Bruno Chevillon is the father of a fascinating work, the (altered) voice of his basses just one among a myriad of elements – samples, tapes, found and environmental sounds – of a patchwork that’s very similar to the sonic landscapes we’re used to receive from acousmatic composers specializing in electric string machines (I’m thinking Paul Dolden, even if Chevillon’s music’s level of complexity is certainly not the same of the Canadian’s). Like fellow Frenchman Samuel Sighicelli – whose excellent “Marée noire” on this very label features the bassist – Chevillon is interested in detailed imagery and emotional evocation, but distinguishes the music with a dose of rock-ish energy, probably derived from the obvious influence of the growling frequency of the utilized instruments. Not that the record is full of riffs and elicits heavy metal fantasies, not at all; still, the sense of gloomy future pervading it is palpable, although finely balanced by a masterful alternance of psychoacoustic settings in which the single source can determine the orientation of the listener’s frame of mind. Paroxysm and evidence, outburst and peaceful stream. These contrasts function magnificently, wrapped by a tissue of timbral coherence that renders the trip definitely more galvanizing than boring. Antye Greie-Fuchs (AGF) appears in two pieces, her German interpolations adding yet another element of perplexity to an already puzzling pastiche.