It makes you wonder if these playlists weren't just created to justify spending our time listening to music from morning to night! And our only ambition, by way of work, is simply to absolve ourselves of this simple, hedonistic pleasure by sharing them with you!

Michèle Tosi's playlist

Bastien David (b. 1990): Vendre le ciel aux ténèbres (2020)
When he's not building his own instruments, Bastien David subjects traditional lutherie to all kinds of playing modes that hijack its sonorities. In this way, he treats sound without the use of electricity, creating a fantastic garden out of this meticulous engineering.    

Betsy Jolas (b. 1926): Little Summer Suite (2016)
The seven short pieces that follow one another embody the idea of wandering, using, as in Mussorgsky's Pictures at an Exhibition, astrolling theme(Strolling), a sinuous line full of mystery that returns four times in a different dressing. The composer invites us on a "journey of the ear" to the heart of the orchestra, with numerous solos addressed to the musicians of the Berlin Philharmonic, the work's dedicatees.

Lisa Illean (b. 1987): A through-grown earth (2018)
The Australian composer's work titles all refer to nature. Through subtle sound material, she explores the relationship between perceptual phenomena and a personal evocative world. Instruments and voice - that of Juliet Fraser, who commissioned the piece - are combined with an electronic section of pre-recorded sounds to create microtonal spaces.

David Sanson's playlist

Howard Skempton, Piano Works, John Tilbury (piano) (Sony Classical CD, 2001)
There are certain types of music whose obviousness must wait decades before striking you. Such is the case with this recently discovered CD, bringing together two veterans of the British experimental scene: pianist John Tilbury (b. 1936) and composer Howard Skempton (b. 1947). Skempton's piano music may be minimalist, repetitive and, like many, influenced by Satie, but it is nonetheless striking for its harmonic density and evocative scope. From a 28-second arabesque(Invention) to a string of eighth-notes with heady modulations(Quavers 5), the 44 short pieces that make up this program create landscapes whose fragility in no way diminishes their remanence.

Marina Rosenfeld, Teenage Lontano (CD Room40, 2021)
In 2008, for the Whitney Biennial, New York composer and sound artist Marina Rosenfeld (b. 1968) "reworked" Lontano, the famous score for large orchestra by Hungarian composer György Ligeti (1967), adapting it for a choir of teenagers (guided by headphones) and an electroacoustic environment. The result is more than simply "surprising": the alchemy between the electronic textures and these seraphic voices works perfectly, making them seem all the more... spectral.

François Robin & Mathias Delplanque, L'Ombre de la bête (CD À la zim !, 2022)
Mathias Delplanque, a polymorphous artist whose spectrum ranges from dub to acousmatic, has just released a magnificent solo album (his 16th!), Ô seuilreleased by Ici d'Ailleurs. It's an opportunity for me to return to another album released last summer, this time in duo with another musician from Nantes: François Robin, a veuze player, a type of bagpipe whose expressive properties he himself has never ceased to multiply by means of electroacoustics. The heady result of this face-to-face encounter is L'Ombre de la bête : six tracks in which the veuze reveals itself as a chameleon-like, cosmopolitan instrument, and whose krautrock escapes reminded me of the superb Jour de grève published in 2020 by Emmanuelle Parrain and Detlef Weinrich.

Sandrine Maricot Despretz's playlist

Didem Coskunsen: The stuff of dreams (2021)
Didem Coskunseven is a young Turkish composer based in Berkeley (USA), who explores with talent both erudite and electronic music, blending with a subtle and swaying balance the salt of the maqâmsmelodies of Ottoman origin. As a sound artist, she is involved in numerous projects linked to dance and the visual arts, such as Day was departing for tenor, video and electronics, premiered in June 2021 for Orbital, the "supersonic" chair of the Ecole des Beaux-Arts at Manifeste - l'Ircam, Paris. 

Nicole Lizée: Sepulchre, (2019)
Sepulchre is a piece for string orchestra, percussion, piano and soundtrack premiered on November 19, 2019 by the formidable German ensemble Resonanz, whom I had the pleasure of discovering at the November Music 2022 festival in Den Bosh (Netherlands).
Sepulchre is a way of repairing time, abandoned machines and our broken objects, of rubbing classical and electronic materials together to make them spin as if on turntables, with the grace of violins and cellos superimposed, colliding and vocalizing in a momentum that jostles us with surprise and delight.

Chaya Czernowin: Sahaf (Performed by Hinge) (2018)
Originally from Israel, Chaya Czernowin's apprenticeship in composition has taken her to Germany, the USA, Japan and Austria, and this can be heard in the richness of her timbres and the freedom of her fusions. Her music is powerful, physical and direct. The electric guitar, featured in Sahaf (Shifting Gravity series), is an instrument she loves, and one she knows how to make sound loud and true(Black Flowers (2018), Knight of the strange (2015), White Wind Waiting (2013) Drift (2008)), and that's good to hear when others who are more timid mistake it for a harp!