Delphine Dora // L'inattingible LP

This record was released in 2020 by Delphine Dora, an improviser / composer in Paris, France.Includes 21 drone pop-jazz drone songs in collaboration with various performers.

Below is a commentary by the label.

At L'Inattingible, Delphine Dora's music unfolds with a new palette of colors.Musicians who have sung in foreign languages ​​or in extended vocalizations have only used French for the first time, and she has often made music from other writers' texts and poems. It will be obvious to everyone that he admits to singing texts and fragments.

However, not only this formal fulfillment, but also the new musical ambitions unfolded in "L'Inattingible" can be found in the structure of this record itself.If the previous work was conceived by improvisation or spontaneous composition, the new work took a long time to collate, rewrite, and undergo various transformations to become a definitive figure.In addition, the process of composition has led to complex montages of texts, sounds and musical instruments.If the keyboard is the indelible lungs of a record, it's no longer uncommon to encounter Delphine's singing voice, which echoes the rich instrumentation..

The new attraction of her music seems to be that the many participants scattered in the album give the work a unique hue.You can listen to more than 30 different compositions for each of her works, including wind, string, electronic, numerous keyboard instruments, unusual instruments, and all sorts of discordant sounds.Among them are Abbey Vriamy's viola, accordion, musical saw (Nalle, The One Ensemble ....), Adam Kadel's violin, Susan Matthews' harmonium, and Taralie Peterson's saxophone (Spires That In). The Sunset Rise), Le Fruit Veil's analog synthesizer, Taralie Peterson's percussion and flute (Half Asleep).Paulo Shagas Oboe and Clarinet, Laura Naukkarinen (Lau Now), Katie Schaefer (Olden York), Jackie McDowell's Voice, Tom James Scott's Mysterious Piano, Sylvia Hallett's Bicycle Wheel , Hardy-Gurdy, Gary Brogan's sculptural sound (Pefkin), etc. will appear.In other words, since the 2000s, it is a group of musicians who have been inspiring from the fields of folk, psychedelic music, improvisational music and experimental music, expanding the field of sound and continuing experiments.

It must be emphasized that this record was achieved only by the presence of these different participants.By the way, all of the strength of this album lies in the paradox that forms this "inattingible".It is even more elusive as it appears to assert itself only through a series of actions that constantly flow between existence and absence.These sound bodies, which constantly rub against each other, trace the outline of "another" space, which is familiar to us but also foreign to us, while listening.Thus, contrary to the suggestion that many musicians are involved in the production of this album, this album finds its energy in constantly updating its ability to hear what is absent. can.This absence is certainly not played, but as an entity, at the edge of our perception, acting as a kind of "horizon inconnu" (unknown horizon) full of unpredictable possibilities. ..

In his work "Loin" (Far), Delphine asks himself, "How do you express something that has never appeared before us?"Of course, there is no clear answer to this question.Perhaps because we are at the entrance to the "mysterious", we demand that all musicians and listeners dig up a "buried sensation" that gives them a glimpse of other more attractive life forms. It's just the conviction of the group in.

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three: four records:

"With L'Inattingible, Delphine Dora's music unfolds by drawing upon a new palette of colors. It will not escape anyone, that after having sung, in foreign, invented languages, or through extended vocal techniques, the musician resorts for the first time, to solely using the French language; and that after having often set texts and poems by other authors to music, she authorizes herself here to sing her own texts and fragments.

But beyond these formal enrichments, the new musical ambitions developed through L'Inattingible are to be found in the very fabric of the record. If the previous albums had been conceived through improvisations or spontaneous compositions, the new pieces have found their definitive incarnations through a If the keyboard remains the inextinguishable lung of the record, it is no longer rare to come upon Delphine's sung lines and have them echo into a lush instrumentation --where in voices and instruments create a language, and develop dialogues that have never been heard before.

The new charm of her music seems to lie in the many We can hear no less than thirty instruments with configurations that differ from one piece to another: wind and string instruments, electronic instruments, a multitude of keyboard sounds, unusual instruments and all. among them are Aby Vulliamy's viola, accordion and musical instrument (Nalle, The One Ensemble ...), Adam Cadell's violin, Susan Matthews' harmonium, Taralie Peterson's saxophone (Spires That In The Sunset Rise), Le Fruit Vert's analog synthesizers, Valérie Leclercq's percussion and flute (Half Asleep), Paulo Chagas' oboe and clarinet, the voices of Laura Naukkkarinen (Lau Nau), Caity Shaffer (Olden Yolk) and Jackie McDowell, Tom James Scott's ghostly piano, Sylvia Hallett's bicycle wheel or hurdy-gurdy, or Gayle Brogan's sculpted sounds (Pefkin). That is: a constellation of musicians who have never ceased to expand their sonic territories, experimenting t hroughout the years since the 2000s, drawing inspiration from folk or psychedelic music as well as from the field of improvised or experimental music.

It must be highlighted, the extent to which this record could only come into being through the presence of these different participants. It seems to only assert itself only through a series of actions engaged in a continual flux between presence and absence. Constantly brushing against each other, these sound bodies come to trace, as we listen, the contours of an "other" space that is both Familiar and foreign to us. Thus, and contrary to what might be suggested by the participation of such a large number of musicians in the elaboration of the album, it finds its energy in this constantly renewed capacity to make the absent heard. This absence is Certainly not played, but acts as a presence, a kind of “horizon inconnu” (unknown horizon) schema at the edge of our perception, abounding in unpredictable potentialities.

"How to describe what has never appeared to us," Delphine asks herself on the piece entitled "Loin" (Far). There is, of course, no definitive answer to this question. Perhaps only the belief in a collective that is in the process of becoming, that, through the forms of engagement requires that everyone (musicians and listeners) unearths all of the “sensations enfouies” (buried sensations) that allow us to catch a glimpse of other forms of life that are all the more fascinating, because they remain on the threshold of the “l'inexplicable”. " 

Artist: Delphine Dora

Label: three: four records