Jean-Luc Guionnet & Thomas Tilly – Close To The Pipes

Close To The Pipes many thanks to marcin barski & michał libera recorded by thomas tilly (boom) and played by jean-luc guionnet (organ) in bazylika bozego ciała krakow, on the 17th of june 2013 (no editing, no processing & mastered in a bar)

My musical work subdivides itself into as any ways as occasion arise for me to think and act with sound. Thos occasions have always to do with a strong meeting: an outside element that can be an instrument (saxophone / organ), a theotrical ida (what is “rumour”? A form and/or strategy), and mainly a collaborating friend (Andre Almuro, Eris Cordir, Eric La Casa, Taku Unami, Jean-Philippe Gross, Toshimaru Nakamura, Seijiro Murayama, Lotus Edde-Khouri … Thomas Tilly) …There then folows a collection of themes which, in turn, influence the evolution of the musical work and define the firection of meetings to come: the thickness of the air, the pidgin (language which neither grammar nor vocabulary), the musical instrument considered as affective automaton,listening dark unto itself, the algebra of and in hearing, sound as a signature of space, signature of objects, signature of what it is not … the fact that French uses the same word – ie temps – for time and weather, propagation andspread of forms in timeetc. Music is, then, a way to test reality. Conversely, it’s a test whose experience defines a new distribution of the whole body by artificially localizing it in an unknown and purely physical environment, all the while being able to think, count, make relations or understand places, and so forth. The emotion I look forin music is made out of all these strata and the (more or less easy)sliding ofone over the other during the ct of listening.

– Jean-Luc Guionnet

Thomas Tilly Artist-composer and self-taught musician, Thomas Tilly uses the microphone as his main instrument of work. In 2001 he cerates To, a solo project of concrete music focusing on environmental sounds and found-object manipulations. In this view the composition and publication on disc of such sound material have to be considered as a sonic synthesis of a place during a certain periode of time. (N.B. this method requires to stay, observe and study the architectural aspects of the place inorder toformulate a personal view and interpretations ofit). The knowledge of ThomasTilly is also used for sound-installations allwing todeveloe and enlarge the logicof specific datas collected in aplace- via variosu systems of triggering/diffusion in situ.