Just like last year, the Parisian installment of the Toulouse based festival Les Siestes Electroniques enabled musicians an exceptional access to the audio collection of Musée Du Quai Branly. These selected musicians were invited to sample a set of resources of an unsuspected wealth and subsequently replay it during a free, open-air event. These recordings document the outcome in the cases of both SHAPE acts of the festival, namely, Voiski and L’Ocelle Mare.
For several years, Voiski has struck a singular path in techno music, oscillating between experimental projects and the production of tracks marked by his signature style. Within the large spectrum of his interventions, Voiski stands out for the rigor of his infinitely repetitive loops. These, combined with acerbic drum beats, construct an analogue excitation that carries his music to the heart of futurist and sentimental layers.
L’Ocelle Mare, meanwhile, is the solitary project of Thomas Bonvalet initially focused on the nylon string guitar, taking short, dynamic and abrupt forms and limiting itself exclusively to the acoustic possibilities of the instrument. A radical posture, it constantly threatened to put itself at an impasse, or being forced into metamorphosis and movement. Bonvalet’s guitar thus became less and less identifiable. At the periphery it absorbed the sound of objects (metronome, tuning forks…) deviating from their common usage, integrating and splitting up their breath and sounds to reveal a new fleeting form.