Under the nom de plume Osone , Yannick Dauby, Christophe Havard and Hughes Germain, have created in Passerelle a site-specific sound performance. The sound space they rope into acting as their primary instrument is adorned with all sorts of garb - walls covered with glass and plates expanded polystirene, chimneys lined with metal and zinc, all flooded and tantalized by 34 Hz of vibrations spilling out from a resonator planted in the centre of the room. What particularly fascinates is how such a conceptual composition can provoke such a strong emotional and aesthetic response in the listener. While conceptually the work seems to have a great deal to do with reduplication, the sounds emanating from within the walls being captured, doctored, and then channeled back into the womb-like space from whence they came, the recording operates on an undeniably immediate level. Throughout, a patiently measured tension is at play. The lurid bellows from a cluster of metal plates pump through the opener with ease and fluidity. As the intervals come on quicker, they build a wave structure that hovers around the ears, as differently articulated sounds and textures float in all directions. Indeed the heavily layered perspective is curiously reminiscent of the spatial awareness created by gauging where clouds sit in the sky. By the albums midpoint, the main compatibilities have been grounded and consequences have begun to be probed. An astute ear and proficiency of execution seems behind all of this; and this is perhaps most plainly evidenced in the fact that these neat and beautifully effective physical gestures, which glide but never meander, seem to occur more by chance than calculation.

(Max Schaefer)