Domotic - Le Demon Des Hautes Plaines

Tona Serenad
(TS13: 7320470199831)



The Demon of Domotic: the ambient of the decor

Devil from high plains: Domotic’s hazy adventures

This is a film score: an instrumental series presented in themes, punctuated with echoes and variations, short sequences and choruses. This is the music composed by Stéphane Laporte for the movie directed by his friend, Tom Gagnaire who two years ago decided to direct in a very short time and with very little means, in a remote part of the Haut Languedoc, « a regionalist and post new-wave western ». A homemade film shot in the countryside, with the phantoms of Raoul Walsh and Eugène Green, where the sheriffs have lost their faith and where white nymphs haunt the cascades.

Recorded just before filming, in a very spontaneous, almost anarchic way the music was also made at home; at his parents’ house where the musician still has a bedroom, full of old instruments waiting to be used: an acoustic toy-guitar offered to him in the eighties by the works council of the candy maker Haribo where his father used to work, an old and out of tune valiha collected in the garage of neighbouring friends, a dusty drum kit, enough solitude and isolation to amplify - track after track, depending on the takes and intentions -, the song of this friendly movie that hasn’t been shot yet but promises to play with a few aesthetic primal emotions when filming the cowboys and the great landscape.

From the undergrowth, or by a night campfire, the music that we hear is a mixture of warm sounds and metallic resonances, harmonious choruses and dissonances: with some languid grandiloquence in the extended sounds of the Rhodes and the Philicorda organ, in these voices that multiply in the reverb and stretch out with the amble of a floydian drumsound circa Obscured by Clouds and with the domestic simplicity of a few motifs, in the spirit of Brian Eno’ and Aphex Twin’s melodic ambient. Fourteen musical sequences that are presented with literality: after the shiny « Une Détente » and the celestial « Entrainement du shériff et de son adjoint », « Un bandit de la pire espèce » brings an offbeat almost parodic Morricone touch. The story is told slowly with the magical extravagance of dreams, the music accompanies the drama only by assuming this sort of emotionless passion particular to the Greek choruses of the ancient tragedies, commenting on an unreal and remote action that the music simply contemplates.

The cinematic setting of Tom Gagnaire’s project provides a new alibi to his creative discretion: a guy by the campfire, that nobody notices, but whose music, by subtle graduation, transfigures the scene. In the vibrations of the air, his unobtrusive monody acts imperceptibly on the characters, and deep in the night, it builds the links of a silent community. This is how his Devil reaches for the sublime: by blending in the decor.

A1. Le Démon (thème)
A2. À La Poursuite de Ringo
A3. Un Bandit de la Pire Espèce
A4. Le Démon (rhodes)
A5. Une Bien Courte Promenade
A6. Un Homme Grand, Droit, Sec
A7. Monologue
B1. Apaisement
B2. Meurtre d'un Pêcheur
B3. Rituel Dans Les Cascades
B4. Le Démon (rappel)
B5. Errance Nocturne
B6. Entrainement du Sheriff et De Son Adjoint
B7. Une Détente

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