JONI VOID SHARES NEW TRACK “ABUSERS” FROM UPCOMING ALBUM MISE EN ABYME FEATURING VOCALS FROM MONTRÉAL ARTIST SARAH PAGÉ
OUT 29 MARCH 2019 VIA CONSTELLATION
After sharing the track “Dysfunctional Helper” in late January, Joni Void – the avant-garde electronic project of Montréal-based composer Jean Cousin – is unveiling a second song entitled “Abusers” from his forthcoming album Mise En Abyme. “Abusers” highlights Cousin’s ability to craft gorgeously layered sonic collages, dextrously incorporating minimal percussive elements and melodic tones sampled from Ai Aso’s ‘Most Children Do’ with vocal contributions from fellow Montréal artist Sarah Pagé. Minute snippets of sound fit together in tight sequence, eventually giving way to stretched vocal arcs that remind us of the organic, deeply human instincts that root Cousin’s digital explorations.
Joni Void
Mise En Abyme
CST140 • 180gLP / CD / DL
Release Date: 29 March 2019
TRACKLIST
1. Paradox (1:11)
2. Dysfunctional Helper (3:40)
3. Lov-Ender (4:20)
4. Abusers (4:00)
5. Non-Dit (5:30)
6. No Reply (3:34)
7. Safe House (2:51)
8.
9. Voix Sans Issue (5:30)
10. Deep Impression (2:40)
11. Persistence (6:00)
12. Resolve (2:22)
FULL ALBUM INFO AND PREORDER LINK HERE
Mise En Abyme is the second full-length by Joni Void, the plunderphonic electronica project of France/Canada producer Jean Cousin, following his acutely accomplished and acclaimed 2017 debut album Selfless. (#8 Experimental Album of 2017 at Pitchfork, among other accolades.) Mise En Abyme refers to the aesthetic technique of putting a copy within the work itself, a story within a story, as a metafunction that aims to reflect the object back onto the perceptual subject in an explicitly conceptual way. Cousin also plays upon the literal etymology of the term – “placed into
His self-professed body/voice dysmorphia and search for the disembodied-yet-emotional transcendent subject continues to mandate the use of other (mostly wordless) voices in the construction of his sublimely affecting electronic-minimalist compositions. But where Selfless was a restless, kinetic and visceral work of outer projection, Mise En Abyme is markedly more introspective and meditative – explicitly in search of intimacy and recuperative beauty. Grappling with a cascade of heartbreaks and discontinuities over the past year, Cousin also calls the new album a “time-travel experiment”, as he culls sounds from devices and sources spanning childhood to the present (phones, cameras, video games, home movies) to retrieve and reframe subjective memories, histories and “regressions through former selves” through immersion in the evocative potential of the mostly wordless voices of others.
The resulting sonic portraits simultaneously convey formally abstract dislocations and highly emotive warmth, interiority, humanity
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