|Finders Keepers Records
Release Date: 16 December 2013
Format: LP Vinyl
|Pierre Henry Maléfices Limited Vinyl LP
· Cacophonic present this outstanding, commonly undetected Pierre Henry film score, providing fans of early electronics, femme vocal manipulation and horror soundtracks with an indespensable ‘dream record’ that ticks every box and crosses out every line in the rule book.
· Widely recognised as one of the original sonic architects of the movement known as musique concrete, having joined Pierre Schaeffer’s forward-thinking initiative as early as 1949, Pierre Henry was arguably the first musician to entertain the notion of this defiant musical revolution coexisting with traditional and popular music.
· Initially using the mediums of modern dance and spoken word as a platform to contextualise his tape-music mutations (notably in unison with Maurice Bejart) Henry’s foresight to fuse academic with thematic ideas lead to the birth of electronic sound design for film and theatre, exemplified most prevalently in the macabre.
· The missing link between his earliest avant garde recordings and his later celebrated pop experiments with Michel Colombier and Spooky Tooth, and rivaling the likes of Daphne Oram’s uncredited SFX work for ‘The Innocents’, this rare score to the 1962 Juliette Gréco vehicle ‘Maléfices’ (aka ‘The Hex’ or ‘Where The Truth Lies’) hears Henry at
what is perhaps his most melodic, fragile and enchanting (especially for this unforgiving sheen-free formative era). Layering vocal tape loops and gossamer feminine voice treatments with plucked strings, white noise wind and brooding industrial treated piano textures Henry provides a series of conceptual poison peons to magnify the film’s intoxicated hallucinogenic narrative.
· This concise collection of complete set themes is presented here fully remastered for the first time, alongside rare excerpts from two of the composer’s very earliest and least obtainable forays into theatrical sound design, with instrumental parts of Henry’s first stereo
reconstruction of Bejart’s ‘Orphee’ from 1961 and his seldom heard concrete interludes from Darius Milhaud and Max Gérard’s ‘Mariage De La Feuille Et Du Cliché’ from 1958, both of which command rapidly increasing ransom fees amongst serious electronic music collectors.
Générique (Thème De Myriam)
Après La Mort Scène De La Trappe
Le Gois (Scène De La Noyade)
Thème De Catherine
Mariage De La Feuille Et Du Cliché (Extrait)
La Amoreux Musique
Le Voyage Musique
La Mort Musique