After two collaborations with Francisco Meirino and Alfredo Costa Monteiro and a solo release for Eliane Tapes we welcome Bruno Duplant for his first solo release on Moving Furniture Records with Quelques instants d’éternité.
Quelques intants d’érternité is released as CD mastered by Bruno Duplant in artwork by Bianca Bondi, designed by Rutger Zuydervelt.
After a trilogy under the seal of a pessimistic vision of our present time and of Humanity (Élégie du temps présent – Granny records, Sombres Mirroirs – Cronica and Insondables Humeurs – Granny records), Quelques instants d’éternité is the first part of a new trilogy, always imbued with a certain mysticism and a deep melancholy, but, this time, more luminous, carrying a hope still possible. Once again, the omnipresence of the organ nevertheless leaves a place, discreet but important, to some related sounds, whether electronic or natural.
This offering from Bruno DuPlant is a single 47-minute track of long-held organ chords and notes, with background effects and noises. The tone is neither bright nor dark, hoving to an intermediate mood of introspection and a subtle yet distinct grittiness. Thus the action is split between the slow evolution and melancholy airiness of the organ in the foreground, as well as the scrobbling of effects and (possibly) other instruments in the background. The latter, from time to time, resemble the sawing of stringed instruments, clanging of bells, and rubbing of objects upon one another. With this rather limited palette of elements, Quelques Instants D’éternité slowly digs itself into your psyche and proves rewarding across multiple listens.
Things have been quiet for Bruno Duplant for at least a few weeks, but there is a new CD. Once again, a CD with a single piece of music, around forty-seven minutes, and as usual, with all the mystery intact. I still know next to nothing about the man and his modus operandi. I haven’t figured out whether that is good or bad. With the number of releases he has, it would be good to know a few things, at least. In his music, the (church) organ plays an essential role. Mentioned are also “natural & electronic devices” and that it is the first part of a new trilogy, “always imbued with a certain mysticism and a deep melancholy, but, this time, more luminous, carrying a hope still possible”. Mysticism, indeed. The church organ is one of the instruments one easily relates to religion, being holed up in a church. As before, I have only a minimal idea about the techniques used by Duplant, but an estimated guess would be that he has various recordings from the church organ and that there is some playback in a church, doubling, tripling (etc.) of the organs, all along adding space and decay to the music. Whereas in the beginning, it all sounds pretty straightforward, like a church organ, as we dig deeper, along the way, the edges start to decay and crumble, like centuries of dust, once in the sky at the cathedral, trickle down and cover the organ with more dust. A refined disappearance act, if you will. Yet, there is no vanishing point, the organ always remains present, and in the final eight minutes, the veil is slowly pulled away, and the organ becomes more visible again. This is another excellent work by Bruno Duplant in a long line of great results.
CD limited to 200 copies or digital available in our webshop
Or find the album in your prefered streaming service here: https://orcd.co/bruno_duplant_quelques
Bruno Duplant is a prolific composer and a musician living in the north of France. He has collaborated with many musicians around the globe and has also made solo works. His recordings have been published by various labels including Elsewhere, Another Timbre, Wandelweiser, Ftarri, B-Boim, Diafani, Notice Recordings, Suppedaneum, Unfathomless, Dinzu Artefacts, Aussenraum, Moving Furniture Records, Verz, Mappa, Hemisphäre の空虚, Falt, among others.
For Duplant, composing and playing music is similar to imagining, creating, and sometimes decomposing new spaces/realities, and new entities which he calls fictions. But it is also a reflection on memory (memory of things, spaces, and moments) and also on all that is invisible, intangible.
His music, strongly inspired by the writing (Francis Ponge, Gaston Bachelard, Georges Perec, Mallarmé among others) and some artists/musicians/theorists (John Cage, Luc Ferrari, Eliane Radigue, Rolf Julius & Raymond Murray Schafer), is imbued with a sweet melancholy.
His photographic practice and writing (poetry), for some time, join his musical practice, in many crossings, for many exchanges.