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Nini Villegas
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About me:
Association Les Sœurs Grées, Pierre Redon

Pierre Redon makes art situated somewhere between the music of the spheres and ethno- social reality, between memory of past events and awareness of the immediate here and now. This intermediate state has become a distinctive style of expression, based on borrowing or reformatting impressions, recording the voices of people he meets on his journeys. Images, sound, music, topography, ethnography, walking, listening, observing, ecology, economics, politics and poetry, cultural traditions and utilitarian rationalism are all grist to his mill, all part of an examination of local customs, nature, rural and contemporary environments.
As a band we are:
Ceremony for 7 voices, shaman drums, shō, sheng & electronic

«9» is a music play for eight different voices, Sheng, Shō or church organ and electronic. This play is part of the research on traditional music that Pierre Redon already used in Tülü and in Lichen, his latest creation, in which the voice is the major element.
Whether it be with medieval fiddles, indian (sarangui, flutes) or Mongolian (technical voices), Pierre Redon relies on ancient or far-off techniques and sounds without falling into the facility of a musical patchwork of worldwide influences.
He composes resolutely modern music in which he incorporates the essence of these influences and traditions, extracts the substance and the timbre of raw sounds: binary beats, scratching/rubbing archer, organic rhythms...
Shō, sheng, shaman drums, voices: overtone, Khöömii, throat singing & electronic.
The creations find their origins in ethno-musicology and in recordings of the encounters and sounds that he experiences during his time in the field.

The voices will use di erent vocal techniques anchored in sounds that can be interpreted as music within an artistic context such as rituals, celebrations, group or individual practices such as polyphony, throat-singing and harmonic singing that we nd in various forms in Africa, central Asia and Rajasthan.

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