In a day of doom and gloom I doomed the poor mandolin you hear. Yes, what you hear from the beginning to the end of the track is the sound of a single mandolin. Twisted, stretched, then torn, cut into pieces, and then all the pieces of the sound of the mandolin were nailed to each other, glued, hammered. Three times the screams of agony of the mandolin imitated the mourning of angels just before the crack of doom is heard. But it’s only the fourth crack that starts the judgement day.
French artist Exomène is a soundsmith and digital apothecary.
A soundsmith because he works sounds like a potter his clay, or a blacksmith his metal: hammering, stretching, twisting sounds until they fit all together into a coherent piece of music.
As a digital apothecary, his approach is quite the same: playing with an abstract material as if it was physical in a more experimental way. The sound in itself is no longer triturated but what generates it is subjected to several techniques: data-bending, generativity, algorithm, glitch…
These two approaches stem from the same mysticism that holds abstract and physical materials are the same thing in different realms.