Anne Gillis ‘Euragine’ 1994 CD

Manon 1

Manon 2

01 Thalibilis (4:00)
02 Luptuat (2:49)
03 Amathurie (3:09)
04 Phtalythum (3:28)
05 Acroame (2:59)
06 Diastemie (3:09)
07 Phygerilore (3:03)
08 Entrée Interdite Absolue (2:43)
09 Limbologie (4:05)
10 Trahorus (4:07)
11 Miel De Viande (2:49)
12 Uscamen (3:39)
13 Nonvoro (3:20)
14 Lumptativa (3:10)
15 Cocalfath (2:43)
16 Dimeniloningen (3:21)
17 Cendibilis (3:55)
Total: 56:00

For voice, vietnamese instruments, silk strings, flute, zither, nails, fan, water, tape, metal, . . .

Manon Anne Gillis last album to date, 1994 ‘Euragine’ CD – on Bordeaux SFCR experimental music label, run by Stéphane Santini – is one of her most accomplished. As usual with her, the music is composed of short tracks build from looped sound samples originated mostly from found objects and, prominently, her own voice purring, hushing, growling . . . There is an animal and primitive quality to her sound palette, her concrete music being made of closely miked bodily sound samples, but also because of the elementary means of composing she uses: only brief installments, simple loops of admitedly elaborated sounds. But this is no primal scream effort, since sounds remain quite intimate throughout the disc. I guess her recording process is part of the art here: when rubbing a microphone on her skin, when putting a microphone beneath her throat, when using wet objects to produce amniotic sounds, etc, she makes her own body the vector of music. Not exactly performance art – though she did many performances as well – performance music, maybe?


MAnon zine
All pictures above from Intra Musiques zine, France, 1987.

. . . . . . . . . .

Euragine CD

80年代から90年代にかけての精力的な活動で、今や伝説的存在となっているフランスの 女性コンポーザー/パフォーマー、アン・ジリス6枚目のアルバム。ファースト以来の彼女の一貫したテーマ、幼児を巡る音響世界を、様々な民族楽器や缶など のオブジェクト、吐息、声、水の音などを加工したマテリアルで編まれた、妖しくも美しい音響作品。近年も時折活動し佐々木敦氏もたびたび言及。


5 Responses to “Anne Gillis ‘Euragine’ 1994 CD”

  1. 1 j.henry November 21, 2007 at 10:33 am

    why not call it sound poetry? but then, with the looping/cutting, i’d be imprudent calling it conceptual writing!!! — so perhaps my nomenclating is dubious at best. quite the contrary, tho: :yr posts, superb.

    (bounding, exuberant, yr pal leaps to the top o the page from the heavy chemix comments tab!)

    j.h c

  2. 2 continuo November 21, 2007 at 1:22 pm

    Thanks for moving your comments near the top of the page, Danny.
    I would not call Anne Gillis’ music sound poetry, though she’s been included in compilations close to the sound poetry canon, see:
    (not to mention the fact that I don’t have a ‘sound poetry’ tag on this blog!)
    As for me, I hear concrete music echos, DX7 sampler and an attention to sound quality in her music which make me think of her more as a composer than a poet. I might be wrong, though.
    Quite a bit of a joke you did the other day on your
    This Laurie Anderson scratchy vinyl rip of ‘Bug Science’ was disappointing as I expeted a Danny special remix. I should know – from the ReSearch book – prank is an art form. And you’re an artist!

  3. 3 j.henry November 21, 2007 at 2:51 pm

    funny — that erratum #2 track of hers was the only thing i had on my hard drive before yr post — good call — exactly why i’d thot sound poetry appropriate.. .

    &while i can dig what you say about placing her nearer to concrete & composition, what i found most interesting about the recording (**&most especially yr write-up abt it**) is the intimacy with the body & corporeality of voice — cut, mixed, & alter’dx7 — as it were. thinking of extended vocal techniques, but chopped & looped — thinking of poetry not as ‘poet’ but conceptual writer. — but these are the greys & i prolly just feel like typing to a new friend ;)

    anyhow, a friend of mine ( in new york does something similar — live needle rubbing on vinyl recordings of voice/non-vinyl/static — wch he always calls sound poetry — so the more my malfluenced vice!

    : :

    abt the andrson ‘prank’. — **apologies** — don’t think i explained it nearly enough (&always tangential at that). i’d made a more extended explanation to another query in the comments, wch you might not have seen so i’ll post here (apologies extended of course;):

    “… (if you’ll indulge this aside, a sorry excuse to share more thots on the album, when thanks for yr kind comment ought suffice!) the talent is the featured — albeit nameless — viral algorithm.

    our production something of an ode to the unseen worker, of the billions upon billions processing each finger twitch & thumb click, shifting our eyeballs about in unpredictable ways, leading us down dark & unseen paths behind the plasmatic surface.

    this bugged big science, then, a small gesture to tune our ears to the slightest perceptible twitchings, the most minute dysmorphia bubbling to the aural surface, interrupting the illusion of digital fluidity & user-listener autonomy.

    what makes this particular interruption interesting to me — an objet trouvé, as it were, piped into my ears quite beyond my will or consent — is its long-standing quietly hidden presence, its digitally autonomous processing & the seamless simulation it enacts of the most pervasive contemporary trends.

    again, forgive this aside, but i’d more words caught in my throat, waiting for an excuse to fill a window! … ”

    so. no. — definitely NOT an exciting remix frm yrs truly. more an aha! object startling me out of my tokyo traipse a few nights ago, converted into a sorry excuse to fill more web-space…

    regardless, i remain,
    yrs ever,
    j.h c

  4. 4 Dualtrack November 23, 2007 at 10:07 pm

    Great post! Thank you for this…

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