KHAGE is a musical project that began in 2022, ending nearly 20 years of silence on my part.
This solo project is a continuation of my sound explorations within the Brakhage Kollektiv from the early 2000s.
I make music a bit like one writes in a diary.
I am at a point in my life where it is essential that this project be a solo project.
It’s the easiest way I found to create on a daily basis.
I work on my own, I don’t have to make plans nor concessions.
Thus, I free myself from all rhythmic constraints.
Nowadays, the art of music seeks amalgams of the strangest, the most dissonant and strident sounds.
We thus approach the sound-noise.
This evolution of music parallels the increasing multiplication of machines that participate in human work.
In the resounding atmosphere of the big cities as well as in the formerly silent countryside, the machine creates today such a great number of varied noises that the pure sound does not raise emotion any more.
« Que celui qui aime les exposés systematiques, les professions de foi de l’intempérance dogmatique s’arrète ici, il serait déçu, mais que celui qui cherche le témoignage d’une recherche, l’étonnement d’une curiosité, l’inquiétude d’un résultat, veuille bien poursuivre. »
“Let the one who loves systematic presentation, professions of faith of dogmatic intemperance stop here ; he will be disappointed.
But thee who is looking for the testimony of a research, the astonishment of curiosity, the anxiety of a result, may continue.”
Information theories, the concept of entropy, the patterns of chance and probability, are the only rules I play with to try to control the shape.
The emotions which seem to emerge from these circuits have a seducing but also monstrous character, reminiscent of space-time travel.
I often begin a composition without premeditation.
I can start with a simple sound or musical element to which I can add another, then try another, then cut if necessary and so on.
This empirical process of composition is the opposite of the processes usually adopted by traditional composers.
I work directly with the material of sound and there is no loss between the idea, its execution and the recording.
Each sound produced has its own existence, its own rendering, its own character.
Once these sounds cease to exist, they fade away and I am unable to reproduce them.
I can’t and don’t want to control anything.
I feel a form of innocence mixed with wonder.
Once the circuits are built and patched I sit down and watch – speechless – their birth.
I am in a particularly receptive state : awake like a child taking its first steps into the world, ears and eyes wide open.
Then, thanks to its impact in my unconsciousness, this soundtrack thus composed lays the foundations for many other imaginary films that correspond to the sound of my own dreams.
I probably find in these electronic bleeps and noises – like many other spectators of a movie – a form of universality.
It is always difficult, even clumsy, to try to give labels to a music, but… to simplify – and although essentially electronic – the direction taken with KHAGE ventures on the side of Empirical Generative Soundscape, Dark Ambient, Drone and Noise…
Fearful Symmetry was released three months later.
A more homogeneous album which is in line with the darkness and the pain.
In the meantime, I was also able to experiment a form of sonic exquisite corpse, with my friend Adriano Perlini, for a two-track EP entitled 4th of July.
The continuation of this sonic adventure should come at the beginning of the year 2023… so stay tuned !