Frederick Galiay

Missing Time is a composition in eight parts, for a soloist playing the electric bass, in interaction with a device of active sound recording (and for the live version, an interpreter in acousmonium).

The bass is put on the ground, played by a single instrumentalist, with diverse items (bows, metals, resonators…) and the electric signal, divided into two circuits, is also modulated by the instrumentalist.

Both different signals are managed towards two independent systems of diffusion. Every amplifier is then "taken back" by several points of recording.

In the studio version, the reorganization of these multiple points of view of the same music uses techniques and tools of the electroacoustic music, emphasizing a frequency spatializing.

The general aesthetics of the work came, largely, from the fascination of the composer for the obstinacy of the music of ceremonies of the monks Bonpo and more generally from the mystic music of extreme east.

Frederick Galiay wished to move closer, deliberately, the divine revelations to the aliens instructions.

The eight movements of the opus symbolize, in a metaphoric way (and rather freely), the eight phases we find almost systematically in testimonies of abducted.

The process of decomposition of the sound is thought in an immaterial space which exceeds the instrument and the musician in a meditative zone, creating a spatial and temporal gap, a space in the material which modulates the space creating the illusion of missing time...

Missing Time part 1 :