<?xml version="1.0" encoding="us-ascii"?>
<label id="metamkine" href="http://www.electrocd.com/en/boutique/metamkine/">
  <name>M&#233;tamkine</name>
  <shortname>M&#233;tamkine</shortname>
  <recording id="meta_1991-06" href="http://www.electrocd.com/en/cat/meta_1991-06/">
    <artist>Michel Chion</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/1991-06_META.gif" />
    <title>L&#8217;Art des sons fix&#233;s, ou La musique concr&#232;tement</title>
    <catno>META 1991-06</catno>
    <year>1991</year>
    <format>
      <code>Book</code>
      <availability>out of print</availability>
    </format>
    <description>&#8226; 104 pages &#8226;</description>
  </recording>
  <recording id="mkcd_xxx" href="http://www.electrocd.com/en/cat/mkcd_xxx/">
    <artist>Roger de la Frayssenet</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/XXX_MKCD.gif" />
    <title>Kitnabudja Town</title>
    <catno>MKCD XXX</catno>
    <year>2005</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>An unexplained sampling collage disc, made up of materials taken from the music of
    literally dozens of credited sources: mostly avant composers such as Henry, Artaud, Bayle,
    Xenakis, Feldman, Gunter, Schaeffer, Marclay, O&#8217;Rourke, etc., as well as figures such as
    Nusrat Fateh Ali Khan, Einst&#252;rzende Neubauten, Bob Marley. Jarringly assembled into 2 long
    tracks; 70+ minutes total.</description>
  </recording>
  <recording id="mkcd_yyy" href="http://www.electrocd.com/en/cat/mkcd_yyy/">
    <artist>Laurent Grappe</artist>
    <cover href="http://www.electrocd.com/res/couv.lrg/YYY_MKCD.gif" />
    <title>Le luxe de la r&#233;flexion!</title>
    <catno>MKCD YYY</catno>
    <year>2001</year>
    <format>
      <code>CD</code>
      <price>25.00 CA$</price>
      <availability></availability>
    </format>
    <description>After several stays in Lebanon, and having experienced the country&#8217;s
    permanent tension, we wanted to address the complexity of representation that communities
    develop towards their own language when facing domination from an outside culture. This work is
    a &#8220;sound being&#8221; and the result of my meeting with Isabelle Bassil. &#8220;We have
    forgotten something, but to learn what has been forgotten, we need to access the suffering from
    those who haven&#8217;t yet accessed to oblivion,&#8221; says Philippe Vaernewyck in the last
    interlude of the work, and a fragment taken from one of our numerous discussions on the luxury
    of reflection. Through Isabelle&#8217;s life, a Lebanese girl using Arabic speaking with all
    the distance of a foreigner&#8217;s experience, we can recall the idea of a poetic phonography
    of intimacy with texts and culture. Behind each of Isabelle&#8217;s choices (Khalil Gibran,
    Najib Mahafouz, or a popular tale like &#8220;the heart of a mother&#8221; for instance), lies
    a portrait, a souvenir, an emotion, a claiming, an Arabic memory in any case. For each piece,
    we carefully positioned the microphones to create the situation that would allow the necessary
    gap to the reception of this expression. From a musical standpoint, we tried and built a sound
    dramaturgy to bring the listening on the course where the voice creates the movement. We hope
    to trigger off imagination, opening to a poetic interpretation of sense by overtly playing on
    the recognition of the sound sources that evoke both journeys and (y)our native language. Our
    music includes electro-acoustics and concrete aesthetics. We let sounds exist by themselves.
    The sounds and sequences were often played using our memory of our first stays there, adding an
    idealized perfume to it. Le luxe de la r&#233;flexion! (The luxury of reflection!) is an
    attempt in valuing the Arabic language, presented as an oral and written language, and beyond
    this, represent when languages are experienced as stigmata. We tell of people whom ghettoized
    native language involves insecurity. This piece was first conceived as a work for a tape and
    one actor, and was first shown on January 6 1996 at L&#8217;Embarcad&#232;re in Lyon, as part
    of the collective event &#8220;comme un murmure&#8221; (&#8221;as a whisper&#8221;). It was
    then decided to use it as a training material (Inter Service Migrant) around this concept so
    &#8220;Le luxe&#8230;&#8221; has been shown around 20 times in France. The acousmatic version
    has been created using high-end sound techniques to ease focus on the qualities of listening,
    and played in Le Festival d&#8217;Albi, Les 38&#232;mes Rugissants, Futura, Le Festival. Inter.
    Musi. Impro. Libre in Beirut, Le 102, Les Instants Chavir&#233;s, Le Vand&#233;miaire, Le
    nomade&#8217;s land, Le Cirque clandestin des fr&#232;res Kasamarof.</description>
  </recording>
  <recording id="meta_1998-04" href="http://www.electrocd.com/en/cat/meta_1998-04/">
    <artist>Lionel Marchetti</artist>
    <artistdetail>Chion</artistdetail>
    <cover href="http://www.electrocd.com/res/couv.lrg/1998-04_META.gif" />
    <title>La musique concr&#232;te de Michel Chion</title>
    <catno>META 1998-04</catno>
    <year>1998</year>
    <format>
      <code>Book</code>
      <price>42.00 CA$</price>
      <availability></availability>
    </format>
    <description>[English translation not available] &#171;Cet essai propose un parcours insolite
    dans la musique concr&#232;te de Michel Chion. Ni biographie, ni chronologie, ni m&#234;me
    &#233;tude exhaustive, voici un recueil de sensations. Toutes &#233;manent de la musique
    elle-m&#234;me. Lionel Marchetti essaye d&#8217;en d&#233;gager, par une lecture mouvante,
    balayante, des figures types d&#8217;&#233;critures, la port&#233;e d&#8217;impacts acoustiques
    sur notre exp&#233;rience perceptive, des attitudes de composition&#8230; mais aussi, de faire
    &#233;voluer le lecteur dans un jeu de reflets entre ce qui est donn&#233; &#224; entendre par
    le compositeur et ce qui est entendu par l&#8217;auditeur. Qu&#8217;est-ce qu&#8217;enregistrer
    un son? En quoi cet acte est-il &#224; m&#234;me de bouleverser notre perception? Comment
    laisse-t-il appara&#238;tre une &#233;vidence po&#233;tique? La musique de Michel Chion nous
    guide. Elle nous offre un fond sans fond de r&#233;ponses&#8230; L&#8217;essai est suivi
    d&#8217;un entretien de Michel Chion avec Christian Zan&#233;si, d&#8217;un catalogue
    d&#233;taill&#233;, d&#8217;une biographie et d&#8217;une discographie du compositeur.&#187; |
    320 pages |</description>
  </recording>
</label>
