*150 copies limited edition* In 2019, I was invited by Dylan Nyoukis and Karen Constance to play at the Colour out of Space festival in Brighton. A unique moment of incongruous music in a friendly international gathering of freaks of all kinds. Unforgettable. I played a solo on Revox B77 and then Dylan asked me to do a CD for his Chocolate Monk label. After some thought, I decided to offer three compositions rather than try to reproduce the past moment of an improvised concert. I'm talking here about the composition of fixed sounds (to quote Michel Chion) or musique concrète to use Pierre Schaeffer's original terminology. I think I've spent more time in my life improvising than composing, and no one has ever reproached me for it. 

The Latin title refers to the equivalence between the tension of a string and the elevation of the sound, but also to the link between the intensity of the lived and of the musical. Will the intensity of the former influence that of the latter? But it's also the tension on the trigger and the intensity of the reaction to it. The tension-release form is one of the most classic in musique concrète, and even more so since the advent of computer-assisted music. In Les objets inaudibles [2018], I decided to politicise this form, to create a struggle between these elements. In Erase my head [2019], it is the accumulation, erasure and diversion of random fragments that is at stake. Then in Eloge des ruines [2020], it's a return to the founding gesture of musique concrète, that of sampling existing material, in this case records from my personal record library.