Chronopee (2)

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‘’Composing in three phases:
First step: the recording of concrete sounds is relentless and the pleasure of caption is incredible and constantly renewed. The stronger the enthusiasm of the initial recording is, more interesting the sounds are once treated. The stronger the echo of that instant is, upon listening, the more musical the variations are.

Second step: Transforming this raw sound matter through audio-digital processing and noting the time during which it becomes something else, during which it does not alter anymore. Nevertheless, the essence of the initial sound must be preserved; however, the said sound shall not remain identifiable or perceptible as is. I am concerned with the origin: the incarnation of the sound source in time. My fundamental concern, when I manipulate sounds, is that the essence of the sound source, its warmth, its fluidity, its viscosity, its precision and its fragility, remain perceptible.

Third step: The harmonization of sounds: a slow and long work of editing and mixing. I start by choosing a frame sound, a guiding sound which calls for another sound, and another, and another and so on. Assemblage is made through improvisation or according to specific editing rules. I weave the treated sounds and the raw sounds together and I delicately play on contrasts.

My compositions are evocative and narrative sound landscapes. They are landscapes because they are not narrative; they are not stories with a beginning, a middle part or an end. They always propose a space, a place, a state, a sensation. ‘’
Myléna Bergeron, Oct. 2006