Vincent Eoppolo-Julien Palomo-Henri Roger

    I am grateful to Henri Roger and Vincent Eoppolo for years of inspiration. Henri Roger was one of the few to help me build some self-confidence as an improviser, and Vincent Eoppolo is my go-to composer when I need a cinematic escape from my own ramblings. Never have I asked them to reciprocate my appreciation of their music, but I found over the course of our interesting online friendships that they were of good advice and were, actually, listening.

    Henri Roger and I had always planned to give an ’IRL/in-real-life’ follow-up to our 2018 improvisational work ’The Death Of Waves’, and Vincent Eoppolo was planning to visit France, when you-know-what ’happened’. Goodbye, calf, cow, pig, chickens, as the French poet has it. Then of course, 2020 saw a quasi pandemic outburst of ’covid collaborations’. I’m not comfortable with this new genre. I couldn’t really see it as a special occasion to make music - a three hours drone will not especially cheer up people struggling with dire living conditions all over the world. That’s probably why you were never entertained to ’Stochastic Music For Africa’ in the 1980s.

    Fortunately, several friends had other plans for me, chiefly Henri and Vincent, who suggested an elegant workaround to my helplessness : files, scissors, digital glue, electro-acoustic music. From my agitated, post-contemporary symphonic electronics to their colorful universes, there isn’t too wide a gap. I could be a sound reservoir for their own investigations. So I carefully created different sets of building blocks for them on various synthesizers, and they breathed life into this raw material. They organized it, gave it the narrative, the vision I couldn’t grasp. The name of Michelangelo’s marble supplier is long forgotten. I would like you to do the same : now, forget me and focus on Henri and Vincent’s compositions. They own those works.

    Henri Roger’s ’Forgotten Warnings’ gets to the roots of the problem. It fights fire with fire. Our ears are buzzing night and day with discord, opinions, attitudes, blah, more blah, sheer lies, sheer truths too, who knows. To that there isn’t a vaccine yet, sadly. The Pasteur and Marie Curie who will change the fabric of the human bullshit aren’t born yet. Let this ’OK, boomer’ rant sink in for a moment, you’ll thank me later. - Yet, sometimes a sentence, a few words merely, resound through the muddle. It’s not as if we hadn’t been warned ’some actions’ would have ’some consequences’ in the 21st Century. The alarm goes off. Millions take to the streets, but next week it’s gonna be over, they have to go on with their lives, and to be fair, for the vast majority, it’s not rosy. Likewise Henri Roger’s composition takes off, trudges back to cacophony, veers in the wrong lane, crashes, but now it’s a soothing choir of granular tones, and now it’s almost elegiac, it gives you the best, it gives you the worst. No judgements. It is both insurgent and unbiased. It mirrors reality. For those who have followed his diverse output for over now 45 years, it doesn’t come as a suprise : he values sound in action, but never delivers a ready-to-consume structure. He is an acute observer of trends in sound and all things human, but never forces an explanation on the listener. One of my favorite albums of his vast discography is titled ’Dichotomy’. Duly noted.

    Vincent Eoppolo doesn’t do l’Art pour l’Art either. When I first met him, he was self-releasing his works under a striking moniker : ’Society’s Self-Realization Of Itself’. When he resorts to myth or religion, it’s because he sees (hears) an occurrence of the mythical or the religious here and now. Not in a distant past. His art debunks the so-called ’urgency’ of our times. Craft, hard work, critical mind. Hence the composition, ’In Your Mind You Climb Up That Mountain’. Sisyphus, any ? Sisyphus diverted, Sisyphus released. But it doesn’t go without an effort. I’d like to draw your attention to the very ’shape’ of the composition. It’s akin to… a wrecking ball. But the destruction is not what matters. You need to look up. The ball, the weight of the composition resides in its opening 90 seconds (pay attention to its rambling quality). And then there’s the thread that suspends the ball, thinner and thinner. It clearly invites you to reverse your views. Desire, eagerness are immediately shattered by the sheer gravity of the compositional object. It will not seek to recover a balance, but instead will aim at some sort of closure. For those who know how to listen, Vincent Eoppolo’s metaphors are always crystal clear. Our Sisyphus now grapples with rocks - we can hear them drum down to their doom. Somewhere along the way, the infamous rock is gone. The air is none - music is now a drone, the air is none. The biological danger is real, but don’t we want to touch the ’essence’, whatever that is ? Horns. Do they mean he wins ? Do they mean he died. Does it matter : he went up !

    Roger, Eoppolo and Palomo hope to turn you on this mini electro-acoustic Sgt. Peppers.

    J. Palomo, April 2021

  • DIGITAL ART : : "Possibles partitions". "PiXXXLS" Créations Abstract Contemporain Numérique
  • STREAMING Et DOWNLOADS : : Une sélection de musiques des albums parus sur Facing You / IMR, le Petit Label, Believe.
  • VIDÉOS "Ouïr-Voir" - "Exsurgences" : : "Ouïr-Voir" série de vidéos expérimentales de Henri Roger "Exsurgences" vidéos de Anne Pesce pour l’album piano solo "Exsurgences"
  • LIENS :