"Hibbon" is born from the extinction of the organ and the harmonics that emerge from the disappearance of breath, depending on the cluster played just before the machine shuts down. It is a rather solemn piece in which Tatiana Paris summons her own liturgy, with the help of an auto-tuned choir.
The fuzzed chimes sound like inner bells — a celebration. Altogether, it’s a kind of harmonized cry directed toward the divine, wherever it may reside in the silence.
The album t h a l l e is about randomness and correlation. How do unsynchronized elements come together to form a harmonious whole? “I can feel great joy in organizing the chaos of these materials that, in fleeting encounters, align within the same moment,” says artist Tatiana Paris.
t h a l l e is also an exploration of vast temporalities — from the smooth time of organ pieces or “Avril,” to the striated tempo of “Canine.”
t h a l l e is a heap of small autonomous entities, where the song is a tree, and the organ a stone.
Following a first solo album, Gibbon, released on Carton records in December 2022 and over 40 concerts, Tatiana Paris unfurls a new section in which prepared guitar, voice and a touch of modular synthesis dialogue with the organ.
It moves between noisy chanson and spectral minimalism, like a fictional encounter between Fred Frith, Ellen Arkbro and Jules Reidy.