the mini-album Train de Nuit (composed in 1999), which is basically a set of variations on the train whistle from Schaeffer's Etude aux Chemins de Fer (1948),
the shamanic Knud Un Nom du Serpent (1999), that employs field recordings of ethnic music,
the 28-minute suite of the mini-album Portrait d'un Glacier (composed in 2000), one of his calmer and subliminal collages,
Okura 73øN-42øE (2004), a collaboration with Yoko Higashi,
Docteur Kramer (2005), a collaboration with acoustic guitarist Emmanuel Petit that contains Docteur Kramer (2004) and Zizi (2002),
the 33-minute suite of Noord Five Atlantica (2006),
the triple minid-CD Red Dust (2006),
that contains Livre Maudit (16:41), Livre Magnetique (19:55) and Livre d'Eos (21:48), the third one being a collaboration with Yoko Higashi,
the double-disc Adele et Hadrien (2008), a lengthy work with chamber ensemble and voices,
Hatali Atseli (2008), a collaboration with Seijiro Murayama (who contributes vocals and percussion),
Livre Des Morts (2008), a collaboration with Olivier Capparos,
Equus (2008) is a second collaboration with Olivier Capparos, recorded in 2002, a 33-minute three-part exploration of a broad spectrum of textures and moods via the disintegration of human voices into barely-audible amoebic electronic fields with occasional bursts of screaming,
contains his "first natural study"
Volet in three parts.
Madame Morte (2012) contains the 42-minute composition Madame Morte.
The double-disc Une Saison (Monotype, 2011) contains
La Grande Vallee,
Portrait D'un Glacier (Alpes, 2173m),
Dans La Montagne and
23 Formes en Elastique (Subjam, 2013), a CD coupled with
23 essays by Jun Yan, constitutes a peak of
his "concrete" art:
noises that sound like someone chewing vynil while it is played
screeching ping-pong balls and feathers battling winds,
next to wildly deconstructed field recordings.
Many of the short pieces sound like vanity shows, as Marchetti displays his
sophisticated skills at shaping acoustically challenging sound;
but the haunting drone-based electronic poem of Radio Days
and the duet for muffled growling and manic chirping of Satan,
the anguished requiem of My Dream My Drone (worthy of Penderecki's
Threnody and Gordon Mumma's
Dresden Interleaf and hijacked at the end by a folkish dance,
belong to his major canon.
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