Geins't Naït & L. Petitgand

Geins't Naït & L. Petitgand



The May 2014 release of de Je vous dis by Geins't Naït and Laurent Petitgand was the starting point for the Mind Travels collection dedicated to ambient, neo-classical and industrial music. And the choice of this kind of album to inaugurate the series was far from insignificant because it perfectly synthesized a certain vision of the music we have always wanted to support. A backroads music which is often unusual, always poignant but not well-known enough despite the number of players involved. The resulting works share the will to liberate themselves from rules on creation and the music industry's generally accepted standards. It is often said that listening to music of whatever genre is a way of escaping and losing our bearings... In a word it's forgetting or Oublier. Forgetting what we are, what we think and what we think we know, letting go and opening up to a listening experience which can be just as physical as mental and also go into a phase of deconstruction of the senses and the mind...


Geins't Naït and Laurent Petitgand have been musical activists for over 30 years and have fully understood this idea. Oublier, their second record for Mind Travels is definitely the finest illustration of that to date. However it is useful to point out that the two musicians come from very different backgrounds. Geins't Naït is the creator of industrial collages in a similar vein to the early work of Einsturzende Neubauten or Throbbing Gristle while Laurent Petitgand is best known for his many contributions to the films of Wim Wenders, the last of which, The Salt of The Earth, received 3 awards at the Cannes film festival (Un Certain Regard selection). Two seemingly opposing registers then but which are united here by their desire to escape from all forms of academism.


As we might have expected, Oublier's main characteristic is that it doesn't really have any identifiable characteristics. Of course, we could simply pick out Laurent Petitgand's magnificent melodies (“Bodische Little Alone”, “Past”, “Brass”), a valid reason to listen to the album non-stop on their own. We could also just refer to how the dynamics dreamed up by Geins't Naït using hypnotic loops and manipulated samples are haunting (“Kenie”, “26”, “J'appartiens”) and even completely alienating (“Discord”, “Pluie”). We could actually spend hours on each track, trying to figure out its substance but this would ignore the fact that it is up to listeners to find their own meaning which they can be at home with. Each to his or her own listening experience.


Because one of Oublier's main qualities is that it situates listeners at the centre of its universe so effectively and to such an extent that they actually become participants. Some will perceive a heightened melancholy, even a form of despair. Conversely others will be seduced by the record's evident beauty and the warmth it gives off. Whatever the case, its non-linearity favours total immersion and sometimes in the more intense moments totally letting go.



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Press release

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