Esthetically, I take my inspiration from the lute-making of German industrial music from the 1970s. This piece is also nourished by a spontaneous coup de cœur that I had for a particular space: the construction site of a vast concert room to be. When I accidently discovered this humongous space, the image before me struck my eyes, it represented exacly the spirit that I want to insufflate my music of. The warmth of the lighting on the concrete walls created by the industrial projectors gave the place such a particular cinematic ambiance. In this artistically rich environment, the sounds where being born out of the gravel, out of huge metal pipes of different sizes, of various construction tools and cardboard boxes, and all sorts of multiform objects lying around. This amalgamation of sounds was babbling and growing inside the belly of this enormous space with such an intimidating resonance. This place seemed to embody something sacred for me, something like a cathedral. Thankfully I had a microphone on me and was prepared. As the hunt for sounds begun, time stood still, finally I was alone, abandoned in my natural environment.

Therefore, the piece is constituted of sounds extracted directly from the original recording. Also I wanted to work with matters of natural parasitic such as “feedback” and noises often considered as sonorous pollution.

The structure plays on two planes: the mechanic of the parasitic sounds in their very reduced space and the repercussions of the industrial objects caught in their urban cathedral. Foremost, this piece is a ground-test of the development of an instinctive and rhythmical language.

Source: JTTP 2008