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26—07—29
Duplant’s third essay in this series finds him pushing past the usual musique concrète gestures into something closer to pure signal degradation—tape loops fed through whatever spring reverbs and contact mics he could pilfer, the results less about sourcing interesting sounds than letting them collapse into themselves. If you’ve spent time with Alvin Lucier’s isolation experiments or the grainier reaches of the Wandelweiser catalogue, this sits in that headspace: patient, slightly uncomfortable, mired in the mechanics of transduction. Worth it if you’re the type who listens to transformer hum and hears compositional intent.