Info Unfathomless U04 Lignes d’erre & Randons 
"Lignes d’erre & Randons"
by Kassel Jaeger
Unfathomless (UO4)
"Nocturne - Kassel Jaeger"
"Pneuma - Kassel Jaeger"

Kassel Jaeger's URL


fn issue October 2011
'N-Plants' - Biosphere
'Sky Snails' - The Electric Golem
'Echo Park' - Willamette
'Gramophone Transmissions' - Broken Harbour
'Negative Space' - Blue Sausage Infant
'Home Patterning' - compilation
'Polychromatic Integers' - Richard Lainhart
'Generate Records' - compilation
'Sung In Broken Symmetry' - Aquarelle

The Unfathomless label continues its pursual of grimly fluid, introspective, subterranean drone work, a style that's become increasingly widespread in the last year as others follow where Daniel Crokaert and associates lead. Few and far between, though, are those as proficient as Kassel Jaeger. Here the house style is augmented further with a widening of palette through inclusion of electronics, and a deepening of interaction with source material. Not an advocate of processing the life out of his sounds or of letting latent textures overdetermine, the mysterious Kassel Jaeger instead incorporates them wholesale, fully enacting the linkage of sound and idea.

Jaeger recorded ‘rivers shores in Berlin and Köln, wind & pipelines in Paris, air and nocturnal insects in some remote places in France, algae, mudflat and harbor in I’Île de Ré, ultralight aircraft in Pinarello (Corsica) and other sounds in some other hidden places. He comments that “What originated these “lignes d’erre & randons” were sounds collected in different and special spaces which have been important to me. These sounds, trapped into my remembrances, had no other choice than mutate and evolve, drawing subterranean flows and creating a genuine underworld of recollections.” Which perhaps begs the question as to why, if these places were so important, should those sounds be so mutated. Be that as it may, Jaeger, at day time a sound engineer at GRM in Paris, has a fine ear when it comes to recording and treating these sounds. The seven pieces resulting from these sound sources are among the best of this series - works with more to do the world of electro-acoustic sound treatments inhabited by INA/GRM than that of microsound. Jaeger resists the trap of stretching out a limited set of sounds with computer plug-ins, going the extra mile to create multi-layered collage forms, as can be heard to absorbing effect on pieces such as "Nocturne" and "Pneuma."

Review by Alan Lockett


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