This album closes a hiatus of almost 20 years without any real musical production from my part.
It is nevertheless in the continuity of Brakhage Kollektiv, a musical project which opened me the way to new creative horizons, after some brief and more conventional “rock” experiences.

This long silence ends today after the sudden death of my mentor and friend, Didier “Didz” Séverin. Alternately, squat roommate, big brother and confidant, Didz – ex-singer of the metal band Knut – had ventured for many years on the path of musical experimentation and introspective contemplation with Llama, Olo, strom|morts

We had already been able to share our practices during some concerts where he had joined the Brakhage Kollektiv, between 2003 and 2004. Almost two years ago, we discussed the idea of launching a project that would allow us to highlight our shared passion for L.A. (Linear Arithmetic Synthesis) synthesis that Roland developed in the second half of the 1980s with the D-50. Some kind of musical project we could make at distance and by correspondence, in the form of a musical exquisite corpse. The idea was to “make” sounds and record audio tracks with the D-50 and send them to the other so he could use and modify them as he pleased.

The last months before his death, Didz was not doing well… he told me that he didn’t have the head to play his D-50 anymore, but he still proposed me to start on my side, as a joke, using the factory preset of the synth named “Soundtrack”. In fact, one of Didz’s famous sarcastic jokes : this infamous preset was used to excess in the late 80’s by Tangerine Dream, Prince, Mike Francis, Seal and Gary Numan among others.
Nevertheless, and hoping that he will seize the opportunity to embark on this project, I sent him on January 4th, 2022 a sound file I had concocted with the preset : “Crunchy Biscuit Soundtrack For YesBaby666”. This being my last exchange with him, I have since renamed this track “Didz”.

Oscillating between experimental explorations and meditative journeys, the artistic direction that is offered to me now is as uncertain as it is saving. This is undoubtedly and in large part thanks to you, Didz… requiescat in pace.

🖤🖤🖤🖤🖤🖤

Apart from “Cadavre Exquis Rythmique”, all tracks are mostly beatless soundscapes, composed of droning synths, effects-treated sound waves along with miscellaneous electronic treatment; volume swells and feedback fill the gap of rhythmic instruments, providing dynamic movement (modulation) within the songs.

Recording (except tracks A–3., B–1. & B–3.), Mixing & Mastering at Del-Uks Audio Lab by Aleksandr P. Thibaudeau, January-July 2022.

Signal Flaw :

A–1. Roland D-50 -> Oto Biscuit -> TC Electronic ND-1 Nova Delay -> Lexicon Reflex
A–2. Grendel Drone Commander -> Moog MF-104M Analog Delay -> Eventide H949 Harmonizer + Shortwave Radio Signals
A–3. Intro speech by Steve A., drums by Alexis F., Damon C., Simone P., Doug S., Brian T., Britt W., Kevin S., Jim B., John McE., Todd T., Davide O.& Mac McN. => Erica Synths Zen Delay => Moog Minitaur (24dB Ladder filter) => OTO Biscuit
B–1. Roland SH-101 -> Moog Minimoog
B–2. Soma Lyra-8 -> Eventide H949 Harmonizer -> Erica Synths Zen Delay -> Eventide Space
B–3. Alexandre Müller Ramirez : Farfisa VIP 200-R, 3/4 Upright Bass, Sonor Soprano Glockenspiel ||| Aleksandr P. Thibaudeau : (Heavily Modified) ’71 Gibson Les Paul Recording, electronic treatments (Moog MF-102 Ring Modulator, Moog MF-103 12-Stage Phaser, Moog MF-104M Analog Delay).

Dr. Tarō & Bob sensei” & “Your Heart Is Fading Away (Like Tears In Rain)” were recorded during Brakhage Kollektiv’s Modulations Stoïques session at Thierry van Osselt‘s Smelly Room (Geneva), Summer of 2003.

Special thanks to :
Dominique Baroncini for her love and for showing me the way.
Aksel-Blake Isaiah Thibaudeau for making me proud every day.
Michel Blanc for the loan of the Farfisa VIP 200-R.
Alexandre Müller Ramirez for his patience during the time we shared together.
Adriano Perlini for his attentive listening and his encouragement.