ไม่เป็นไร (Mai Pen Rai) is the new piece created by the French sound artist Guillaume Malaret during his residency at the Alliance Française of Chiang Mai (Thailand), between December 2023 and January 2024. His practice focuses on editing and composing his field recordings. In Chiang Mai and the surrounding areas, he has found a vast ecosystem of urban, secular, sacred, natural or instrumental sounds, captured on the spot or in the intimacy of the studio with his binaural microphones. These recordings are then transformed using a Max/MSP sampler (created by Romain Mascagni) and digital effects, then recomposed in the same sonic continuity.

Mai Pen Rai (ไม่เป็นไร) est la nouvelle pièce créée par Guillaume Malaret (กี่ออม มาละริ) lors de sa résidence à l’Alliance française de Chiang Mai (Thaïlande), entre décembre 2023 et janvier 2024. Sa pratique, centrée sur l'édition et la composition d'enregistrements de terrain, a trouvé à Chiang Mai et dans ses alentours un vaste écosystème. Sons urbains, profanes, sacrés, naturels ou instrumentaux, capturés sur le vif d'une rencontre avec ses microphones binauraux. Ces enregistrements sont ensuite transformés (ou non) à l’aide d’un échantillonneur Max/MSP (créé par Romain Mascagni) et d’effets numériques, puis recomposés dans une même continuité sonore.

"Érodé" piece was premiered at Digital Ecologies in the University of Bonn (Germany) on July 28, 2022.

NM presents ‘Érodé/Tunnahan’ - a composition and a field recording from French composer and archivist Impermanent Geophonic Dreamer (Guillaume Malaret), crafted between 2020 and 2022.

A protected site of the Bunurong National Marine Park, Eagles Nest is positioned in Boonwurrung Country, in Australia’s region now known as Victoria. It’s a plateau of crags and rock formations, aesthetically prehistoric and protruding with a thousand calcinated shapes, encompassed by a promontory, a beach and a tidal island. Its innate beauty is its constant destruction, shaped by the caress of water, wind, sun and sand.

‘Érodé’ is composed entirely from geophonic recordings taken here, actively centering the resonances between its water and rock masses. Guillaume compiles recordings from a number of meticulously placed microphones so as to optimise listening perspectives, often positioning them beyond the average human’s reach. These recordings are treated and interpolated into a 17 minute composition, transforming this obsessively collected source material into a fascinating, heterogenous repertoire of sound objects. He repurposes these objects to draw us an imagined soundscape, not with the intention of simply transcribing Eagles Nest’s audial environment, but rather to deliberately invoke impressions and images of its harsh beauty. It’s in this sense that ‘Érodé’s fastidious studies anchor to the oscillation between its fabricated, subjective sonic reality and its metamorphosis from the source recordings - a material in perpetual states of change.

The entire second half of this release is ‘Tunnahan’ - Guillaume’s field recording captured at the pebble beach of Tunnahan cape, also within Boonwurrung country, known more recently as Cape Schanck, Victoria. With feet entrenched in the granulated coastline, he follows the movement of waves with a pair of microphones at arm's length. ‘Tunnahan’s contemplative, unadorned field recording serves as an aching, unmetered rumination and the perfect counterpart to ‘Érodé’s complexity and concept.

"Érodé" a été joué pour la première fois lors des rencontres Digital Ecologies à l'Université de Bonn (Allemagne) le 28 juillet 2022.

NM presents ‘Érodé/Tunnahan’ - a composition and a field recording from French composer and archivist Impermanent Geophonic Dreamer (Guillaume Malaret), crafted between 2020 and 2022.

A protected site of the Bunurong National Marine Park, Eagles Nest is positioned in Boonwurrung Country, in Australia’s region now known as Victoria. It’s a plateau of crags and rock formations, aesthetically prehistoric and protruding with a thousand calcinated shapes, encompassed by a promontory, a beach and a tidal island. Its innate beauty is its constant destruction, shaped by the caress of water, wind, sun and sand.

‘Érodé’ is composed entirely from geophonic recordings taken here, actively centering the resonances between its water and rock masses. Guillaume compiles recordings from a number of meticulously placed microphones so as to optimise listening perspectives, often positioning them beyond the average human’s reach. These recordings are treated and interpolated into a 17 minute composition, transforming this obsessively collected source material into a fascinating, heterogenous repertoire of sound objects. He repurposes these objects to draw us an imagined soundscape, not with the intention of simply transcribing Eagles Nest’s audial environment, but rather to deliberately invoke impressions and images of its harsh beauty. It’s in this sense that ‘Érodé’s fastidious studies anchor to the oscillation between its fabricated, subjective sonic reality and its metamorphosis from the source recordings - a material in perpetual states of change.

The entire second half of this release is ‘Tunnahan’ - Guillaume’s field recording captured at the pebble beach of Tunnahan cape, also within Boonwurrung country, known more recently as Cape Schanck, Victoria. With feet entrenched in the granulated coastline, he follows the movement of waves with a pair of microphones at arm's length. ‘Tunnahan’s contemplative, unadorned field recording serves as an aching, unmetered rumination and the perfect counterpart to ‘Érodé’s complexity and concept.

In the village of Sorio (Nebbiu, Haute-Corse, FR), in the dining room of an old house, two windows are opening onto the houses, the mountains and the sea. I recorded the night of the 7th to the 8th of July, 2022, from 11pm to 9am, a microphone in front of each window. When I listened to the recording, I felt the moment that interests me the most starts just before 6am: low intensity of sounds compared to the morning agitation that will follow, extended depth of field, awakening and withdrawal of certain animals.

The recording starts at sunrise, at 5:52am. The bat cries become rarer but some soloists continue to blend in with the birds that are becoming more and more present (crows, roosters, sparrows, black swifts, redthroats...). We can discern flying insects (flies, mosquitoes...), donkeys, cows, dogs barking or moaning, the nearest one sometimes making its metal chain ring. There is also a slight wind, a door slamming, a man sleeping, motor vehicles and unidentified sounds.

Recorder: Zoom F6
Microphones: Lewitt LCT 540S

Dans le village de Sorio (Nebbiu, Haute-Corse, FR), au sein de la salle à manger d’une vieille bâtisse, deux fenêtres s’ouvrent sur les maisons, les montagnes et la mer. J’y enregistre la nuit du 7 au 8 juillet 2022, de 23h à 9h, un micro devant chaque ouverture. À la réécoute, le moment qui m’intéresse le plus commence un peu avant 6h : faible intensité de sons par rapport à l’agitation matinale qui va suivre, profondeur de champ étendue, éveil et retrait de certains animaux.

L’enregistrement commence au lever du soleil, à 5h52. Les cris chauves-souris se raréfient mais certaines solistes continuent à se fondre parmi les oiseaux qui se font de plus en plus présents (corneilles noires, coqs, moineaux, martinets noirs, rouges gorges...). On discerne insectes volants (mouches, moustiques...), ânes, vaches, chiens qui aboient ou qui gémissent, le plus proche faisant parfois sonner sa chaîne métallique. Il y a aussi un léger vent, une porte qui claque, un homme qui dort, des véhicules motorisés et des sons non-identifiés.

Enregistreur : Zoom F6
Microphones : Lewitt LCT 540S

Élémentaires du combat is a composition born in the South of France, between the areas of Haute-Garonne and Ariège. The piece is mainly created from recordings of fauna and natural elements captured from the places of Guillaume Malaret’s childhood; in the plains, the hillsides and the mountains.This composition premiered at Espace Barré festival in Paris (February 2020) and was presented at Le Cabanon Diffusions online festival (June 2020). The third and final presentation will be in this format. Headphones listening recommended.

Released on Le Cabanon.

---

- Endaural: "The album is a feast for the ears on headphones, full of organic and synthetic sounds intertwining, playing with ambiguity about which category a sound might belong to, moving along at a fluid pace that never trickles down to a point that tests my patience."

- Harmonic Series: "(...) both tracks strike me as expert reconciliations of the natural sounds that shape our memories and the music we learn and to which we form personal connections."

- The Quietus: "(...) two 12-and-a-half minute pieces that prize disruption as much as flow. "

- Nowe Idzie Od Morza: "The layering of recordings, elements of musique concrète and quasi-sonic elements turn this multi-level story into a sonic performance that draws you in with its mysterious mood, punctuated by an ambient soundscape, with added electronic passages that do not take centre stage, but add colour to the narrative."

- The Attic: Staff Picks March 2021

- Radio: NTS (Le Cabanon special hosted by Slime) - Raheem (Le Cabanon special) - Brut x Rinse FR (hosted by Promesses) - LYL (530° hosted by Glass) - Camp (hosted by wabi-sabi tapes).

---

Élémentaires du combat est une composition née dans le sud de la France, entre la Haute-Garonne et l'Ariège. La pièce est essentiellement créée à partir d'enregistrements de faune et d'éléments naturels captés sur les lieux d’enfance de Guillaume Malaret, au sein de plaines, de coteaux et de montagnes. Une première version de la pièce fut créée dans le cadre du festival Espace Barré à Paris en février 2020. Une deuxième fut présentée lors du festival en ligne Le Cabanon Diffusions en juin 2020. La troisième, finale, est aujourd'hui disponible. Écoute au casque recommandée.

Publié sur Le Cabanon Records.

---

- Endaural: "The album is a feast for the ears on headphones, full of organic and synthetic sounds intertwining, playing with ambiguity about which category a sound might belong to, moving along at a fluid pace that never trickles down to a point that tests my patience."

- Harmonic Series: "(...) both tracks strike me as expert reconciliations of the natural sounds that shape our memories and the music we learn and to which we form personal connections."

- The Quietus: "(...) two 12-and-a-half minute pieces that prize disruption as much as flow. "

- Nowe Idzie Od Morza: "The layering of recordings, elements of musique concrète and quasi-sonic elements turn this multi-level story into a sonic performance that draws you in with its mysterious mood, punctuated by an ambient soundscape, with added electronic passages that do not take centre stage, but add colour to the narrative."

- The Attic: Staff Picks March 2021

- Radio: NTS (Le Cabanon special hosted by Slime) - Raheem (Le Cabanon special) - Brut x Rinse FR (hosted by Promesses) - LYL (530° hosted by Glass) - Camp (hosted by wabi-sabi tapes).

---

A series of experimental and audio-naturalist music pieces using recordings of bees, beehives, synthesizers, reel-to-reel audio tape player and kids voices.

"Abelha I": audio-naturalist composition with bees, wild and man-made beehives with and without the queen, with an interpretation of how bees could ear. Residency at "Maison du Parc National et de la Vallée", Luz-Saint-Sauveur, France in March 2022.

— Excerpt:






"Abelha II": an interpretation of how "robot-bees" pollinizer drones could sounds like... Made with synthesizers EMS Synthi AKS & A, Nu Pulsar Generator, Max/Msp Ppooll, Inaudible and Revox B77 mkII.

Residency of creation at la Maison de la Vallée, Luz-Saint-Sauveur, France.





"Abelha III": composition using 10-12 years-old kids voices reading texts of apidology (Karl Von Frisch, Maurice Maeterlinck, Yves Elie), articles and report talking about the disparition of bee colonies and the creation of the "robot-bee" as well as Georges Perec book "La Disparition". It is coupled with folly sounds of bees created by them in the classroom. Residency at French high school "Victor Hugo" of Sofia, Bulgaria in May 2022 (click here to read an article in French)

Série de pièces audio-naturaliste et expérimentale, en stéréo ou en quadriphonie, utilisant le son d'abeilles, de ruches, de synthétiseurs, de magnétophones à bandes et de voix d'enfants.

"Abelha I": composition audio-naturaliste avec des enregistrements d'abeilles, de ruches sauvages ou de création humaine, avec ou sans la reine, avec une interprétation de comment pourrait entendre les abeilles. Résidence de création à la Maison du Parc National et de la Vallée, Luz-Saint-Sauveur, France en mars 2022.

"Abelha II": une interprétation de comment "sonnerait" les "robots-abeilles", des robots pollinisateurs en cours de développement dans plusieurs universités au USA, au Japon... Réalisé avec des synthétiseurs comme l'EMS Synthi AKS & A, Nu Pulsar Generator, Max/Msp Ppooll, Inaudible et un Revox B77 mkII.

Résidence de création à la Maison du Parc National et la Vallée à Luz-Saint-Sauveur, France.





"Abelha III": compositions utilisant des voix d'enfants de 6ème, 5ème et 4ème du lycée français à Sofia en Bulgarie. Lecture de textes d'apidologie (Karl Von Frisch, Maurice Maeterlinck, Yves Elie), d'articles et de rapport démontrant la disparition des colonies d'abeilles et la création du robot-abeille, mais aussi de "La Disparition" de Georges Perec. Le tout couplé à des bruitages de sons d'abeilles réalisés dans les classes. Résidence de création au lycée français "Victor Hugo" de Sofia, Bulgarie en mai 2022 (article en français ici)

Role: musician, sound designer & performer.

Faye Driscoll’s newest work Weathering is a multi-sensory flesh sculpture made of bodies, sounds, scents, liquids and objects. Ten people (dancers/singers/crew) enact a glacially morphing tableau vivant on a mobile raft-like stage surging through the Anthropocene. Their voices generate a score that crescendos and resonates as they clutch, careen and cleave, in a space too small to contain them, spilling off the edges. The audience embanks the performers, close enough to smell the sweat and feel the steam of the central, spiraling scenes. The symphonically active, luminously living work is a breathing, leaking, choreography of micro events within a momentum thrusting from just beyond the perceivable. Driscoll and her team of collaborators ask: How do we feel the impact of events moving through us which are so much larger? Yet are animating and activating our bodies all the time? How do we get closer to the impact? Can we slow down enough to feel the dust, hurt, howl, absence, spill, plume?

More infos here.

Premiered on April 6-8 & 13-15, 2023 at New York Live Arts, NYC (USA).

Rôle : compositeur, sound designer, field recordist

La dernière œuvre de Faye Driscoll, Weathering, est une sculpture de chair multisensorielle composée de corps, de sons, d'odeurs, de liquides et d'objets. Dix personnes (danseurs/chanteurs/crew) jouent un tableau vivant à la morphologie glaciale sur une scène mobile ressemblant à un radeau qui déferle sur l'Anthropocène. Leurs voix génèrent une partition qui va crescendo et résonne tandis qu'ils s'agrippent, caracolent et se fendent, dans un espace trop petit pour les contenir, débordant sur les bords. Le public embrasse les interprètes, suffisamment proche pour sentir la sueur et la vapeur des scènes centrales en spirale. Cette œuvre symphonique, lumineusement vivante, est une chorégraphie de micro-événements qui respirent, fuient et s'inscrivent dans un élan qui vient d'au-delà de ce qui est perceptible. Driscoll et son équipe de collaborateurs posent la question suivante : comment ressentons-nous l'impact des événements qui nous traversent et qui sont tellement plus vastes ? Pourtant, ils animent et activent notre corps en permanence. Comment pouvons-nous nous rapprocher de l'impact ? Pouvons-nous ralentir suffisamment pour ressentir la poussière, la douleur, le hurlement, l'absence, le déversement, le panache ?

+ d'informations ici.

Joué pour la première fois les 6-8 & 13-15, 2023 à New York Live Arts, NYC (USA).

Role: musician, sound designer & performer.

An immersive, kaleidoscopic landscape of sound, theatre, expanded cinema, music and interactive storytelling featuring Sophia Brous (director, singer, writer), Ben Russell (film maker), Nicolas Becker (foley artist, musician), Tony Buck (musician, performer, kinetic sound sculpture), Camille Barrett-Due (musician, performer), Guillaume Malaret (sound artist, performer), Corinne Jaber & Ivan Cheng (actor, performer), Dino Botti (video designer) ... More infos here.

Mount Analogue is adapted for the stage from the landmark novella Le Mont Analogue (1952) by French writer Réné Daumal (1908–44). Written in the last five years of the author’s life, the book has become a cult classic and was the inspiration for Alejandro Jodorowsky’s film The Holy Mountain (1973). The book describes a philosophical journey to a symbolic mountain. ‘The gateway to the invisible must be visible,’ wrote Daumal.

Set on an empty opera stage, the work gradually transforms through a shifting landscape of assembled props, instruments, moving images, foley sound effects, projection screens, kinetic sculpture and large-scale scenic design. It draws from the mountain songs, mystical objects and vivid imagery found in Daumal’s original book, in an experimental performance workshop of text, music and moving image, where exploration, exhaustion and ecstasy conspire with the audience’s imagination to realise a path towards a mythical mountain.

Premiered on September 23-24, 2022 at Ultima Festival, Oslo Opera House, Oslo (NOR).

Rôle : musicien, designer sonore & performer.

Un kaléidoscope immersif de son, de théâtre, de cinéma, de musique et de story telling intéractif avec Sophia Brous (direction,écriture, chant), Ben Russell (réalisateur), Nicolas Becker (artiste sonore, performeur), Tony Buck (musicien, performer, sculpture sonore), Camille Barrett-Due (musicienne, performer), Guillaume Malaret (artiste sonore, performer), Corinne Jaber & Ivan Cheng (actrice.eur, performers), Dino Botti (designer video) ... Plus d'infos ici.

"Mount Analogue is adapted for the stage from the landmark novella Le Mont Analogue (1952) by French writer Réné Daumal (1908–44). Written in the last five years of the author’s life, the book has become a cult classic and was the inspiration for Alejandro Jodorowsky’s film The Holy Mountain (1973). The book describes a philosophical journey to a symbolic mountain. ‘The gateway to the invisible must be visible,’ wrote Daumal.

Set on an empty opera stage, the work gradually transforms through a shifting landscape of assembled props, instruments, moving images, foley sound effects, projection screens, kinetic sculpture and large-scale scenic design. It draws from the mountain songs, mystical objects and vivid imagery found in Daumal’s original book, in an experimental performance workshop of text, music and moving image, where exploration, exhaustion and ecstasy conspire with the audience’s imagination to realise a path towards a mythical mountain."

Joué pour la première fois le 23 et 24 septembre 2022 à Ultima Festival à l'Oslo Opera House, Oslo (NOR).

Role: assistant sound engineer & performer. The Invisible Opera is a contemporary performance work for public space. By Sophia Brous with Lara Thoms, Samara Hersch and Faye Driscoll.

Presented on September 10-12, 2021 at STEIRISCHER HERBST Festival in Graz (Austria) & on June 10-11, 2022 at RISING Festival / Fed Square in Melbourne (Australia).

"Slip on a set of headphones and step into a world conducted by a disembodied libretto, narrating an omniscient vision of the micro dramas, private enterprise and influence of surveillance in a town square."

Rôle : assistant ingénieur son & performer.

"The Invisible Opera" est une performance se déroulant dans l'espace public. Par Sophia Brous, avec Lara Thoms, Samara Hersch et Faye Driscoll.

Presenté le 10-12 septembre 2021 au festival STEIRISCHER HERBST à Graz (Autriche) et le 10-11 juin 2022 au festival RISING à Melbourne (Australie).

"Slip on a set of headphones and step into a world conducted by a disembodied libretto, narrating an omniscient vision of the micro dramas, private enterprise and influence of surveillance in a town square."

Role: sound designer.

American director Pascual Sisto's first feature film, starring Michael C. Hall, Taissa Farmiga, Jennifer Ehle ... John and the Hole is a psychological thriller where a teenager holds his family captive in a bunker. Realization of a part of the sound design, under the direction of the French folly and sound artist Nicolas Becker. My work has focused on the production of insect sounds with otoacoustic properties.

Selected for Cannes festival 2020 and Sundance festival 2021.

Rôle: designer sonore.

Premier film de Pascual Sisto, avec Michael C. Hall, Taissa Farmiga, Jennifer Ehle ... John and the Hole est un thriller psychologique où un adolescent séquestre sa famille dans un bunker. Réalisation d'une partie du sound-design sous la direction du bruiteur et artiste sonore Nicolas Becker. Mon travail s'est focalisé sur la production de sons d'insectes avec des propriétés otoacoustiques.

Selectionné pour le festival de Cannes 2020 et le festival Sundance 2021.

Role: sound designer.

An hour loop drawn from field recordings, to accompany photographic and sculptures installation by Marion Gely. Exhibited at ENSBA & Poush Manifesto, Paris.

Rôle : designer sonore.

Boucle d'une heure basée sur un enregistrement d'océan pour accompagner les photograpies et sculptures de Marion Gely. Exposé à l'ENSBA et à Poush Manifesto, Paris.