gibbon / solo I

Mainly, it probes the strings with wooden or metal objects, gleaned here and there. A horde of effects comes into dialogue with the raw gesture, creating more intense spaces, in which recorded tapes and amplified bazaars are agitated.

Tatiana Paris | electric guitar, effects, objects, radio, tapes & voice

Pierrick Pagé | voice (Chant VI)

recorded by Tatiana Paris, mix & master by Igor Moreno

artwork by Geoffroy Pithon

all tracks composed by Tatiana Paris except Chant VI,  text by Anne Calas, from Littoral 12 (Flammarion)

© Carton 2022

What do this battered electric guitar, the voices coming from a radio cassette, these electroacoustic effects—both abrasive and fragile—and this delicate song have in common? Nothing, and everything at once. A taste for adventure. An observation of others: a robin with a fondness for flour, a moray eel, a guy with a strange nickname, a girl, and the famous gibbon that gives Tatiana Paris’s album its title. The guitar strings are struck like those of a cimbalom; the winding of the strings is scraped, rubbed. Electricity brings distortion—it pinches, it bites. Why do I think of Satie? Perhaps because it’s short, deceptively simple. 21 minutes and 27 seconds. And yet, everything is there.

Jean-jacques Birgé / Drame. fr