{"id":445097,"date":"2015-06-02T20:34:11","date_gmt":"2015-06-02T18:34:11","guid":{"rendered":"https:\/\/dev.elorainweb.com\/?p=445097"},"modified":"2024-05-12T11:02:08","modified_gmt":"2024-05-12T09:02:08","slug":"dazed-juin-2015-2","status":"publish","type":"post","link":"https:\/\/fredericsanchez.com\/fredericsanchez\/dazed-juin-2015-2\/","title":{"rendered":"Dazed – Juin 2015"},"content":{"rendered":"
Dazed – June 2015<\/p>\n

Fr\u00e9d\u00e9ric Sanchez\u2019s Synth Hero mix
\nThe enigmatic Comme des Gar\u00e7ons soundtrack master digs deep into his dark electronic archive
\nText Tim Noakes<\/p>\n

Every month\u00a0I invite a different artist onto my Synth Hero radio show to mix up an hour of their definitive electronic influences. This time it’s the turn of Paris based composer and producer, Fr\u00e9d\u00e9ric Sanchez. Since 1988 he has created some of the most innovative soundtracks for the world’s biggest fashion shows. In the past year alone he has scored runway collections for Prada, Jil Sander, Comme des Gar\u00e7ons, Calvin Klein, Miu Miu, Alexander Wang, Thomas Tait\u00a0and many more.<\/p>\n

Designers come to Sanchez because he is an expert in creating the perfect atmosphere to compliment their clothes. Unlike other show DJs who may go for obvious hits of the moment, Sanchez’s soundtracks feature everything from Sunn O)))\u00a0and Psychic TV\u00a0to Sigue Sigue Sputnick\u00a0and Nana Mouskouri. He uses unexpected sounds to help elevate the catwalk into an unforgettable spectacle, whilst simultaneously giving the fashion industry a musical education. On his Synth Hero mix, Sanchez explore the dark recesses of electronic music. \u00ab\u00a0The way I understand my relationship with the sound and the music has always been autobiographical,\u00a0\u00bb he says. \u00ab\u00a0For me sounds and music are like fragments that I put together in order to create an organic and personal feeling.The way I proceed is always the same either if I use existing tracks or if I compose original music as my starting point has to do with storytelling in order to create mental images. This mix is a journey in my own world and my memories.\u00a0\u00bb Sit back, put your headphones on and let Fr\u00e9d\u00e9ric Sanchez open up your mind. You might be afraid of what you find…<\/p>\n

CHRIS WATSON \u2013 \u201cEL DIVISADERO\u201d (from\u00a0EL TREN FANTASMA,\u00a02011) (00\u02bc00 – 02\u02bc20)
\n\u00ab\u00a0In Mexico Chris Watson was one of the last passengers to travel cross country on the train line connecting the Atlantic and the Pacific coasts just before the railroad was cancelled. He recreated the journey of this \u2018ghost train\u2019 \u00a0by capturing the atmosphere, rhythms and sound of human life, wildlife and the journey itself, \u2018evoking memories of a recent past\u2019.\u00a0\u00bb
\nDAVID TUDOR \u2013 \u201cPHONEMES\u201d (from\u00a0THREE WORKS FOR LIVE ELECTRONICS, 1996) (02\u02bc07 \u2013 02\u02bc35)
\n\u00ab\u00a0I often use audio generators in my work. I got familiar with them by listening to the work of some composers such as David Tudor. This piece was commissioned for a Merce Cunningham ballet.
\nROBERT ASHLEY \u2013 \u201cTHE PARK\u201d (from\u00a0PRIVATE PARTS, 1977) (02\u02bc12 \u2013 06\u02bc00)
\n\u00ab\u00a0Robert Ashley’s voice is so evocative and enigmatic. You immediately picture situations and landscapes with his speech-songs.\u00a0\u00bb
\nELIANE RADIGUE \u2013 \u201cTRANSAMOREM-TRANSAMORTEM\u201d (from\u00a0TRANSAMOREM-TRANSAMORTEM,\u00a02011) (04\u02bc04 \u2013 07\u02bc30)
\n\u201cThe journalist and director Anais Prosaic did a very intimate film portrait about Eliane Radigue, one of the pioneers of electronic music. In it she says that the meaning of her work is to play with the natural performance of the electronic sounds using all the possibilities the synthesizer ARP 2500 can offer.\u201d<\/p>\n

\"DazedAndConfuzedJuin2015-2\"<\/p>\n

CLUSTER \u2013 \u201cLERANDIS\u201d (from QUA, 2009) (05\u02bc51 \u2013 07\u02bc35)
\n\u201cMost of German electronic musicians from the 70s explain their work by saying that the war has destroyed the past. I have always found it fascinating that most of these electronic and avant-garde musics were not created in an industrial environment but in the middle of the countryside.\u201d
\nGHEDALIA TAZART\u00c8S \u2013 \u201cMERCI ST\u00c9HANE\u201d (from\u00a0DIASPORAS TAZART\u00c8S, 2004) (07\u02bc29 \u2013 10\u02bc00)
\n\u201cI only saw Ghedalia Tazart\u00e8s perform once. It was maybe 20 years ago. What he is doing is so physical that I have never considered him as a musician.For me he is much more than that: somewhere between a singer, an actor and a dancer.\u201d
\nALESSANDRO CORTINI \u2013 \u201cFANTASMA MODULAZIONE\u201d (from\u00a0SONNO, 2014) (08\u02bc11 \u2013 12\u02bc10)
\n\u201cYou get everything by reading the title of this piece. It is always nice to watch videos of him playing with his Buchla music easel.\u201d
\nGORDON MUMMA \u2013 \u201cMEGATON FOR WM. BURROUGHS\u201d (from\u00a0ELECTRONIC MUSIC OF THEATRE AND PUBLIC ACTIVITY,\u00a02005) (09\u02bc45 \u2013 13\u02bc45)
\n\u201cI chose this piece because of the connection between sonic art and the William Burroughs cut-ups. It’s a great lesson in how to create new form of compositions and how to put sounds together.\u201d
\nSECTION 25 \u2013 \u201cC.P.\u201d (from\u00a0ALWAYS NOW, 1981) (12\u02bc50 \u2013 15\u02bc10)
\n\u201cI remember that I bought this record because of the cover. I still own an original copy of it and will never give it away. I also remember the great impact the music and the sound had on me. Whenever I listen to it I feel the same emotion. It is timeless.\u201d
\nFR\u00c9D\u00c9RIC SANCHEZ \u2013 \u201cFILM SONORE 17\u201d (15\u02bc10 \u2013 18\u02bc20)
\n\u00ab\u00a0An extract from my last piece.\u00a0\u00bb
\nLAWRENCE ENGLISH & WERNER DAFELDECKER \u2013 \u201cMAPPING PEAKS\u201d (from\u00a0SHADOW OF THE MONOLITH, 2014) (17\u02bc05 \u2013 21\u02bc29)
\n\u201cI recently discovered the work of Lawrence English and found similarities with my approach to sound design. I empathise with his ability to infiltrate and occupy the body and also how to listen to things in a creative way.\u201d
\nZBIGNIEW PREISNER \u2013 \u201cLAMENT\u201d (from\u00a0DIARIES OF HOPE, 2013) (18\u02bc47 \u2013 21\u02bc20)
\n\u201cI find it interesting when a composer is so close with a film director, like Preisner was with Krzysztof Kieslowski. For me the soundtrack has a big part in what you remember of Kieslowski’s movies.\u201d<\/p>\n

FRAN\u00c7OIS BAYLE \u2013 \u201cEROS BLEU\u201d (from\u00a0ARCHIVES GRM LE SON EN NOMBRES, 2004) (21\u02bc17 \u2013 23\u02bc24)
\n\u201cIt is fascinating in this piece how Francois Bayle manipulates the voice with the help of the computer. Just with a reverb and a filter module you can get endless possibilities.\u201d
\nBRUCE GILBERT AND BAW \u2013 \u201cTHE VOID\u201d (FEAT BRUCE GILBERT, A. DAVID CRAWFORTH, NAOMI SIDERFIN) (from\u00a0DILUVIAL\u00a0(FEAT BRUCE GILBERT, A. DAVID CRAWFORTH, NAOMI SIDERFIN),\u00a02013) (22\u02bc18 \u2013 25\u02bc20)
\n\u201cWIRE was one of my favorite bands from the post punk era because of their cross-disciplinary edge. Each member of the band was also commissioned tocreate variety of film music, art installations, dance projects. One of my favourite collaborations was between Bruce Gilbert and the choreographer Michael Clark.\u00a0\u00bb
\nJOHN T. GAST \u2013 \u201cSHANTI-ITES\u201d (from\u00a0EXCERPTS, 2015) (24\u02bc17 \u2013 26\u02bc19)
\n\u201cThis is an outstanding new artist who describes sound as \u2018An ambient enigma steeped in post-hypnagogic tristesse\u2019. So haunting.\u201d
\nCABARET VOLTAIRE \u2013 \u201cHALLUCINATION SEQUENCE\u201d (from\u00a0JOHNNY YESNO (THE ORIGINAL SOUNDTRACK FROM THE MOTION PICTURE), 1983) (25\u02bc21 \u2013 30\u02bc06)
\n\u201cWhat a hallucinatory soundtrack for the Peter Care’s movie.\u201d
\nTUXEDOMOON \u2013 \u201cBLIND\u201d (from\u00a0TIME TO LOSE- BLIND, 1982) (29\u02bc32 \u2013 37\u02bc03)
\n\u201cIn the 80s I used to spend a lot of time in Brussels which was a crossroad for musicians coming from all other the world. There is always something very sentimental for me while listening to this.\u201d
\nJOHN GIORNO \u2013 \u201cGIVE IT TO ME BABY\u201d (from\u00a010 + 2: 12 AMERICAN TEXT SOUND PIECES, 1975) (36\u02bc42 \u2013 37\u02bc48)
\n\u201cA few years ago I went to visit John Giorno at his place in New York. He was living in the Bunker: William Burroughs’s place on the Bowery. He showed me all his recordings of texts and the editions he uses to make of them. You must check out Big Ego – A Diamond Hidden In The Mouth Of A Corpse.\u201d
\nBILL NELSON \u2013 \u201cTHE SHADOW GARDEN\u201d (from\u00a0FROM BRUSSELS WITH LOVE,\u00a01986) (37\u02bc10 \u2013 39\u02bc43)
\n\u201cOne track from one of the outstanding compilations made by the very stylish Belgian record label: Les Disques Du Crepuscule.\u201d
\nWALTER DE MARIA \u2013 \u201cOCEAN MUSIC\u201d (from\u00a0DRUMS AND NATURE, 2000) (38\u02bc26 \u2013 40\u02bc26)
\n\u201cTwo songs from renowned sculptor Walter De Maria featuring a tribal drumming pattern and the sounds of nature. He used to play drums with The Velvet Underground and on Henry Flynt & The Insurrections’ \u00ab\u00a0I Don’t Wanna\u00a0\u00bb.\u201d<\/p>\n

 <\/p>\n

EDGARD VARESE \u2013 \u201cPOEM ELECTRONIQUE\u201d (from\u00a0ELECTRONIC MUSIC SOURCES VOL 2 (1937 \u2013 1959),\u00a02012) (39\u02bc26 \u2013 40\u02bc12)
\n\u201cThis piece is connected to the architect Le Corbusier who was commissioned in 1958 to design the Philips Pavilion at the Brussels Art Fair.\u201d
\nJON HASSELL \u2013 \u201cMAP OF DUSK\u201d (from\u00a0THE MYTHS COLLECTION PART 2, 1990) (39\u02bc26 \u2013 43\u02bc13)
\n\u201cThe Myths Collection are the very first production by outstanding Belgian record label Sub Rosa.\u201d
\nMARTIN HANNETT & STEVE HOPKINS \u2013 \u201cCONCORDE DRONE\u201d (from\u00a0THE INVISIBLE GIRLS,2015) (41\u02bc23 \u2013 43\u02bc48)
\n\u201cSteve Lillywhite, Brian Eno, Chris Thomas, Martin Hannett, Gilles Martin… producers have always been as important as musicians for me. How to work in the studio, how to make the sound, how to record, how to mix the music.\u201d
\nJEAN NEGRONI & PIERRE HENRY \u2013 \u201cIL Y EUT DANS LE CIEL UN SILENCE\u201d (from\u00a0APOCALYPSE DE JEAN, 1999) (43\u02bc40 \u2013 46\u02bc09)
\n\u201cI am not a religious person but when I listen to this Pierre Henry Oratorio with the very special voice of the actor Jean Negroni I can see angels.\u201d
\nDIAMANDA GALAS \u2013 \u201cDELIVER ME FROM MINE ENEMIES\u201d (from\u00a0THE DIVINE PUNISHMENT & SAINT OF THE PIT, 1988) (45\u02bc03 \u2013 47\u02bc11)
\n\u201cDerek Jarman used this music for his movie \u201cThe Last of England \u201d: a beautiful moment with Tilda Swinton.\u201d<\/p>\n

SCOTT WALKER \u2013 \u201cTHE DARKEST FOREST\u201d (from\u00a0POLA X (ORGINAL SOUNDTRACK FROM THE MOTION PICTURE, 1999) (47\u02bc10 \u2013 49\u02bc55)
\n\u201cAfter the release of his masterpiece Tilt Scott Walker did this collaboration with the French director Leos Carax.\u201d
\nASH RAM TEMPLE \u2013 \u201cSILENCE SAUVAGE\u201c (from\u00a0LE BERCEAU DE CRISTAL (ORIGINAL SOUNDTRACK FROM THE MOTION PICTURE, 1976) (49\u02bc33 \u2013 52\u02bc03)
\n\u00ab\u00a0Very poetic soundtrack from the Philippe Garrel movie starring Nico, Anita Pallenberg, Dominique Sanda, Pierre Clementi.\u00a0\u00bb
\nEDGAR FROESE \u2013 \u201cTHE 31ST FLOOR\u201d (from\u00a0KAMIKAZE 1989 (ORIGINAL SOUNDTRACK FROM THE MOTION PICTURE, 1982) (51\u02bc27 \u2013 53\u02bc46)
\n\u201cA cyberpunk thriller movie with Rainer Werner Fassbinder playing a detective investigating a string of bombings that lead to a corporate media conspiracy.\u201d
\nFR\u00c9D\u00c9RIC SANCHEZ \u2013 \u201cFILM SONORE 17\u201d (53\u02bc35 \u2013 54\u02bc39)
\n\u00ab\u00a0Another extract from my last piece.\u00a0\u00bb
\nJOHN CALE \u2013 \u201cRISE, SAM AND RIMSKY KORSAKOV\u201d (from\u00a0MUSIC FOR A NEW SOCIETY,\u00a01982) (54\u02bc32 \u2013 56\u02bc45)
\n\u201cI always find fascinating voices, sounds and music through airwaves. Most of the time you can listen to them clearly but sometimes they are just snatches. It is very similar to watch the stars in the sky at night, you have no idea about their distance, you see them appear and fade away but the all experience is so poetic.\u201d
\nLOU REED \u2013 \u201cPART 1\u201d (from\u00a0METAL MACHINE MUSIC, 1975) (56\u02bc39 \u2013 59\u02bc36)
\n\u201cIn a world sometimes so plain and politically correct maybe this record should get visible again. When it came out the big joke was how many people could get to the end. On the other hand this record opened so many doors that other artists have been beyond. What I appreciate with this work is how the sound becomes more and more organic and mental.\u201d<\/p>\n

www.dazeddigital.com<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Dazed – June 2015 Fr\u00e9d\u00e9ric Sanchez\u2019s…<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[21],"tags":[],"class_list":["post-445097","post","type-post","status-publish","format-standard","hentry","category-fs-press"],"_links":{"self":[{"href":"https:\/\/fredericsanchez.com\/fredericsanchez\/wp-json\/wp\/v2\/posts\/445097","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fredericsanchez.com\/fredericsanchez\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fredericsanchez.com\/fredericsanchez\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fredericsanchez.com\/fredericsanchez\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/fredericsanchez.com\/fredericsanchez\/wp-json\/wp\/v2\/comments?post=445097"}],"version-history":[{"count":0,"href":"https:\/\/fredericsanchez.com\/fredericsanchez\/wp-json\/wp\/v2\/posts\/445097\/revisions"}],"wp:attachment":[{"href":"https:\/\/fredericsanchez.com\/fredericsanchez\/wp-json\/wp\/v2\/media?parent=445097"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fredericsanchez.com\/fredericsanchez\/wp-json\/wp\/v2\/categories?post=445097"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fredericsanchez.com\/fredericsanchez\/wp-json\/wp\/v2\/tags?post=445097"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}