https://pascalsavy.bandcamp.com/album/colour-fields

Originally released on Audio. Visuals. Atmosphere. https://audiovisualsatmosphere.com October 5th, 2018 (AVA62, C57, Edition of 55). 

From the original press release: 

A manifold of hypnagogic frames balancing wind, wave and star. Symmetric pearl timbres touch the seams of the three-dimensional world. 

Volcanic sound transcending its temporal limits, only to be found at the rim of the pyramid. As the wheel turns the balance is attached to the crescentic stone and snow-covered ridges. Sustained pitches acknowledge the spectral phenomena carved in chroma rooms. The mesa of the moon drains diffused energy as pastoral currents break the ocean’s vector.

Colour Fields

A Solarised Vortex

Sometimes in September 2014, Mathias Van Eecloo who runs Eilean Rec. asked me to make a track for the label’s end-of-the-year compilation. He wanted something quite different than the album I had just released on his label, something more “ethereal” and “softer” than the harsher textures that I had explored with this album. He sent me a few photos to help me finding the right tone for the track and i was so inspired by one of them that I made this music in nearly one sitting in October. The compilation was released in December 2014 and it’s called Eilean 53. It features the 12 artists who released an album on Eilean Rec. in 2014.

Artists involved in alphabetical order :

Aaron Martin
Bmrn (Boomruin)
Danny Clay
HolyKindOf
Leigh Toro (Flotel)
Miguel Isaza
Nathan McLaughlin (& Joe Houpert)
Pascal Savy
Sublamp
Twincities
Vhr - 1.7
Xu (Nicola Fornasari)

All music composed, performed & mixed by the music artists involved between July 2014 & November 2014 on various locations (Colombia, Italy, Japan, United Kingdom, Usa)

Mastered by Mathias Van eecloo in Brittany between October & November 2014.

Art Cover by Marco Cadioli
Inside Photo by Mathias Van eecloo​
Design by Rémi Verdier

All right reserved to the music artists involved & eilean rec.

Nightfall - Pascal Savy (Eilean Rec.)

Opening track of my album 'The Silent Watcher' released on Audiomoves. Artwork by Peter Nejedly 

  From the press release :

  Tools in an old workshop, clocks slowed down, the spinning wheel of a rusty
bike, children playing near a church, the sound of the wind in Norfolk, climbing up the stairs in a disused windmill and ghost echoes - presented in their raw form or heavily processed, those recordings all relate to old memories, often blurred and incomplete; the aural equivalent of a faded polaroid found in a forgotten attic. From samples, layers are created, manipulated, taken apart and rebuilt and soon begin to tell a story - a story often buried under droney textures and fragmented melodies, thus only partially revealed, but more often than not distorted and reconstructed. 

The Silent Watcher was made over a period of two years, a period in which the process slowly took shape, often leading to beautiful accidents and unexpected results patiently collated and recycled. It is also the story of a work in progress and a craft being learned, where many compositional methods were explored, abandoned and often rediscovered.


  
        

Oblique

Preview track from <a href="http://feedbacklooplabel.blogspot.com/">Feedback Loop</a> releases, CD-r limited edition (phbl02).

'Liminal' will be released on 10 Oct 2011.


Produced by Pascal Savy
Mastered by Taylor Deupree
Artwork by Leonardo Rosado



pascal savy - lying drifting [from the EP 'liminal']

Tape delay, feedback and live sampling into the OP-1 - no overdubs or additional edits.

Strymon El Capistan, Moog Ring Modulator, OP-1, Eventide H9

Feedback Work #2 (4 October 2017)

Feedback Work #1 (4 October 2017)

Tape delay, feedback and live sampling - no additional overdubs but some slight editing to even out the large dynamic variations. 

Strymon El Capistan (feedback), Moog Ring Modulator (colour), OP-1 (live sampling), Eventide H9 (space), Mackie 1202 (feedback and live mixing)

Feedback Work #3 (28 october 2017)

in memory of a dear friend who recently left london to explore new horizons.

the source sound for this track is probably the last thing we listened to together as he visited me one last time to say goodbye, some feedback i had recorded on tape a few days earlier and that i played for him in the studio as i thought he would love the sense of space and openness embedded in those sounds. 

in the evening i revisited that tape and used a very small section as a seed for this track. it was performed live and recorded in one take as i was reflecting on my friend recent departure and the great times we'd had together in the past few years, always exploring the edges of sound and discovering new and beautiful spaces in the process.

a farewell (in three parts)

All sounds recorded around Lac Carillon in Canada (August 2017) and edited in London (September 2017). 

'The Lake' was premiered on Resonance FM on 21/09/17.

With thanks to Ilia Rogatchevski for inspiration and support.

The Lake

Performance recorded from the desk, live at Iklectik Art Lab (London), on 21st May 2016.

Now available in full on Touch Radio: http://touchradio.org.uk/touch-radio-134-pascal-savy.html

With thanks to Eduard Solaz and Mike Harding.

Touch Radio 134 - Live At Iklectik [excerpt]

This track was made in response to a callout by Stuart Fowkes of Cities and Memory to reimagine the sounds of Myanmar recorded by C&M's  contributor Tenali Hrenak.

There were 15 sound files to choose from and I selected a recording of bats flying in the Dhammayangyi Temple (www.audioboom.com/posts/6563633-bats-in-the-temple-myanmar)

The inspiration for this track came from looking into the history of the temple in which the original file was recorded. The text below has been copied from this website: https://luxurymyanmarrivercruises.com/dhammayangyi-temple/

"The massive Dhammayangyi Temple was constructed in the 12th century (supposedly between 1167 and 1170) by the order of King Narathu, who was later given the name Kalagya Min or “the king slain by Indians”. Narathu claimed the succession of Bagan throne by murdering his own king father and his elder brother, who had been chosen to become King, in cold blood. Legend had it that the King felt guilty for what he did and was so worried about bad karma that he had the Dhammayangyi Temple constructed to gain merit and redeem for the sin of killing his father and elder brother. According to legendary tales, King Narathu supervised the construction himself. He set the rule that workers would have their arms chopped or even be beheaded if they the brickworks were not perfectly fit without a gap between two given bricks.

Unfortunately, the construction of Dhammayangyi Temple could never be completed. It was soon halted after the assassination of King Narathu. There are two main theories about the mastermind behind the assassination of the king. The better-known theory claims that the King was assassinated by a group of Indians dispatched by the King of Pateikkaya. Narathu was said to kill one of his wives, also an Indian princess, for having practice Hindu rituals. For this reason, in order to avenge his beloved daughter, the Indian King mandated eight assassins to get rid of King Naru right in the Dhammayangyi Temple. The lesser known tale states that the assassination plotted by the invaders from Sri Lanka."

Some people believe the temple is now haunted and say many of the interiors have been bricked up to prevent ghosts from roaming the corridors. True or not, what's sure is that the temple is now full of bats flying all over the interior.

My track is somehow an evocation of the damned soul of Narathu trying to return to the temple to repair his deeds and I used the sounds of the bats as a metaphor for the suffering inflicted by Narathu on his family and his people.

I used sounds processed and derived from the original file provided in Cities and Memory's project folder only - no additional synths, samples or external effects (except a bit of reverb) were used for this track.

Narathu

Format: 3” CD-r + postcard (limited series of 100)

Produced by Pascal Savy
Mastered by Taylor Deupree
Photography by Peter Nejedly
Postcard design by Twisted Tree Line

http://www.staticsound.net
http://www.twistedtreeline.co.uk/

pascal savy - throughout [from the EP 'receding']

EXP202CD - https://experimedia.net
Buy the CD or digital album here: https://goo.gl/dj9CNw
Distributed by Experimedia

Slowly filling the room like a billowing miasma, Experimedia is pleased to present ‘Dislocations’ – an ambitious set of new compositions from the London-based French drone auteur Pascal Savy. These are the artist’s first proper recordings to come to light since the release of ‘Adrift’ via Eilean Rec. in 2014; but while ‘Dislocations’ seems to share a similar aesthetic to that album at first glance, Savy has fallen ever further down the rabbit hole in the intervening years. 

Whereas our last offering – Matthias Urban’s ‘Passagen’ – focused on the expressive potentialities presented through rigorous discipline and process, ‘Dislocations’ explores a more reactive and emotionally charged terrain. 

Heavily influenced by the writings of Mark Fisher – specifically those found in ‘Ghosts of My Life,’ wherein Fisher lays out his notion of “the slow cancellation of the future” – the production of ‘Dislocations’ began as a pessimistic reflection on the subtle violence and disembodied forces of what Fisher terms “capitalist realism.” Over time, the project would evolve to become more intimate in scope, providing a lens through which Savy could begin to deconstruct and integrate his own feelings of personal dislocation. Ultimately, however, ‘Dislocations’ would become the means through which he would find himself reconnecting with his art, his community, and sense of hope for the future. 

What the listener receives from this process is a set of incredibly evocative recordings that occupies a rarefied space in the hinterland that falls between ambient, drone, and noise aesthetics. At times sounding like a recovered archive of lost transmissions from the front lines of late-period capitalism’s collapse, ‘Dislocations’ exists as a shifting mass of knotted low-end, grayscale reverberations, and pale shades of melody. 

Release date: May 4, 2018 

All sounds by Pascal Savy 
Mastering by Stephan Mathieu 
Photography & design by Jeremy Bible 
℗ & © 2018 Experimedia

Dislocations

BUY CD/DIGITAL

Echoes of a Black Hole Eating a Star [from the album 'Dislocations']

The Listening Body is a new collaborative project by sound artists and musicians Steven Mclnerney and Pascal Savy. Together they seek to investigate alternative ways of presenting their drone work and question the relationship between performer and audience in the context of the space in which sound and music are experienced.

The project stems from their respective practices of performing experimental music in traditional and less traditional concert venues, where the divide between stage and audience enforces the expectation of a spectacle that more often that not fails to materialise. With The Listening Body they seek to dissolve the binary nature of the concert space by asking the audience to lie on the floor and cover their eyes with sleep masks, as their sound work will be diffused throughout the room. In doing so they hope the audience can use the entire bodies as resonant sensors and reclaim the here and now of the performance as a space for direct and felt experience.

Steven McInerney will lead a sonic meditation using ancient and contemporary techniques with gongs, singing bowls and other idiophones. The symphony of sounds will allow a sense of deep relaxation which can be effective in reducing stress levels and tensions within the body. Through the process of entrainment, the phenomenon whereby both physical and biological systems synchronise their rhythm through the interaction of an external stimulus, the gong space will affect the individual on a physical, mental, emotional and spiritual level. These meditation instruments will be played intuitively with the highest intent to safely guide the group into the deep states of consciousness.

Pascal Savy will explore the interaction between sound, body and physical space with a new minimal composition at the intersection of drone, ambient and noise music diffused on a large quadraphonic sound system, and will seek to investigate the possibilities of experiencing sound where the entire body can act as an extended listening device triggered by the resonant properties of the room in which the work is presented. He hopes that experiencing sound as a continuum of physical vibrations mediated by the body, rather than the ear alone, will catalyse within participants a sense of physicality that is more perceptual than affective, as a way to make music a fully embodied experience. Ultimately his performance will seek to question why sound more than other experiential mode of investigations can reveal something fundamental about the ephemeral nature of reality.

Pascal Savy

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