Two encompassing and tranquil works of sound from French composer Bruno Duplant, the album title translating to Ageless Landscapes as Duplant envisions two terrains through slow motion tones, piano and synthetics, evocatively described in an accompanying poem that conjures expansive fog, blurred trees, hawks slowly spiraling, a history in a hillside.
In Stock
Quantity in Basket: None
Log In to use our Wish List
Shipping Weight: 2.00 units
Sample The Album:
Bruno Duplant-composer, performer
Click an artist name above to see in-stock items for that artist.
Label: Sublime Retreat
Catalog ID: SR005
Squidco Product Code: 33370
Format: CD
Condition: New
Released: 2021
Country: Poland
Packaging: Cardboard Gatefold
"So, what dates a landscape? In human perception, the passage of time is detected through evidence of change or decay, and on Paysages Sans Age III, it's the sounds themselves that decay. Hints of synthetic melody surface and then recoil, as though recognizing their own inevitable demise, and sustained tones fade to nothing like a horizon just after dusk. Fix your ear on a synthesizer or piano note, and you'll find another sound behind that sound, and then another. Duplant also supplied the CD's three cover images, each a blurred black and white image of trees in various states of wintry undress. Sight and sound converge to create an impression of a landscape that is, perhaps, ageless because aging is no longer an option."-Bill Meyer @ Dusted, June 2021
"Besides a long text on the cover, which is more a poem of some kind than something informative, I started the CD by Bruno Duplant by not knowing much else about this release. Sublime Retreat didn't add much information either. There are two parts of 'Paysage no 5', both exactly fifteen minutes and 'Paysage no.6', which is twenty minutes and one second. I reviewed quite a bit of Duplant's music over the recent years, without having much clue as to what he does, in terms of instruments and so on. I would think that in many of his releases, field recordings play an important role and that these two/three 'Paysage', which can be translated as 'landscape'. With such a title, it is easy to think about field recordings I would think, but these pieces are indeed wide open and spacious, like looking for a vast amount of land, hills, green grass, rather than trees or a forest. In the two parts of 'No.5', there is, I think, some sort of computer processing going, slowly altering and changing and with far, far away a dash of piano sounds; more in the first than in the second part. But in the second there might be some kind of different instrument that I couldn't figure out; it might be a synthesizer. In 'No.6' we have, essentially, the same elements, but now it is a more orchestral composition for slow strings and wind instruments and the occasional bang on the piano. It has a fine, estranged melodic drift, floating on what seems, again, computer-processed sounds. I enjoyed all three pieces, but whereas the double bill of 'No.5' seemed also a bit standard to me, I found the orchestral quality of 'No.6' of great beauty and equally great sadness. Almost like a lament for a landscape. [...]"-Frans de Waard, Vital Weekly
Get additional information at Vital Weekly
Artist Biographies
• Show Bio for Bruno Duplant "Bruno Duplant is a composer, improviser and multi-instrumentist (double bass, percussion, electronics, phonography...) living in the north of France. He has collaborated with lot of instrumentalists around the globe and has also made solo works for such labels as B-Boim, Engraved Glass, Peira, Ilse, Impulsive Habitat, Con-v, Unfathomless, Et le feu comme matière formatable technologiquement, Audiotong, Insubordinations and his own label curated with Pedro Chambel, Rhizome.s... For him, composing, playing, improvising music is like imagining, creating and sometimes decomposing new spaces/realities, new entities. But it is also a reflection on 'memory', not the historic one, but a memory of all things, spaces & moments. His new works, mostly based on phonographies & graphic scores, perfectly reflect that." ^ Hide Bio for Bruno Duplant
4/24/2024
Have a better biography or biography source? Please Contact Us so that we can update this biography.
Track Listing:
1. Paysage N5 (Premiere Partie) 15:00
2. Paysage N5 (Seconde Partie) 15:00
3. Paysage N6 20:00
Electro-Acoustic
Organized Sound and Sample Based Music
Sound, Noise, &c.
Ambient & Minimal Music
European Improvisation, Composition and Experimental Forms
Solo Artist Recordings
New in Experimental & Electronic Music
Search for other titles on the label:
Sublime Retreat.
 | Duplant, Bruno Le Jour D'apres (Sublime Retreat) |
| A dark journey into a nocturnal world of synthetic tones and urban environments, emerging from footsteps and impressions of the passing world imbued through vaporous and skewed progressions, like moonlight piercing through a veil, from French composer and electroacoustic artist Bruno Duplant in an extended work dedicated to Belgian pianist Guy Vandromme. | |
 | Duplant, Bruno / Seth Nehil The Memory Of Things (Sublime Retreat) |
| An immersive and often explosive set of dark compositions from Seth Nehil & Bruno Duplant, blending field recordings, electronics, percussion and percussive objects into a controlled chaos of inexplicably murky and uncategorizable sounds, at times like a surreal firework display, or inserted into a complex machine on the verge of collapse, all imbued with a consistent resonant hue. | |
 | Vandromme, Guy / Bruno Duplant l'infini des possibles (12 etudes pour piano) [2 CDs] (elsewhere) |
| Twelve etudes for solo piano by French composer Bruno Duplant and interpreted by pianist Guy Vandromme, each etude consisting of eight lines of lowercase letters a-g representing white keys, with accents, uppercase shifts, apostrophes, &c. affecting those letters, the performer given an "infinity of possibilities" through choices of combinations and repetions of the score. | |
 | Duplant, Bruno / Pierre Gerard Soleil Clandestin (Edition Wandelweiser Records) |
| Five "Soleil Clandestin" soundscapes using abstract voice, guitar, electronics, field recordings & percussion from sound artists Bruno Duplant and Pierre Gerard, on the surface peaceful, minimal and using space and silence, but buried inside are disquieting additions through vocal abstractions placed in unusual position to the sound; curious and captivating. | |
 | Duplant, Bruno Deux Songes (Les Jours Sont Faits Pour Expliquer Les Nuits) (Meenna) |
| Two beautifully subtle works for an ensemble of strings and electric piano from French composer Bruno Duplant, realized by the Boston-based Ordinary Affects ensemble or Jordan Dykstra, Morgan Evans-Weiler, JPA Falzone, Luke Martin and Ashley Frith, the first a quintet and the second a string quartet, creating illusory affects of motion and space through abstraction. | |
 | Wadham, Rachael / Philippe Lenglet / Bruno Duplant everydayisagoodday (Confront) |
| Starting from John Cage's Zen quote--"Every day is a good day"--the trio of Rachael Wadham on piano, Philippe Lenglet on acoustic guitar and cithar (a type of harp), and contrabass, recorded these improvisations approaching their instruments not for melodies but as tools for experimentation, from which this trio finds a wealth of inventive sound. | |
 | Duplant, Bruno / Rutger Zuydervelt Edge Of Oblivion (Machinefabriek) |
| The third collaboration between sound and electronic artists Bruno Duplant and Rutger Zuydervelt (Machinefabriek) is a darkly heavy and dramatic work of subtle motion that slowly unfolds and shifts through vast sonic environments, fueled by acousmatic sources that take the listener to the edge of darkness and then pulls them back in warm waves or rich ambiance. | |
 | Olsen, Lance Austin / Bruno Duplant Coincidence (Ftarri) |
| A single extended duo performance from improviser, composer and leader of the Infrequency Editions label, Lance Austin Olsen, performing on guitar, field recordings, wax cylinder recordings, MIDI organ & amplified objects, along with French pianist, composer and improviser Bruno Duplant, also credited with "sounds", a moody and tense work that meticulously uses innuendo and space. | |
 | Vehicule Aubusson (Sublime Retreat) |
| A diverse set of compositions spanning dreamlike aural landscapes, petite songs and assertive experiments of rich sound, in the fourth album from French sound artist Sylvain Milliot under the project name Véhicule, developed from improvised recordings that were then developed in the studio, each piece fitting together in a larger and aurally satisfying framework. | |
 | Dead Mauriacs, The Le Parc, rapport d'observations (Sublime Retreat) |
| The mysterious French audio collective The Dead Mauriacs led by Olivier Prieur in a 3-part work of electroacoustic compositions sourced from field recordings made during time spent in Brussels, developing these works based on daily recordings of audio observations at cafes, parks, churches, plus manipulated objects and some parakeets in a park; truly inspired collage work. | |
 | Deli Kuvveti In the Summer Dusk (Sublime Retreat) |
| The title an excellent reflection of the work, Seattle-based, Turkish-born Deli Kuvveti developed these two works that flow into each other to create an absorbing impression of a serene summer evening with dark undertones, using a granular synthesis configuration that creates movement through textured sounds, creating two complex and highly detailed narratives. | |
 | Cammisa, Edoardo io_u,E (Sublime Retreat) |
| Understated and enigmatic, the work of Northern Italian sound artist Edoardo Cammisa, aka Banished Pills, presents a very short work on decay, and then two expanded sound works composed from synthesisers, spring reverb, microphones, field recordings, no-input mixing, organ & sampler; the environments are murky but with movement, and engaging in their dark evening ambiance. | |
 | Vales, David Beta Vulgaris (Sublime Retreat) |
| Working with sound and the relationship to food, crops, and the culinary identity of communities, Beta Vulgaris, (the latin name of the common beet) was composed by Bogota, Columbia born David Velez, a PhD graduate in Sound Art from the University of Huddersfield, who used these specific tones to stimulate the growth of beetroot in the garden of the Modern Art Museum in Medellin. | |
 | Belorukov, Ilia Someone Has Always Come (Sublime Retreat) |
| The third in Ilia Belorukov's series of electroacoustic compositions on Spina!Rec and Moving Furniture, here in a set of four compositions, each presenting detailed layers of acoustic and electronic instrumentation and field recordings captured throughout Europe and Russia, carefully placed over heavily laden synthetic drones that guide the motion of each piece. | |
 | Zenial Lancelot's Delusions (Sublime Retreat) |
| The music project of Polish sound explorer Lukasz Szaankiewicz is Zenial, merging minimal ambient and micro-sounds with field recordings and a sense of skewed motion, creating long-form virtual journeys through strange environments, or in rich textures of a dark night accompanied by slowly moving tones, his years of experience heard through exceptional sonic qualities. | |
Customers Who Bought This Item Also Bought:
 | Mitchell, Matt Oblong Aplomb [2 CDs]d (Out Of Your Head Records) |
| Expanding on pianist/composer Matt Mitchell's 2013 duo album Fiction with Ches Smith is this double-duo release over 2 CDs, one CD with Smith performing on drums, gongs, percussion, vibraphone, glockenspiel, tam-tam & timpani, and one CD with drummer/percussionist Kate Gentile, performing Mitchell's fascinatingly convoluted works that integrate composition with improvisation. | |
 | Sijstermans, Germaine Betula [2 CDs] (elsewhere) |
| The solo debut album from Dutch composer & clarinetist Germaine Sijstermans: seven recent contemplative works in a Wandelweiser vein, composed between 2017-2019 and performed with six exemplary and complementary performers: Antoine Beuger (concert flute), Rishin Singh (trombone), Johnny Chang (viola), Fredrik Rasten (guitar, ebow), and Leo Svirsky (accordion). | |
 | Frey, Jurg / Quatuor Bozzini / Konus Quartett Continuite, Fragilite, Resonance (elsewhere) |
| Continuity, Fragility, Resonance is an extended compositions by Jürg Frey orchestrated for an octet of a string quartet and a saxophone quartet, here recorded after the 2021 premier of the work in a 2022 3-day recording session in Bern, Switzlerland in the presence of the composer at the Auditorium of Zentrum Paul Klee; gorgeous and delicate. | |
 | Di Domenico, Giovanni / Silvia Tarozzi / Emmanuel Holterbach L'Occhio Del Vedere (elsewhere) |
| During an artistic residency at the GMEA in Albi, France, composer & pianist Giovanni Di Domenico recorded with the trio of violinist Silvia Tarozzi and percussionist Emmannuel Holterbach performing on a large frame drum, completing the piece into this mysteriously insinuating and lovely triptych where sparse melodies emerge & submerge into a multidimensional expanse. | |
 | Blonk / Smith / Moses Rune Kitchen (Balance Point Acoustics) |
| Four unusual studio recordings of voice, electronics, double bass, drums & percussion from the trio of Netherland vocal improviser Jaap Blonk with bassist Damon Smith and drummer Ra Kalam Bob Moses, Moses and Blonk collaborating on the concrete poem that makes up "liner notes" for this wonderfully odd and sophisticated album of avant free improv. | |
 | Soderberg, Peter String Dialogues (thanatosis produktion) |
| A collection of six duo recordings from musician, composer, and improviser Peter Soderberg, investigating different tuning systems and the idea of hybrid instruments, recording with Katt Hernandez (violin), Stina Hellberg Agback (harp), Mats Persson (clavichord), Sten Sandell (piano), My Hellgren (cello) and Vilhelm Bromander (contrabass). | |
 | Kuchen, Martin / Sophie Agnel Detour Tunnels of Light (thanatosis produktion) |
| Delicately caustic interactions of reeds, piano and percussion using the natural resonance of the Borlunda Church in Eslöv, Sweden, from the freely improvising duo of Martin Küchen and Sophie Agnel, Küchen adding electronics and Agnel performing inside and out of the piano while supplementing her palette with objects, both using space and patience as their allies. | |
 | Parker, Evan NYC 1978 (Relative Pitch) |
| In 1978 after recording his acclaimed solo album Monoceros, saxophonist Evan Parker embarked on a solo tour of the US and Canada, in New York City performing at the legendary loft space Environ, his first-ever solo performance in NYC and a masterpiece of extended techniques, circular breathing and spectacular control on the soprano and tenor saxophones. | |
 | Dietrichs (Camille Dietrich / Don Dietrich) Catch the Leaves (Relative Pitch) |
| Definitely of the Borbetomagus mold, the duo of tenor saxophonist Don Dietrich and cellist Camille Dietrich, his daughter who grew up under the influence of that band's relentlessly aggressive free jazz, here in a live performance at Tubby's in Kingston, New York for four burning improvisations that take apart a tree, leaving the audience to catch the fragments; terrifyingly intense! | |
 | Dikeman, John / Pat Thomas / John Edwards / Steve Noble Volume 2 (577 Records) |
| The second of two volumes from the quartet of John Dikeman on tenor saxophone, Pat Thomas on piano, John Edwards on bass and Steve Noble on drums, bringing the American saxophonist working throughout Europe together with this nearly telepathic collaborative grouping of UK frequent collaborators, captured in concert at Cafe OTO in 2019 for two absorbing improvisations. | |
 | Reid, Tomeka / Fred Lonberg-Holm Eight Pieces for Two Cellos [VINYL] (Corbett vs. Dempsey) |
| Two Chicago improvising cellists--Tomeka Reid & Fred Lonberg-Holm--explore the repertoire for cello music in jazz, presenting works by Fred Katz ("Pluck It"), Sam Jones ("In Walked Ray"), Ron Carter ("Rally") and Harry Babsin ("Monti-Cello"), adding 3 new, original works by Fred Lonberg-Holm and a piece by Tomeka Reid paying homage to bassist Charles Mingus & violinist Billy Bang. | |
