The more these pieces evolve, the more the sampler becomes integrated into the piano itself, as if it were hybridizing with the very instrument from which it emerge. Those pulses continue to echo across the waters of our conscious mind in “L’horizon comme vouloir,” even as they find purchase in the piano’s physical body. Instead, we flounder in our need for communication: isolated, undiscerned, voiceless. Upon hearing it, we immediately realize we lack the necessary equipment to interpret the pattern as a message. The mix of submarine signals and deserted expanse that is “Carcasse dans la neige” haunts the brain. So begins a psychological character study of psychology itself. If such descriptions feel vague, it is only because the music is so precise, and to capture it in like manner risks limiting its interpretive possibilities.
“Signes/Course” combines elliptical motifs with splashes of cold water, string treatments, and backward glances. Though originally intended for two loudspeakers, he reworked them for live performance using digital sampling, thus allowing him to invoke the prerecorded material via electronic keyboard. Sighicelli started this project by recording improvisations at home on the piano, treating curated selections therefrom as seeds for heavily constructed pieces. Pianist Samuel Sighicelli, known to La Buissonne Label listeners as a key member of Caravaggio, presents what this album’s press release calls a “bionic piano.” More than an amalgamation of flesh, metal, and wood, it is a meta-compositional tool. Produced by Marc Thouvenot & La Buissonne Recorded October 6-8, 2014 by Gérard de Haro at Studios La Buissonne
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