colleen

Another live excerpt from the full live show you can see on Youtube from my concert at Sala del Paradiso, Museo dell’Opera del Duomo, Firenze, Italy, given last month, for @museofirenze and @musicusconcentus .
Headphones or amp recommended.

“Les parenthèses enchantées – Movement I” was one of the first songs I finished for Le jour et la nuit du réel, at the stage right before fully diving into the depths of synthesis. It bears its Satie influence on its sleeve, but is also a close cousin of the songs on my second album, 2005’s The Golden Morning Breaks. Whenever I play it live, I immediately feel such a shift in energy, in the sense that it totally calms me down and could even put me to sleep – in the best possible way – if I wasn’t actually the one playing it. 
The 2 hiccups that happen at 3’12” are typical of moments where I get lost in the music and the performance to the point of losing awareness of the moves my hands are doing for me: it’s a feeling both beautiful and dizzying and is typically for me a moment when these small incidents might happen. I guess that if I was classically or formally trained, I might find a way of better controlling this, but as I’m not, it is what it is and I have finally learnt to accept these moments as part of the performance.
The song uses what I call my “Rhodes sound” on the Moog Grandmother: the Lowpass Filter is used as a Sinewave oscillator (for this, Resonance needs to be set at full and the Kbd Track set to 1:1), pitch being determined Cutoff frequency. Envelope Release set at 12 pm and a little bit of Spring Reverb. Sent by Aux into the Space Echo (the real thing in the studio, my @soundgasltd Roland RE-201 Space Echo, or the pedal version live, the BOSS RE-20). Both gently panned Left and Right.

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