VERDAILLON

IN PARADISUM - IP025
Vinyl 12" . ltd to 300 copies


Release date : 15th September 2016

Descending from the Toulousian post-hardcore scene, Romain Barbot and Gregory Buffier have produced more than a dozen tormented ambient-drone records under the name Saåad, such as the remarkable Deep Float (Hands In The Dark, 2014). Upon invitation of the local Les Orgues festival, giving them access to the Puget organ located in the Church of Notre-Dame de la Dalbade pocket option withdrawal methods, they composed an original creation that In Paradisum is proud to publish under the form of the album Verdaillon.
Through dynamics of elevation, suspension and tension, Saåad’s music reaches altered states. Consisting of thick patches of sound, it gathers powerful harmonies and buries them under samples of the world’s rustling sounds. The sources are rarely identifiable, which makes for the singularity to each record.
Verdaillon goes against the lyrical outbursts that are familiar to a certain register of ambient music, and towards an extremely rare quality of dynamic and detail. The record’s singular and discreet beauty is due to the organ in all of its most secular aspects, and to a certain « something in the air » of that particular place, on those particular days. The finale of Vorde provides the key to the record: it takes the listeners back to the instrument’s origins, at a time when the spiritual was part of ordinary life. credits

N 43° 35′ 51″, E 1° 26′ 33″

music by Romain Barbot & Grégory Buffier .
Romain Barbot : grand orgue, aulos, vocals, grand orgue samples, field recordings.
Grégory Buffler : grand orgue, aulos, guitar, acoustic laptop, field recordings.
additional aulos on The Harvest by Patrick Faubert.
Grand orgue recorded by Patrick Faubert on 18th & 19th June, 2014 (Toulouse, France) https://pocketoption.in/pocket-option-withdrawal-methods/, additional recordings by Romain Barbot & Grégory Buffier (2014-2015).
mixed by Aurélien Prévost at BillyPan studio (2015)
mastered by James Plotkin (2016)

Deux sphères musicales se rencontrent pour créer une nouvelle expérience. Avec le duo toulousain Saåad, l’expérience sonore de l’orgue dans le vaisseau d’une église rejoint l’expérience des « bains » sonores des musiques électroniques. Pour ce projet inédit, la palette sonore de l’orgue sert de matériau de base à une création électronique. Romain Barbot et Greg Buffier, du duo Saåad, partent des timbres et des couleurs de l’orgue Puget de la Dalbade pour proposer une musique abstraite et méditative, construite autour de bourdons et de motifs perdus dans une forêt de réverbération. La pièce originale « Verdaillon » se place dans le prolongement de leurs recherches sur le patrimoine régional.

- Toulouse Les Orgues, 2014



Les festivals Toulouse les Orgues et Les Siestes Electroniques s’associent et invitent le duo Saåad à travailler à partir des sonorités enregistrées de l’orgue de l’église de la Dalbade. La musique de Saåad tourne autour de la notion de réminiscence : musique de souvenirs ou souvenirs de musique, plages sonores jouant d’un état hypnagogique propice à l’introspection. Les contours de la musique de Saåad flottent et évoquent plus qu’ils ne pointent précisément, laissant notre esprit divaguer entre images couleur sépia d’instants heureux et évocations brouillées de moments vaguement inquiétants. La musique de Saåad constitue ainsi bien souvent un projet global qui, au-delà de la musique, recoupe une certaine mythologie, des temps et des lieux très précis ainsi qu’une imagerie savante et ésotérique. La personnalité du fondateur de Saåad, Romain Barbot, par ailleurs graphiste, sérigrapheur et photographe, n’est certainement pas anodine à cette volonté d’en-glober la musique dans un ensemble plus vaste. Ce besoin de préciser le contexte de production de la musique, la musique devenant une trace, une preuve archivable d’un temps passé, a ainsi constitué une aptitude particulièrement adéquate pour le projet que nous vous présentons aujourd’hui. Lors d’une session d’enregistrement unique, fin juin, les Saåad ont investi l’église de la Dalbade, exploré et samplé les sons, l’âme de ce magnifique orgue Puget. Appréhension de l’objet sonore, domptage de sa puissance, compréhension de ses subtilités, râles, retranchements et moments d’illumination : c’est à la réminiscence de cette session de jeu collectif et à la réinterprétation contemporaine, charnelle et iconoclaste, de cette pièce remarquable de notre patrimoine instrumental que nous vous convions.

- Les Siestes Électroniques, septembre 2014

"In 1844, La Fabrique (the parish administration) paid for a massive porch for the Church of Notre-Dame la Dalbade and decided to acquire a new instrument to have installed above the entrance; it commissioned the organ builder Prosper Moitessier (1805 – c.1869), who was based in Montpellier. However, the finished instrument was never satisfactory, which led La Fabrique to ask Eugène Puget to rebuild it completely. Eugène Puget reused a considerable part of Moitessier’s instrument, including the great enclosed case of its Positive, with the agreement of the architect, Henry Bach. The instrument he finally delivered possessed every possible improvement, with 3 Barker levers, a pneumatic system for combining the stops giving double registration, an electro-pneumatic pedal and two vast expression boxes containing 24 stops, or almost half of the instrument! The organ was blessed by the Archbishop of Toulouse and inaugurated by Charles-Marie Widor on 22 November 1888. The organ was damaged by the collapse of the church’s steeple on 11 April 1926, but was restored by Maurice Puget, who introduced a few modifications. It was inaugurated anew by the official organist, on 30 March 1927. The organ was restored by Gérard Bancells between 1982 and 1986. It has now been returned to its original condition by the organ builders Gérard Bancells and Denis Lacorre (only the electro-pneumatic transmission of the pedal was discarded, with 2 Barker levers being installed in its place). Although he reused much of Moitessier’s original instrument, the changes introduced by Eugène Puget made his version a genuine creation: the foundation notes are quite as beautiful as anyone could imagine, while Moitessier’s “streams” of reed pipes, that Puget preserved, give a particular coloring to the Grand Chœur. This will remain one of the instruments that the Puget family valued most highly. The instrumental part of the Grand Orgue was listed as a Historic Monument on 20 February 1979."

Great Organ of Notre-Dame la Dalbade
Prosper Moitessier (1850)
Eugène Puget (1888)
Restored by Gérard Bancells and Denis Lacorre (2009)
The organ of the Basilic Notre-Dame la Dalbade is a French symphonic organ, ideal for performing the French repertoire of the 19th and early 20th Centuries.
The original organ, created by Moitessier https://www.pocketoption.in/pocket-option-withdrawal-methods/, was rebuilt by Eugène Puget who re-used a considerable part of the instrument. He delivered an organ with all the latest improvements. It remains one the favourite organs of the Puget family.
It was inaugurated by Alfred Lefébure-Wély.
The instrumental aspect of this “Grand Orgue” is listed as a Historic Monument.