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The care that went into each composition is also apparent in their ordering.
In René’s skilled hands, Fammi comes across as a daring, idiosyncratic album.
Accept and enjoy the razor-like sound of the electric viola. Explore its possibilities, take advantage of its characteristics, stretch them and pervert them; a job well done. Back to my acoustic instrument, bound to only one rule: to surprise and amaze myself, to veer off as soon as I’m on a familiar path. Finding my own voice. straight between composition and improvisation; crafting and fine tuning. Fammi, the first one, she called me and that’s what I called her ("fammi" = "do me"), done à la Michel F.: the naked sound of the viola and the bridge-miked bow. Nancy reminds me of a particularly inspiring loop by Nancy Tobin (Bataille). La triste vie d’une puce: those learned fleas, those too beautiful people, those too well-respected codes of behaviour. Le grand boudin: hyper-sensitive electronic effects with extreme discretion. Morue, from a postcard pinned above my desk proclaiming "In cod we trust" (ed). Prune: "Prugna era il colore del suo sangue". Outardes: an isolated cry that resembles a complaint; and yes, a flock, honking!Juste encore a Cole Porter inspired diversion. And finally, in Consort, an immersion in the spirit of William Byrd’s. (Jean René)