spectre

Xavier Charles . clarinet (acoustic & amplified)
Bertrand Gauguet . alto saxophone (acoustic & amplified)

  1. Phonomnèse 1 . (07:59)
  2. Étendue 1 . (03:27)
  3. Le point fantôme . (05:15)
  4. Phonomnèse 2 . (07:25)
  5. Étendue 2 . (12:26)
  6. Phonomnèse 3 . (03:33)

Total time : 40:05

Original Drawing for the cover by Guillaume Dégé
Graphic Design by Atelier ter Bekke & Behage
Production by Akousis records, 2020

Akousis records 001 – 2020


REVIEWS (selection)

Spectre proves itself an errant illumination of alchemic restraint by two players with respective significant contributions to the worlds of avant-garde composition and free music. Although heavily veiled by a sense of foreboding, this music (quite literally) breathes with a raw energy that sets it far outside. Fantastic album. (Richard Johnson, Adverse effect magazine)

All diese Sounds eröffnen ihr spezifisches Charisma erst mit einer gewissen Vertrautheit und gewinnen mit mehrmaligem Hören an zusätzlicher Faszination. (A.Kaudaht, African Paper)

Spectre is not “ambient” music by any means, but it does share some of its characteristics. Charles and Gauguet utilise similar techniques of slow development, subtle pulse in place of any formalized beat, poise, frequent rests, and the occasional drops in amplitude to barely there sound… Results in this listener: benign tranquillity. (…). I’m looking forward to more from this duo and their new label. (Paul Khimasia Morgan, The Sound Projector)

Dann wieder gehend stehende Wellen, Haltetöne in gestufter Tönung, mit zirpendem Schimmer oder leicht abgeschattet. Für Etendue 2 lösen sich die stimmen voneinander, in surrender Wölbung, in rau grollender Schwellung. Wie Phantome tiefenerinnerter höhlenbären oder säbelzahntiger, oder brüllendes Phantasmen von imaginiertem Black Metal. Ein nochmal ton in ton gesummter dröhnenden schliesst den kreis. (Bad Alchemy 106, 2020 oct.)

Anything but diaphanous, this Spectre is for those who can accept vigorous and unvarnished timbres. (Ken Waxman, jazzword.com)

Both Charles and Gauguet have extensive discographies, but this looks to be the first time they recorded together and their tactical rigor and resourceful approach delivers impressive results. (Michael Rosenstein, pointofdeparture.org)

«Spectre» mirrors the delicate and contemplative «Phonomnèse» drones with the disturbing and vibrating «Étendue» and «Point fantôme» soundscapes. This tension invites the attentive listener to reflect on the suggestive power of quiet music and of deep listening. (Eyal Hareuveni, Salt Peanuts)

The tenacity and the mutual influence of the two musicians make for vivid improvisation. These unconventional techniques are so internalized as to seem entirely natural to the listener. If in some passages time seems to slow down until almost stopping, the whole process produces an effect similar to a snap-shot, which shortly crystallizes the controlled flux of the passages, which are otherwise very detailed and changeable in the intersection of the parts. (Neural.it)

Συνήθως τα ηχοτοπία μεταβάλλονται αργά και ατονικά για να  εισάγουν το κοινό σε στοχαστικά ακούσματα. (Toperiodico.gr)

Ein überwiegend dunkles, mäanderndes Werk das den Klang zum Mittelpunkt wählt und auf seltsam reduzierte Weise doch auch überbordende Klänge erzeugt. (Wolfgang Kabsch, Musikansich)

Beautiful ! Using the interference points of closely pitched sound, long-time collaborators Xavier Charles and Bertrand Gauguet use acoustic and amplified clarinets and saxophones to create frequency landscapes that change slowly, ringing with harmonics while finding unison and conflict in their tones, creating meditative aural environments of great beauty and reflection. (Squidco, July 10 2020)

Attivi da anni nel circuito dell’improvvisazione, Charles e Gauguet esplorano le più remote potenzialità dei propri strumenti riuscendo a estrarre la materia di « Spectre » dalle zone più oscure della mente, là dove solo di rado si riesce ad accedere. (Massimiliano Busti, Blow up, Italie, Mai 2020)

On parlera là de six paysages pour ne pas avoir à trouver les mots de sons et de sonorités qui se rencontrent, interfèrent, et accouchent enfin d’espaces inédits auxquels l’auditeur devra bien faire une place : en tête, ventre, et cœur même. (Guillaume Belhomme, Le son du grisli, mai 2020)