performed & recorded august 2011, normandy france
clarinet 3 violin 1, 2, 7 _ natural objects 4, 5, 6
physical edition in 2012 : self - release (limited edition of 21 numbered copies) | cd-r | ..

listen to on speakers ..
(ideally)

SCRAPYARD FORECAST

One of my favourite contemporary musicians returns with a beautifully hand-crafted self release that's criminally limited to 21 copies. I was lucky enough to be graced with one, and like other exquisite albums I've showcased in the past, Principe D'incertitude is a perfect example of what the Scrapyard Forecast has always been about: exceptional care and quality in sound composition and presentation.
Pierre Gerard's work often resides somewhere in the crosshairs of field recording and hyperminimalism. His ENVIRONMENT & Gesture release from last year illustrated this meeting of styles near perfectly–that particular work becoming a definite favourite of mine. Gerard expands on ideas employed in that work here, keeping in check his ear for terseness and microsound movement, while at the same time bringing in a wider palette of acoustic devices and environmental recordings. This is music that requires full attention to grasp, and I can say from experience that it benefits to close all the windows in your house if you're serious about giving this a proper listen (It wouldn't hurt to unplug your fridge either).

What I've come to really like about Gerard's recent work extends beyond an obvious patience he brings to every piece. In his interest and attempt to eliminate the performer as much as possible, Gerard's work brings new meaning to the word organic. I'm reminded of when in the middle of listening to long works by Rolf Julius I've on multiple occasions come to a sudden moment of abrupt realization. That moment is spawned from the thought that no matter how natural, how seamlessly the music seems to swim from my subconscious mind to my conscious awareness and back again, there is always a maker behind it. Principe D'incertitude brings about a similar epiphany. And yes, I've come to terms with the fact that I perhaps haven't the slightest clue as to what these epiphanies truly represent, but it's safe to say that there is more going on in Gerard's work than a snap judgement can impart.

19.7.12

Adrian Dziewanski > SCRAPYARD FORECAST