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L'Empreinte de l'Ivresse

by éric la casa

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L’empreinte de l’ivresse

Au seuil des deux mondes, le rivage transmet simultanément les énergies de la terre et de la mer. Alchimie du vivant, l’homme s’offre tout entier à cette ivresse vibratoire. Toute corporéité disparaît. Les matières de l’être danse dans l’infini...
Aller au-dedans de ce que l’oreille déploie.
Avec Dahl, la mer nous porte là où le vent souffle toujours. Le rivage nous rappelle alors en son sein. Avec Brame, la terre s’entrouvre à la vitesse d’une coulée minérale qui fusionne en métal pendant la traversée. De l’autre côté, l’Expir du jour dévoile à nouveau les stridulations de l’essentiel.

Eric La Casa, Mars 1997

On the treshold of the two worlds, the shore is conveying both energies from earth and sea at the same time. Alchemy of the living, man is giving himself up completely to this vibratory intoxication. Any corporeity disappears. The fabrics of being are dansing in the infinite...
Letting ourselves go into what the ear is unfolding.
With Dahl, the sea is carrying us where the wind is always blowing. The shore calls us back to its womb. With Brame, the earth is opening itself at the speed of a mineral flow merging into metal as it runs across. On the other side, the day is breathing out unveiling again some essential chirr.

(translation by Jean-Louis Cayron)



Empreintes de l'Ivresse

With a great reverence for his source material, Eric La Casa is one of the most successfull and engaging artists composing from the sounds of the nature. The Digital Narcis label, a rabid supporter of electro-acoustic music with a bevy of new releases waiting in the wings, has released his latest, L'empreinte de l'ivresse. La Casa's work is an effortless unity of earthly elements, largely using site recordings such as water, the wind or even the sounds of civilization, along with the delicate resonance of gongs, chimes and bells, to assemble his elemental landscapes. The sounds he loves have an inherent flow that opens a deep connection with each listener, locking into eternal rythm of life. Chris Rice, Halana #4

Eric La Casa is a former member of Syllyk - but hey who remembers them? In the past few years his work moved towards soundscaping. Un homme avec un microphone : going round with a microphone. Many recordings of the sea, rivers, shores along with gongs, bells and metal. He creates the most atmospheric music - very much like 'real' ambient music. Thomas Koner in a landscape. There isn't much to say about this CD. All four pieces are outstandingely good. Very atmopsheric, very laidback, very natural. Roel Meelkop, Vital week 36 number 190

From the deep ambient quarter, this disc takes field recordings both classic (shoreline, crickets, trains, voices) and contemporary (electric meter, twigs, stones) and weaves a four-part immersion into the dreamworlds where ocean meets earth. Apart from one piece on the Croatian shoreline, with rich gurgling surfbreaks and small, quiet wave washes, recorded in crystaline clarity, most of the disc is not easily recognizable. Rather, La Casa takes us way beneath the surface of things, conjuring a primal darkness from which movement begins. He combines field recordings with recordings of various metal, clay, and wood objects ; the overall effect is of becoming immersed resonances. The interplay between sustained tones and rhythmic, staccato elements dances the edge of unease and the deepest nurturing. Strange stuff, surely not for the literal-minded, but for those with a taste for the underworld, a disc to treasure. Jim Cummings, Earth Ear

credits

released January 1, 1999

L’Empreinte de l’Ivresse
Produced between June 1996 and February 1997.
Studio : La Grande Fabrique (Dieppe, France)

1- Dahl, au dehors
2- L’Inspir du rivage
3- Brame, en dedans
4- L’Expir du jour
Total Time : 68’40

Credit : Syllyk (photos, artwork, handwriting, and layout)
Copyright Sacem 1997
Published Digital Narcis Ltd 1998

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éric la casa Paris, France

For 30 years, while listening to the environment, I have been questioning the perception of reality and has tried to expand the notion of infra-ordinary (space-time at low intensity), from background noise to the inaudible, through the wait, the pause... ... more

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