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De​́​voré Jusqu'à la Ruine

by Le Grand Salon

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1.
Dévoré Jusqu'à la Ruine: Partie I - Immobile 06:25
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2.
Dévoré Jusqu'à la Ruine: Partie II - Éternel 06:23
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3.
Dévoré Jusqu'à la Ruine: Partie III - Monument 08:06
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Le Grand Salon follows up his single “Le Calme Gouffre De La Désolation” with an extended composition called “Dévoré Jusqu’à La Ruine” (transl: Devoured To Ruin)

The composition is split into a 3 part triptych, and each part has its own title: ‘Immobile’ (transl: Motionless), ‘Éternel’ (transl: Eternal), and ‘Monument’ (transl: Monument).

As ever, Pier-Luc prefers not to be drawn into descriptions of the meaning of each of the parts, or the triptych as a whole. Indeed, he is quite open about the fact that he very rarely composes music with a particular subject or aim in mind. Naming is done in retrospect, with no regard for an obvious link between the name and the piece, just the sound of the words used in the the title. For him, music’s purpose is to fill the space where words fail us - to express that which cannot easily be summarized in words, and he invites the listener to come to the pieces with few preconceptions or priming, so that they might interpret the music as they see fit.

Pier-Luc says:
“I composed “Dévoré jusqu’à la ruine” in a few months, when the nights were long and the days were cold. Colder, in fact. At first it was only one piece which is now the first part titled Immobile. Pretty much right after I was done with that section I realized I had more to explore, so extended the piece to a triptych. The 3 parts are meant to be listened to as one continuous piece, even though they are also fully autonomous entities by themselves.

I had no intention of using a harp for these pieces, but over time, almost by stealth, the harp made itself a fundamental part of the musical discourse. Sometimes things just turn out that way I guess. I think it shows that composers are rarely 100% responsible for how a piece turns out. Sometimes music just composes itself, in a weird way.

A major inspiration for the triptych was the work of the great Steve Reich, who has always been a model for me. I tried to capture the same feeling I have when I listen to his music: a melting away of the passage of time. I think this is because many repetitions overlaid with constant small variations remove one from the normal lived experience of time, allowing one to exist outside of it, if only for brief moments. Sometimes it is unclear whether things are repeating identically or subtly varying. The human brain is great at recognising patterns, but also gets bored easily. In this way the music will be a different experience for each individual, and different again each time the individual listens to it.

Less really is more.

Enjoy.”

credits

released June 25, 2021

Composed, Performed and Produced by Le Grand Salon
Mixed by Ian Dowling
Mastered by Alex Wharton at Abbey Road

© 2020 Pier-Luc Boivin
℗ 2021 At Swim Ltd.

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At Swim England, UK

Independent Record Label in the UK.

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