{"id":31752,"date":"2020-10-31T10:26:28","date_gmt":"2020-10-31T14:26:28","guid":{"rendered":"https:\/\/panm360.com\/records\/difference-and-repetition-a-musical-evocation-of-gilles-deleuze\/"},"modified":"2020-10-31T10:28:13","modified_gmt":"2020-10-31T14:28:13","slug":"difference-and-repetition-a-musical-evocation-of-gilles-deleuze","status":"publish","type":"records","link":"https:\/\/panm360.com\/en\/records\/difference-and-repetition-a-musical-evocation-of-gilles-deleuze\/","title":{"rendered":"Difference and Repetition \u2013 A musical evocation of Gilles Deleuze"},"content":{"rendered":"\n

If there\u2019s one thing the musicophile can\u2019t begrudge Jacques Barb\u00e9ri, Philippe Perreaudin and Laurent Pernice, who form the group Palo Alto, it\u2019s producing junk food for the general public. For more than 30 years, this French group has been daring and tempting. Its die-hard members have tried their hand at everything: improvised and composed music; reorientations towards electronic, industrial, and post-punk music, among others; collaborations with various creators, including the French groups Klimperei and D\u00e9ficit des Anciennes Ancientes; participation in the soundtrack of the film Louise-Michel<\/em>; tributes to Tuxedomoon, Pt\u00f4se, Nino Ferrer, The Residents and the cult science-fiction author J. G. Ballard; a video adaptation of Lewis Carroll\u2019s \u201cThe Snark Hunt\u201d; establishing the specialized label Halte aux Records, and so on.<\/p>\n\n\n\n

One constant, however, remains in Palo Alto\u2019s path: the use of literary references, especially science fiction. This is not surprising since Jacques Barb\u00e9ri is a full-fledged SF author. On the double album Difference and Repetition – A musical evocation of Gilles Deleuze<\/em>, another SF writer is also involved: Alain Damasio, who wrote and voiced the three texts of the piece Triptych<\/em>, being \u201cGilles Deleuze est mort\u201d, \u201cLongtemps apr\u00e8s l\u2019\u00e9cho du combat\u201d et \u201cChaosmos\u201d.<\/p>\n\n\n\n

In addition to Damasio, Palo Alto\u2019s risk-takers have also invited other singular characters to this project, which not only commemorates the pop philosopher Deleuze, but also salutes the Third<\/em> album of the proto-progessives Soft Machine. Thus, on \u201cThe Tears of Nietzsche\u201d, Richard Pinhas places his distorted guitar on his own essay \u201cLes Larmes de Nietzsche \u2013 Deleuze et la musique\u201d. The multi-instrumentalist Thierry Zaboitzeff (ex-Art Zoyd) roughs up \u201cRhizome\u201d with his electric cello. Then, the knight of the New York avant-garde, Rhys Chatham, spices up \u201cDiff\u00e9rence et r\u00e9p\u00e9tition\u201d with his trumpet. <\/p>\n\n\n\n

Throughout these four pieces of almost twenty minutes each, a profusion of synthesizers, natural and electronic percussion, and various sounds of unidentified origins are interwoven with the above-mentioned instruments and voices. The result is a harmonious jumble whose apparent complexity should in no way discourage the music fan, who\u2019s sure to make a lot of exciting discoveries.<\/p>\n\n\n\n