200 numbered copies, with handmade and buffered cover. Contains a A4 insert. Experimental trio Los Pélieu Lovers announce the release of Bruits de l'Ombre, a groundbreaking album that pays tribute to French beat poet Claude Pélieu through innovative sound collage and cut-up techniques. The project emerged from Tom Val, Maximilien Douche, and Magali Genuite reading Pélieu's poetry aloud while music played in the room, inspiring them to create something beyond traditional music and poetry readings. Rather than following conventional approaches, the trio decided to apply Pélieu's own artistic techniques — automatic writing, cut-up methods, degradation, and collages — directly into the album's structure. The result is a completely freeform work where landscapes shift constantly: bird songs drift beneath detuned piano, destroyed voice loops interweave with flutes that appear and disappear, creating a musical experience built on surprise and sonic transformation.

Bruits de l'Ombre represents the latest iteration from Orion Music Workshop and another triangular emanation from Tom Val's label Les Disques Omnison, following recent Krakatoa and HWYUIOD projects. The album distinguishes itself through its commitment to accumulation and cut-up techniques, quotations and pastiches as methods of collective creation.

The work's literary foundation runs deep, with Claude Pélieu serving as both poetic model and gateway to the Beat Generation. Through Pélieu, the album connects to William S. Burroughs, Allen Ginsberg, and John Giorno, while also channelling the experimental spirit of Ramuntcho Matta, Dashiell Hedayat, and the industrial tape manipulation iconoclasts associated with Sub Rosa records.

According to accompanying essay by PAM, the album embodies principles of "minor music" — where political urgency and collective values override individual expression. Bits of scrambled texts from Claude Pélieu and Maximilien Douche (aka Oedipe Purple) are cut up and pasted onto digital patchwork, creating what PAM describes as "music swelling up out of nothingness, a cry that escaped signification."

The enunciation emerges from the core triangle of Tom Val, Maximilien Douche, and Magali Genuite, with other triangular formations plugging into this infinite aggregate. The result recalls the artistic tumult of France's post-Trentes Glorieuses period, echoing Raymond Hains's décollages and Ghédalia Tazartès's experimental vocalizations.

True to every Tom Val project, Bruits de l'Ombre follows the rule: expect the unexpected.