Tag: Artworks

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Ambient

When music enters your skin in such a forceful way, giving oxygen to your blood, you slowly start a research journey that will never end. You start to explore musical genres in a transversal direction like a vagabond moving from one country to another, driven simply by the search for beauty. You are never satisfied and always look for something new and different that gives you transcendental sensations. This is, in my opinion, what best characterizes the true soul of the sound researcher, and I consider myself among them, before even a musician.
In the past, I have often been pointed out by those I consider conservative listeners (not to say obtuse), criticizing ambient or experimental music as non-music. This is for me a superficial and totally false judgment. Personally, I believe that every self-respecting music is and must be simply well made. When it is, then it is MUSIC.
Speaking of ambient, you enter a vast territory with a language that however is not for everyone. It is something that touches your strings immediately, of which you either fall in love or get irritated by its lack of stakes. I remember as a kid, when I was listening to other musical genres like metal or progressive, I was in love with some intros of some songs to the point that I wanted them to repeat indefinitely, to the point of finding the continuum of those songs almost ruining everything done before. A forcing and a waste. Until I discovered ambient and it was love at first sight.
Listening to this genre is like taking music and listening to it under a microscope, savoring every molecule. There is a desire for minimalism of the soul that leads to this love. It is something indefinable in words, so it is useless to project yourself into brainy challenges and sounds of television debate with those who denigrate and criticize this genre. Very often those who listen to ambient love and listen to many other genres while instead those who listen to rock, metal or any other genre fossilize exclusively on that type of music, never changing perspective and looking at their own world always from the same angle.
So what’s the point of arguing with them? As a person I knew years ago often said: “it’s useless to make a donkey answer the phone, it won’t answer you anyway”. I think this description gives a very good idea.

Quando la musica entra nella tua pelle in maniera così prepotente, dando ossigeno al tuo sangue, lentamente inizi un percorso di ricerca che mai si interromperà. Inizi ad esplorare generi musicali in direzione trasversale come un vagabondo che si muove tra un paese e l’altro, spinto semplicemente dalla ricerca del bello. Non ti accontenti mai e cerchi sempre qualcosa di nuovo e diverso che ti regali sensazioni trascendentali. Questo è, secondo me, quello che caratterizza al meglio la vera anima del ricercatore sonoro, ed io mi considero tra quelli, prima ancora di un musicista.
In passato sono stato spesso additato da quelli che considero ascoltatori conservatori (per non dire ottusi), criticando la musica ambient o sperimentale come non musica. Questo è per me un giudizio superficiale e totalmente falso. Personalmente, credo che ogni musica che si rispetti è e deve essere fatta semplicemente bene. Quando è così, allora è MUSICA. Parlando di ambient, si entra in un territorio vastissimo con un linguaggio che però non è per tutti. È qualcosa che ti sfiora le corde da subito, di cui o ti innamori o ti irrita per la sua assenza di riferimenti. Ricordo che da ragazzino, quando ascoltavo altri generi musicali come il metal o il progressive, ero innamorato di alcuni intro di alcuni brani a tal punto che avrei voluto si ripetessero all’infinito, a tal punto da trovare il continuum di quei brani quasi un rovinare tutto quello fatto prima. Una forzatura e uno spreco. Finché non scoprii l’ambient e fu amore a prima vista.
Ascoltare questo genere è come prendere la musica ed ascoltarla al microscopio, assaporandone ogni molecola. C’è un desiderio di minimalismo dell’anima che porta a questo amore. È un qualcosa di indefinibile a parole, inutile quindi proiettarsi in cervellotiche sfide e suoni di dibattito televisivo con chi denigra e critica questo genere. Molto spesso chi ascolta ambient ama e ascolta anche tanti altri generi mentre invece chi ascolta rock, metal o qualsivoglia altro genere si fossilizza esclusivamente su quel tipo di musica, senza mai cambiare prospettiva e guardando il proprio mondo sempre dalla stessa angolazione. Che senso ha quindi discutere con loro? Come spesso diceva una persona conosciuta anni fa: “inutile far rispondere un asino al telefono, tanto non ti risponderà”. Penso che questa descrizione renda benissimo l’idea.

 

 

 

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Le tissage des rêves: Collaboration Album by Toàn & Francis Gri

I’m very happy to introduce my first collaboration with the French composer Toàn available now in digital and physical format.

When I approach a collaboration, I always feel a mix of curiosity and fear. Working remotely, it’s not easy to communicate your thoughts with your collaborator, and often the risk of misunderstandings or tensions can lead to ruining the simple initial idea of blending your musical worlds together. 
In recent years, I’ve been fortunate to work with people who share the same way of experiencing music, and I must say that this new collaboration with Anthony Elfort is part of this positive trend. “Le tissage des reves” is the first collaboration with the sound of Toàn, whom I got to know by publishing his album Phonolite for Krysalisound in 2022. I consider Anthony one of the most talented musicians I have met so far, with an ability to create musical collages of infinite beauty and extraordinary compositions, and I feel extremely honored to have had the chance to enter his world. 
It’s an album of a dreamy nature that blends electroacoustic, ambient, jazz, and electronic sounds in nine medium-length tracks to accompany the listener to those delicate and suffused territories that only dreams can offer. 
I don’t know if there will be new chapters with Anthony in the future, but for sure, “Le tissage des reves” will remain for a long time among my most successful collaborations.

Release date: June 7, 2024 

– All music by Anthony Elfort and Francis Gri 
– Recorded between Cruguel (FR) and Milan (IT) in 2023-2024 
– Mixing & Mastering: Francis Gri 
– Artwork and design: FG

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Valley of Languages: Collaboration Album by Xu & Francis Gri

It’s a pleasure to announce my first collaboration with the Italian composer Xu (project of Nicola Fornasari).
“Valley of Languages” will be released on May 18 by the English label Whitelabrecs.

‘Valley of Languages’ is the brainchild of these two musicians who, despite having never met in person, found themselves sharing and understanding the same musical space; which became the inspiration for the album title and its concept. This album is not just a collection of songs; it’s a collaborative exploration of diversity and emotional resonance. It serves as a metaphorical meeting point where diverse musical languages and techniques converge, creating a rich tapestry of sound that transcends geographical boundaries. This album comprises six tracks, each a testament to the harmonious collaboration between two minds separated by distance, but united by a similar way of seeing and perceiving things. 

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Lull

I’m happy to share this little sound miniature called “Lull”

“Lull” is the first in a series of micro-albums that I will release in the future. The main characteristic of these works is to focus the essence of an album into the duration of an EP. Each track will be conceived as small musical haiku, compositional sketches aimed at the search for purity and poetry. I like the idea of ​​working by enhancing the small, the little, and spontaneity, in a world where instead the exact opposite is desperately sought. “Lull” is a dedication to my daughter and her first months of life, when sleeping was still her primary activity. Thanks to anyone who desires to be lulled by this first sound miniature.

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While in Igloo Magazine

A beautiful review of my last work written by Philippe Blanche: https://igloomag.com/reviews/francis-gri-while

Francis Gri, mastermind behind the indie label Krysalisound but also alchemist of micro-electronic thrills / ambient miniatures in minimalist mode has recently published a quite noticeable body of recordings soberly titled While. The music is clearly lodged at the confluence of ambient sweetness for lush textures and modern classicism. It carries on the path he already approached in terms of compositional technics and emotional motifs. Written as an inner soundtrack where delicately moving melodies rise from velvet-like abstract electronics. The melodic component is mostly piano/guitar centric with detached aerial repetitive notes falling like calm sparse water drops. It emotionally captures fragile introspective moments with a sense of vague reveries and grieving solemnity.
While evokes continuously serene and impressionistic sound motifs for long sustained chords, cyclical echoing minimal melodic scintillations—apparently static sound forms—but which admit a palette of nuances and acoustic colors as well. Slowly enveloping and glit-esque ambient ballads under a velveting imaginary garden of infinite quietness. This can perfectly be associated to the sorrowing neoclassical quietness of some reflective ambient works from Anthené, Peter Broderick, Hakobune, and Ghost & Tapes.

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The end of labels?

It will probably seem strange to read these words coming from someone who has run a label for several years, but I am quite convinced that the time for labels is coming to an end. Or perhaps the reader may think it’s normal for me to say this, otherwise I wouldn’t have decided to permanently close Krysalisound but simply to take a small break.
In reality, first of all, I have always struggled to consider myself a label. In my own small way, I have only tried to help talented emerging artists by offering what I already did for myself, but for me, a label is, perhaps ideally, something more. It’s a home where artists should feel safe, be valued with promotion, marketing operations, live performances. But in reality, it’s not like that anymore, except perhaps for labels of a certain importance.
Nowadays, there is a thicket of tiny labels that simply release albums and do little more, even giving the artist a measly handful of physical copies. Promotion is almost non-existent also because fanzines and webzines have lost the value they once had. If there was already little space for concerts before the pandemic, imagine now.
So what’s the point of continuing with the old logic of contacting labels to be published? I don’t find it meaningful except out of habit or mechanization… or perhaps to feed one’s self-esteem that needs to hear from a label, “Your album is amazing, I want to publish it!”
I think it’s time for the artist to start thinking like a freelancer, gradually increasing their fan base and earning 100% from their own art. Perhaps what many musicians have not realized is that labels fundamentally enrich themselves with the art of others, giving very few crumbs to the artists. I am aware that not all artists are inclined to self-promote, but I think that in the long run, it is an effort that can bring great satisfaction, much more enduring than being published by a label. And those who will not find satisfaction perhaps is a clear sign that it is time to do something else, making room for those who truly have talent.
Perhaps I am speaking with too much cynicism, omitting many points that I cannot see, but at the moment this is my point of view which I believe will become increasingly consolidated in the future. A future where music is losing all reference to the past and MUST therefore change its skin, stepping out of the comfort zone, otherwise the risk is that AI will rightfully replace human mediocrity even in the world of music. But this is another point that maybe I will reflect on later…

Probabilmente risulterà strano leggere queste parole proprio da chi ha portato avanti un’etichetta per diversi anni, ma sono abbastanza convinto che il tempo delle label stia per finire. O forse chi legge può pensare che sia normale che io dica questa cosa altrimenti non avrei mai deciso di chiudere definitivamente Krysalisound ma semplicemente di prendere una piccola pausa.
In realtà per prima cosa ho sempre fatto fatica a considerarmi un’etichetta, nel mio piccolo ho solo cercato di aiutare artisti emergenti di talento offrendo quello che già facevo per me, ma per il sottoscritto una label è, forse idealmente, qualcosa di più. E’ una casa dove gli artisti devono sentirsi al sicuro, essere valorizzati con promozione, operazioni di marketing, live. Ma in realtà non è più così, tranne forse per le label di una certa importanza.
Ormai esitste un sottobosco di piccolissime etichette che semplicemente pubblicano album e fanno ben poco di più, regalando addirittura all’artista una misera manciata di copie fisiche. Promozione quasi nulla anche perchè ormai le fanzine e le webzine hanno perso il valore che una volta avevano. Se di spazio per i concerti ce n’era già poco prima della pandemia figuriamoci ora.
Quindi che senso ha continuare nella logica antica di contattare le etichette per essere pubblicato? Io non lo trovo un senso se non per abitudine o meccanicità….o forse per alimentare la propria autostima che ha bisogno di sentirsi dire da una label “ il tuo album è stupendo, lo voglio pubblicare!”.
Io penso che sia arrivato il momento in cui l’artista debba iniziare a pensare come un libero professionista, cercando di aumentare piano piano la sua cerchia di fan e guadagnare il 100% dalla propria arte. Quello che forse tanti musicisti non si sono resi conto è che le etichette fondamentalmente si arricchiscono con l’arte degli altri dando poi agli artisti ben poche briciole. Sono consapevole che non tutti gli artisti sono propensi a sponsorizzarsi, ma penso che alla lunga sia uno sforzo che possa regalare grandi soddisfazioni, molto più durature di essere pubblicato da un’etichetta. E chi di soddifazioni non ne avrà forse è un segnale chiaro che è tempo di fare altro, lasciando spazio a chi di talento ne ha veramente.
Forse sto parlando con troppo cinismo, omettendo tanti punti che non riesco a vedere, ma al momento questo è il mio punto di vista che credo diventerà sempre più consolidato nel futuro. Un futuro dove la musica sta perdendo ogni riferimento col passato e DEVE per questo cambiare pelle uscendo dalla comfort zone altrimenti il rischio è che l’AI sostituisca (giustamente) la mediocrità umana anche nel mondo della musica. Ma questo è un altro punto di cui magari rifletterò più avanti…

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News 2024 #1

Dear followers, I am happy to share some news with you. 
In the coming months, I will be releasing a new collaboration on my personal page. This project marks my first work with Anthony Elfort (aka Toàn), and I couldn’t be prouder of the result. The mix is nearly complete; we’re just finalizing the mastering and artwork. My goal is to launch it in April—fingers crossed!
Additionally, I have a couple of smaller projects lined up for release before my new album, which I am currently composing. These include a little EP and a collection of tracks that have never found a home on any previous albums.
Lastly, there are only two copies remaining of my album “While.” If you enjoyed it, consider grabbing a physical copy of this limited edition:  francisgri.bandcamp.com/album/while

Thank you for your continued support!

Francis

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SOUNDstories

Often, listening to voices that come from afar, I find myself thinking that human life is nothing but a continuous intersection of stories. Each person a tale, the planet a large container. An immense jar overflowing with stories that intertwine like shades of colors that, observed from afar, trace a defined sense. If in the past I associated poems with some albums, I would like instead in the next works to include short stories, little tales that can give three-dimensionality to the new compositions. I would like to give a voice to the notes with poetic narrations that can regenerate my creativity in one of my greatest passions after music. If this is my story, I want to see myself writing music and playing words, and I would like those few dreamers like me, crushed in a materialistic world, to be moved and continue my story in their own way in an endless trail of indissoluble poetry.

Spesso, ascoltando le voci che vengono da lontano mi trovo a pensare che la vita umana non sia altro che un incrocio continuo di storie. La persona un racconto, il pianeta un grosso contenitore. Una immensa giara che trabocca storie che si intrecciano come sfumature di colori che osservati da lontano tracciano un senso definito.
Se in passato per alcuni album ho associato delle poesie, mi piacerebbe invece nei prossimi lavori inserire brevi racconti, piccole storie che possano regalare tridimensionalità alle nuove composizioni.
Vorrei dare una voce alle note con narrazioni poetiche che possano rigenerare la mia creatività in una delle mie passioni più grandi dopo la musica.
Se questo è il mio racconto voglio vedermi scrivere musica e suonare parole e vorrei che quei pochi sognatori come me schiacciati in un mondo materialista possano emozionarsi e proseguire il mio racconto a modo loro in una infinita scia di indissolubile poesia.

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The art of disappearing

Very likely, it is quite common for those engaged in an unusual activity to feel out of place in social contexts. Every day for years, it has been a tough challenge for me to interact with ordinary people and approach daily life. It’s not a matter of presumption, as many might think, but simply a fact that I constantly feel out of place. When I was younger, I thought that at least I could feel comfortable with those who make music, but unfortunately, I had to quickly reconsider. Being a musician or composer does not mean having a common language for everyone in the field; on the contrary, it is often easier to find common ground with people who do completely different things.
In fact, I have reached the point where I understand that it’s not the “outer appearance” that matters, but rather the way one approaches life that truly counts. As for me, I have always found an endless list of things trivial, which later led me to discover minimalism, both in music and in life. During the period of the label’s activity, I dealt with many musicians, and in reality, I felt truly in tune with only a few. Again, it’s not a matter of presumption, but of emotional language that then carries over into the small things of everyday life and one’s talents.
I have realized that a part of me, increasingly important, is inevitably isolating itself from the world. I have less and less interest in following what others do, and very often, I have great difficulty even understanding the meaning of what I see them do. The only thing that truly matters to me now as a musician is to continue making music, exploring new worlds in what is my most natural way to communicate with others.
Some time ago, I had a story in mind to write, which I never did. The main character was a musician who lived only for music, and slowly his body began to disappear until the point where he vanished completely, becoming music in the air. Who knows if I never wrote this story because it would have become my destiny.

Molto probabilmente è piuttosto comune, per chi svolge un’attività inconsueta, sentirsi fuori luogo nel contesto sociale.
Ogni giorno da anni per me è una dura sfida riuscire a confrontarmi con le persone comuni e approcciarmi alla vita quotidiana. Non è un discorso di presunzione, come molti potrebbero pensare, ma semplicemente è un fatto che io mi senta costantemente fuori luogo. Quando ero più giovane pensavo almeno che avrei potuto trovarmi a mio agio con chi fa musica ma purtroppo mi sono dovuto ricredere velocemente. Essere musicista o compositore non significa avere un linguaggio comune per tutti gli addetti del settore, anzi molto spesso è più facile trovare più punti di incontro con persone che fanno tutt’altro.
Infatti sono arrivato al punto in cui ho capito che non è il “vestito” la chiave di tutto ma il modo in cui ci si approccia alla vita che realmente conta.
Per quanto mi riguarda, ho sempre trovato futili un innumerevole elenco di cose che mi hanno poi fatto scoprire il minimalismo, sia nella musica che nella vita. Durante il periodo di attività dell’etichetta ho avuto a che fare con parecchi musicisti e con pochi in realtà mi sono sentito veramente in sintonia. Ripeto, non è un discorso di presunzione, ma di linguaggio animico che poi si trasporta nelle piccole cose della vita quotidiana e nei propri talenti.
Mi sono accorto che una parte di me, sempre più importante, si sta inevitabilmente isolando dal mondo. Ho sempre meno interesse nel seguire quello che fanno gli altri e molto spesso ho grosse difficoltà a capirne addirittura il senso di quello che vedo fare.  L’unica cosa che per me davvero conta adesso come musicista è continuare a fare musica, esplorando nuovi mondi in quello che è il mio modo più naturale per comunicare con gli altri.
Tempo fa avevo in testa una storia da scrivere che poi non ho più fatto. Il protagonista era un musicista che viveva solo per la musica, e lentamente il suo corpo cominciava a scomparire fino al punto in cui svaniva definitivamente, trasformandosi in musica nell’aria. Chissà se non ho mai scritto questo racconto perchè sarebbe diventato il mio destino.

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While:::::the concept

Often, when I work on a new album, I reach a point, usually well past the halfway mark, where I manage to give an identity to the new project. In this case, probably due to a series of events that occurred throughout the year, I was able to find meaning only in the end. “While” is an album that encapsulates black and white in equal measure. On one hand, there is life (the white) represented by the birth of my daughter, and on the other hand, there is death (the black) represented by the death of both of my parents within a span of two months. It’s difficult to forget such a particular year, and it’s hard not to hold a special place in my heart for this work that accompanied me over these twelve months. Sometimes it even served as a crutch, keeping me balanced in the most challenging moments.
As already mentioned in the press release, “While” is also the first album I recorded without the use of a computer, which brought me particular pleasure in the process of composition. I could work in a more abstract manner, following instinct and knowing that I wouldn’t have great possibilities for modifications later.
Being in love with Japanese art for years, I was able for the first time to transport this style into my music, drawing small sound sketches and leaving the interpretation of the created images to the listener.
For this reason, I wanted the artwork to be something indefinite, like a sumi-e that tells, in black and white, an experience of instinct and purity. Perhaps with “While,” I have finally found the right path after years of searching for my own personal sonic language.