Assuming that the over‐use of past sonic references in modern music stands more on a fantasied past than an historical truth, here is my new mix. It includes outdated references, as latent as intangible, just like these random, narrative fragments or the pre‐industrial musical hints that appear all along. Overpassing the dialectic past‐future on which music creation “should” lie with a misleading, and even dubious, referentialism, the challenge was also to maintain a certain dose of (frightening) truth.
In other words, this mix is a haunting castle, as so beautifully described by Sándor Márai in Embers.
“The castle was a closed world, like a great granite mausoleum full of the moldering bones of generations of men and women from earlier times, in their shrouds of slowly disintegrating gray silk or black cloth. It enclosed silence itself as if it were a prisoner persecuted for his beliefs, wasting away numbly, unshaven and in rags on a pile of musty rotting straw in a dungeon. It also enclosed memories as if they were the dead, memories that lurked in damp corners the way mushrooms, bats, rats and beetles lurk in the mildewed cellars of old houses. Door‐latches gave off the traces of a once‐trembling hand, the excitement of a moment long gone, so that even now another hand hesitated to press down on them. Every house in which passion has loosed itself on people in all its fury exudes such intangible presences.”
Sándor Márai in Embers