rémy bocquillon

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Sounds made with computers and instruments and computers as instruments. Started as a kind of “one-man” band named Soorkopiltis in 2017. I probably thought back then that the name fitted the purpose: fulfilling the tropes of certain aesthetics I was attracted to.

After less than a year, I dropped the name, took my own initials and started to feel less pressured by the apparent need to commodify my own music for an imagined audience (I still did and I probably still do). Hesitating between the efficacy of distorted guitars and the appeal of more experimental composing. Learning.


Coordinates (2020)

Last in line and the first release which features mostly open source softwares and plugins for recording, mixing and mastering. It is also a first attempt at SuperCollider. The field recordings used on some of the tracks have been recorded at different places, during the year 2019. They have moments of joy, but also of sorrow and grief. Some are taken from home. Some others from abroad.

Like on Mirror House, I dubbed this one on tape for a very limited run.



gyrare (2019)

More like a draft, a sketch, a first attempt at granular synthesis. The input of my working washing machine was processed on the fly. It's not something to take seriously. It was just fun to have my washing machine sound like a being from outer space.



Mirror House (2019)

First album as reae. The love for synthesis and drum machines started to grow with the recording of this album. Still features me "singing" though. It is also the first time releasing on tape. All tapes were dubbed by myself, at home. Papercuts.



More infos and other releases at reae.bandcamp.com