#cendre

Guess what nerds? I just posted a DOUBLE chapter for Start Me Over on AO3.

I felt bad in leaving you guys on a cliffhanger so I decided to leave you guys on a double cliffhanger :3

I know, I’m awesome like that.

Anyway go read when you have a chance!

href="https://archiveofourown.org/works/80860306"><strong>Start Me Over.</strong></a> (35545 words)

Précédent :

Aide à la traduction @diamonddoodles

Aide à la colorization @aeryth-lc

Vampireverse et Macabre par @/blogthegreatrouge

Ça y est ! J'ai enfin terminé et c'était pas de tout repos ! J'ai quand même l'impression qu'il y a du progrès rien qu'entre le début et la fin x3

Je ne sais pas du tout quand je ferai la suite, comme je l'ai dit en haut de mon blog je ne me pose aucun ultimatum, en tout cas pour l'instant. Même si j'aimerais au moins aller un peu plus loin pour que l'intrigue se lance !

Et il faudra que je fasse une couverture–

Que je trouve un titre ?

Argh–

« Ce que le monde voit en moi est cendre — mais mon reflet, lui, se souvient de l’incendie. »

Fennesz & Ryuichi Sakamoto - Haru [Audio]

The second collaboration between Ryuichi Sakamoto and Christian Fennesz, Cendre, differs significantly from their 2005 EP, Sala Saint Cecilia. While the earlier EP was a 19-minute live track, abstract and computer-based, Cendre reflects a more balanced interplay between acoustic piano and electronic treatments, drawing comparisons to Harold Budd and Brian Eno’s collaborations, Ambient 2/Plateaux of Mirror and The Pearl.

Sakamoto's delicate piano melodies intertwine with Fennesz's rich electronic textures, including drones, processed guitars, and digital soundscapes. The result is a sound that feels like a meeting of equals, where each artist explores a shared ground of serenity tinged with unease.

The track Haru (春), which means ‘spring’ in Japanese, beautifully captures the nostalgic essence of the season in a unique sonic expression by Sakamoto and Fennesz. This particular piece highlights the duo’s ability to evoke subtle and profound emotions through the fusion of acoustic piano and electronic landscapes.

In addition to the reference to Cage, it’s impossible not to relate Cendre to two other key piano and electronics recordings: Harold Budd and Brian Eno’s The Pearl and Sakamoto’s ongoing collaboration with German artist Alva Noto. Cendre is ultimately closer to Budd and Eno’s work, as no overt rhythms trouble or pierce Sakamoto’s playing. The amount of space the two performers allow each other is remarkable. Although the predominant initial impression is of Sakamoto’s piano, familiarity gradually reveals Fennesz’s contributions as equally rich and essential. Cendre is a sure bet for lovers of sonic pulchritude.