Recollection GRM

BAYLE, FRANCOIS - Tremblements...

François Bayle on Tremblement de terre très doux (1978); first performance on March 19, 1979 at the Grand Auditorium of Radio-France, Ina-GRMs Cycle Acousmatique: The familiar generates the strange. These rolls, these hums, these sudden rushes; this song, these peaceful circlings; these sudden outbursts, these returns to quiescence -- what do they remind us of? This pieces trajectory could also be a representation of the dramatic unfolding of a day -- of a life -- from sunrise (Climate 1) to night-time (Landscape 4) via restless encounters, transitions (Transit 1, 2, and 3) that announce the drama climaxing in Landscape 3, before reaching its denouement in "Climate 4"... A whole concrete story. The subterranean properties inherent to listening gently shift our ideas..."



François Bayle on Toupie dans le ciel (1979); first performance on January 21, 1980 at the Grand Auditorium of Radio-France, Ina-GRMs Cycle Acousmatique: "A wave is swaying on two minors thirds. This constantly uniform yet constantly varied swaying revolves in a swarm of sharp designs that blink on and off in a layer of growing density and mobility. Distance, speed, pressure, density, temperature, color, intensity, are the themes of the 27 short interconnected cells flowing together though this seemingly unified movement. Occasionally, a breach in the texture reveals skies dotted with little comets. In the center, a slow gliding picks up the distant harmonics of a basic chord. Toward the end, this gliding returns with a fiery burst. Fine lines and whirs are generated from the song of a spinning antique top. To end on a lighter note the title Toupie dans le ciel -- Spinning Top in the Sky reminds us of Lucy in the Sky with Diamonds by The Beatles as well as Lucy, the oldest Australopithecine (three million years), our African grandmother in the Erosphere... The overall title Erosphere alludes to the desire inherent to the listening experience, and to the very primitive cues that sustain the auditory attention and are the basis of all musical pleasure."



Cut by CGB at Dubplates & Mastering, Berlin, June 2017; Digital transfer by Jonathan Fitoussi; Translations by Valérie Vivancos; Layout by Stephen OMalley; Coordination GRM - Daniel Teruggi and François Bonnet; Executive Production - Peter Rehberg." - Recollection GRM
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After nearly a decade of false starts, multiple game plans veering off the rails, and a handful of shattered hopes and/or dreams, the odyssey is finally complete—the new Fusetron site is here.

This is the first phase of a multipart rollout that will span the next few months: the currently browsable stock includes miscellaneous new releases from the past 8+ months (we have a lot of catching up to do), plus approximately a third of our backstock. Note that we’ve reduced/slashed prices on many titles and will continue to do so in order to make room for new stock. We’ll also be expanding / tweaking / improving / debugging the site itself (for example, we still have work to do on the automated international postage system, not to mention the inevitable inventory discrepancies that come with transferring an ancient and massive database to a new system).

Over the next few months, as we take inventory, clean house, and delve into our storage, we will be uploading thousands of additional items, gradually, on a near-daily basis. This will include the majority of the LPs, as well as many titles, in all formats, once thought long-gone. Many currently “sold out” items are likely to resurface.

Finally, once our general backstock is up (probably in the next two or three months) we’ll begin making our extensive stockpile of rarities available online for the first time: tons of random out-of-print titles, "deadstock," warehouse finds, secondhand collectibles, etc., accumulated over the past few decades.

Frequent/returning customers will be getting early access to these items. Details to follow on how this will work (a priority mailing list? a 'frequent flyer'-like program?), but it will not be based on dollars spent. We want to reward those who consistently support us, especially in the discogs marketplace era (to those who show up trying to poach five copies of a one-off rarity, and nothing else, ever… ¯\_(ツ)_/¯ ).

So—we suggest you take some time to dig through the site—even we’ve been surprised by what’s been turning up, and there’s much more to come.



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