( Eliane Radigue’s Occam Ocean )
Radigue has always objected to her works being categorised as ‘drone music’: too reductive, too static, too concerned with fundamentals. “Of course, we need fundamentals in order to produce harmonics, but they are just the base, like something to sit on.” She pats the sofa beneath her. “Above, up here, is where you can move your arms, your head, where the interesting things happen. For me a piece is alright when a listener forgets about the fundamentals. My pieces start very quietly in order to give listeners and performers time to adjust their ears — to lay down the fundamentals solidly enough that we can then forget about them completely.” ...
