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‘Le Lisse et le Strié’ is a new work by french composer François J. Bonnet, released under his project name Kassel Jaeger. Based in Paris, Bonnet is the Director of INA-GRM. He is also a writer and theoretician (The Order of Sounds, A Sonorous Archipelago and The Infra-World have been published in english by Urbanomic). As a musician, Bonnet has been collaborating with artists such as Stephen O’Malley, Oren Ambarchi or Jim O’Rourke and most of his recent work has been published by Editions Mego.
‘Le Lisse et le Strié’ has been conceived as an exploration of the two antagonist concepts of “smooth” and “striated”, applied to the realm of electroacoustic sounds. If the “smooth” is linked to “nomos” as an open space of organic distribution, the “striated”, on the contrary, is associated to “logos”, as an enclosed space defined by a grid.
Elaborating a dialogue between these aspects, Kassel Jaeger draws an intermediary space where pulsations become textures and layers, and where rhythmic elements are found in the qualities and bodies of sounds instead of being functionalised, pre-determined sound objects, abstracted and frozen onto a temporal grid. The concept of “striated” is audible only through the sonic landscape it inhabits, like the stripes of the camouflage fur of wild animals only exist as such in the woods and long grass, disappearing into a potential uselessness in a desert plain.
Nouvel album de Kassel Jaeger alias François J. Bonnet, nouveau directeur de l’INA-GRM. « Le Lisse et le Strié » (référence indirecte (?) à Mille Plateaux de Deleuze et Guattari) veut explorer ces deux concepts antagonistes ou pour citer les auteurs précédents, « le rapport inverse du point et de la ligne (la ligne entre deux points dans le cas du strié, le point entre deux lignes dans le lisse) ».
En élaborant un dialogue entre ces deux aspects, Kassel Jaeger dessine un espace intermédiaire où les pulsations deviennent des textures et des stratifications, et où les éléments rythmiques se retrouvent dans les qualités de corps sonores au lieu d’être figés sur une surface temporelle.
Une musique électronique horizontale marquée par une lenteur méditative, le passage de quelques fantômes musicaux du passé, et toujours dans une grande sensation tactile de l’espace sonore.
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