But this question of the limit resurfaces in an equally relevant way in the central, suspended, seemingly softer beaches, dedicated to "Tears of Minos". This disturbing and ambiguous melancholy of the one who has freed himself from all limits because he has experienced them, and which continues with the sinuous melody of "Abyss", is just as much that of Dante's Lucifer Trismegistus., evoked in song XXXIV, weeping and drooling the torture on the lips, than this figure of Bataille, "the extreme of what is possible", this point where "a man, having stripped of lure and fear," so far that we can not conceive of an opportunity to go further. " The music, willingly meditative, seems to give way to reflections (those few scattered piano notes, the movements of compression and expansion of a heartbeat) which express the profound ambivalence and reversibility of these figures of knowledge, transgression, sacredness, ecstasy and dread.

Finally, Frédéric D. Oberland seems to have been sensitive to the metaphor of the runoff of the world and beings, developed in the Inner Experience. Movement and entanglement of forms, identities and focuses of our existences that nothing can fix, that flow in time, are answered in the liquid sounds of field recording, tintinnabulation of percussion, or the words of Dante, themselves the same, which, in a language that is both strange and familiar at the same time, is hoarse and soft, only the oral, labial or liquid consonants whispered in French by the Italian Pamela Maddaleno. These appear in chaos like so many Ariadne's threads, fragments of clarity and freshness, like the streams that Dante brings to the surface, leaving the one that comes out of the underground, from the bowels of the earth, to the contemplation of the star and the peaceful spectacle of infinite spaces.

Oberland delivers here a dense, compact and intense work, among the most audacious and radical of his career.

Alexandre FRANÇOIS (translated by Gareth L. DAVIS)