guy reibel - granulations-sillages/franges du signe (12inch vinyl lp)

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Release number two from Recollection GRM continues the sky-high standard, both in terms of production and sonics, established by the inaugural release. Guy Reibel's "Granulations-Sillages/Franges du Signe" is probably one of the more well-known recordings in the GRM catalog and for good reason. Recorded in the mid-1970s, it is a "work is designed for six channels diffused in concert on a main stereo system facing the public and two auxiliary stereos (group of crossing speakers: front-back and left-right in the room)." Even without such an elaborate home listening setup, one can expect to be thoroughly wowed by the highly imagined, deeply refined sounds conjured by Reibel on these recordings. This is a work of high-flying electro-acoustic composition, with manifold layers of sounds colliding and exploding, panning and shifting, hovering and disappearing. Like the newly reissued Pierre Schaeffer release before it, despite the academic nature of the recording this is really just deliriously fun stuff to listen to and these compositions truly scream on a nice hi-fi. Another stunner from eMego's newest incarnation. - Alex Cobb, Experimedia

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Franges Du Signe, the third part of an electroacoustic triptych completed in 1973-1974, is the first major "purely acousmatic" work composed by Guy Reibel. Franges Du Signe explores the mathematical idea of the limit by translating it musically, searching for unstable states of equilibrium. Thus, several conflicting tendencies or logics act upon the sounds. They overlap and fight, each one seeking to assert its trace on the phenomenon in progress, generating de facto an ambiguity that is unique to all phenomena that obey the "logic of the living." Granulations-Sillages (1976) develops an idea glimpsed at in Franges Du Signe: the existence of extreme times at the edge of our faculties of perception, which only the electroacoustic music tools allow us to realize. Two natures of phenomena, opposed in all respects (the "Granulations-Trails" and the "Tutti"), alternate through seven movements that constitute the piece. The work is designed for six channels diffused in concert on a main stereo system facing the public and two auxiliary stereos (group of crossing speakers: front-back and left-right in the room). Featuring bi-lingual (French/English) texts, with translation by Valerie Vivancos. Cut by Rashad Becker at Dubplates & Mastering, Berlin, March 2012. Layout: Stephen O'Malley. Executive Production: Peter Rehberg.