bernard parmegiani - l'oeil ecoute & dedans-dehors (album preview) by experimedia

Digital Transfer: Jonathan Fitoussi
Cut by Rashad Becker at Dubplates & Mastering, Berlin, June 2012
Layout: Stephen O'Malley
Translations: Valérie Vivancos
Coordination GRM: Christian Zanési & François Bonnet
Executive Production: Peter Rehberg

L'Œil écoute (1970)
"From the very first moment, caught by the musical tone heard from inside a train, the trip offered by this piece, woven with different materials, triggers in us various climates able to give our imagination power over sounds: the power to guide them through our secret mazes rather than to blindly follow them like Panurge. This form of (auditory) contemplation thus attempts to enable us to lose ourselves outside our far too familiar and usual territories. Perhaps, in looking too hard, man eventually stops listening. And, as I said when creating the piece in 1970, the eye, now a "solitary wanderer" only has ears for what assaults it." (B.P.)

Dedans-Dehors (1977)
“When listening to the sound material, we metamorphose the inside into an outside. This notion of metamorphosis is one of the principles that leads the course of the musical suite, reflecting changes (fluid-solid passages: water/ice/fire) or movements (ebb/flow/wave, inspiration/expiration) or inside-outside passages (door/individual/crowd). Thus, the perceived object is not entirely what we would have liked it to be. Our music brings us closer to some whilst it takes us away from others: each with their own inside.” (B.P.)

Digital Transfer: Jonathan Fitoussi
Cut by Rashad Becker at Dubplates & Mastering, Berlin, June 2012
Layout: Stephen O'Malley
Translations: Valérie Vivancos
Coordination GRM: Christian Zanési & François Bonnet
Executive Production: Peter Rehberg

L'Œil écoute (1970)
"From the very first moment, caught by the musical tone heard from inside a train, the trip offered by this piece, woven with different materials, triggers in us various climates able to give our imagination power over sounds: the power to guide them through our secret mazes rather than to blindly follow them like Panurge. This form of (auditory) contemplation thus attempts to enable us to lose ourselves outside our far too familiar and usual territories. Perhaps, in looking too hard, man eventually stops listening. And, as I said when creating the piece in 1970, the eye, now a "solitary wanderer" only has ears for what assaults it." (B.P.)

Dedans-Dehors (1977)
“When listening to the sound material, we metamorphose the inside into an outside. This notion of metamorphosis is one of the principles that leads the course of the musical suite, reflecting changes (fluid-solid passages: water/ice/fire) or movements (ebb/flow/wave, inspiration/expiration) or inside-outside passages (door/individual/crowd). Thus, the perceived object is not entirely what we would have liked it to be. Our music brings us closer to some whilst it takes us away from others: each with their own inside.” (B.P.)