Multimedia Composition: Spectral Manipulation & Industrial Aesthetics
A technical-scientific analysis of the intersection between analog technology, digital glitch aesthetics, and contemporary rock improvisation. This critique examines the morphological evolution of sound through spectral signal processing and "digital artifacts.
R. Daniele / S. Bacon
10/5/20112 min read
Franck Vigroux – A Crossover Experience
Today we discuss a true experience of crossover—not merely of genres, but of atmospheres and moods—on the edge of rock-oriented improvisation. This work utilizes electronics and contemporary composition, balancing sound construction with intuitive development; it is the work of composer and multi-instrumentalist Franck Vigroux, who is also the founder and director of the French label D'Autres Cordes (Ref. 1).
The blend of moods and sounds, which possesses an immediate impact, is instantly evident in the promotional video created for the Electricity Festival in Reims on October 5th, included at the bottom of this page. A wide range of multimedia elements can be found on the composer's website under the "videos" section, also accessible via the label’s homepage (Ref. 1-2). While that video presents a second version of the piece titled Camera (Track 2) involving other musicians such as Matthew Bourne, Bruno Chevillon, and Michel Blanc, the album we are currently listening to is an entirely solo effort. The recordings of the instruments—from guitar to synths to percussion—were managed and conducted by the composer himself, whose role, whether utilizing analog or digital technology, merges with that of the technician. Regarding the software employed, several different programs were undoubtedly used.
One is introduced to this singular compositional discourse by a saturated vortex, heavy with mid-low frequencies that grow in a crescendo before leaving the field, after the first minute, to a booming oscillation. Against this latter element, inserts of very high frequencies are placed alongside a vocal type—which we will encounter again in Track 8—presenting a morphological profile drastically manipulated at the spectral level, though with non-dynamic processing, pronouncing short, sometimes repetitive phrases that are incomprehensible yet close to the words "it can see me." The track concludes with a new surge of noise bands and high-frequency sounds in stereo and an overall decrescendo.
Noise, saturation, sharp rhythmic hits, a repetitive bass of clear rock origin, an intensification of the beats, and a saturation of noise constitute a decidedly industrial environment where the rhythmic element, in its block-varied repetition, remains a constant. Added to this is the alternation between short fractions of more or less increasing noise-sound significance and its absence, as well as the alternation between moments of greater or lesser saturation (Tracks 2, 5, 7).
In the third track, a minimal repetitive chordal element enters the scene, into which previously presented sound types and sound bands in micro-movement—yet perceptible in terms of dynamics and frequency—are interlocked.
Noise and its every relationship with actual musicality, in strict connection with rhythm, undoubtedly represent the dominant set of elements in the entire work. On the other hand, the rhythmic features push forward to delineate, with Track 8, a veritable industrial dub ballad (Tracks 4, 6, 8).
Specifically, one can discover: watery and vitreous masses, sometimes breaking; pseudo-sinusoidal synthetic sounds paired with inserts of very high frequencies; and the conscious use of so-called "digital defects" of sound within a stereo movement made of contrasts, sometimes on the threshold of audibility. All of this is linked to the flavor of an old cinematic atmosphere, close to an imaginary narrative of discovering new horizons, reaching the point of displaying the sonic defects of a vinyl record at the beginning of the final track (10). Furthermore, properly electroacoustic flavors—the processing of sounds and voices, their foreground presence in relation to rhythmic elements of silence—flow into returning bands of digital and vocal sound, this time female (Track 9). Finally, a reference to the timbral-instrumental research typical of much contemporary music is presented, only to be literally dispersed and mixed until the extremely variegated, fragmented mass of noise-sound becomes unrecognizable, eventually interrupted by a monotonic choral chant (Track 10).
Finally, tracks 11 and 12 are hidden; we leave their full surprise to you.
A skillful and decidedly interesting work; web references for further study and purchase follow. [S. Bacon / R. Daniele]
References:
1. http://www.dautrescordes.com/
2. http://www.franckvigroux.com/
3. http://itunes.apple.com/it/album/camera-police/id373073045
