music | released, unreleased but still sublime | back to main

f.e chanfrault | computer assisted sunset | pieces for personal computer, piano & string ensemble | mk2 music (mk 0132) | 2005 |

production notes | produced, recorded & mixed by f.e chanfrault & sebastien savine | recorded at les studios de la seine (paris) during may 2005 by sebastien savine | mixed at studios pamplemousse (paris) from july to august 2005 | mastered at translab (paris) | personnel | quatuor #1 { violin, magalie buttin | violin, hélène frissung | viola, rudolf sulzenbacher | cello, juliette maeder } | quatuor #2 { violin, léonore darnaud | violin, amandine siegrist | viola , sylvestre vergez | cello, kayoko yokoté } | personal computer, keyboards, guitars & voices, f.e | piano & more, sam crowther | cover | julien for rezo-zero | picture | (c) michael james o brien |

thanks (people who made it possible) | jean-yves leloup, gaël chatelain & charles gillibert

press |

Les inrockuptibles : in the mood for sound, by Sylvie Lambert | read online

Epok / Fnac : "Encore peu connu, malgré de très audacieuses BO de films, Chanfrault est un des rares musiciens français à concilier à la fois une approche classique et une véritable maîtrise technologique. Son merveilleux premier album, grave et élégant, mêle ainsi plages atmosphériques et purement électroniques, piano intimiste (inspiré par le début du XXe siècle), gracieux arrangements pour cordes et discrètes manipulations numériques. Une révélation."

L'Huma : "Electro sensible et céleste, au lyrisme serein."

Le Monde : « Ni reprise ni minimalisme (…) mais au contraire une profusion de sons retraités, découpés, inventés et surtout inédits. Une musique à la fois organique et abstraite. » | read online | "La musique ultra aboutie de François Eudes Chanfrault puise autant dans Berg, Ligeti et Ravel que Pan Sonic ou Kubrick. Nostalgique et sombre, cet album plongera l'auditeur mélancolique dans une léthargie douce et grave à la fois, propice à la rêverie." | read online

| how i killed bambi part i, ii & iii - 18'27 | 128 kbps


f.e chanfrault | personal computer music | unreleased

i'm still looking for a label to release this one. It's a collection of works i've done long before computer assisted sunset, but was considered as too much violent, original or abstract to be released first (!). Unfortunately, this is what i use to play on stage ;-)

about (in french) | "Balades pour fréquences seules, liturgies pour infra basses, synthétiseurs abrasifs, soleils brûlés, banquises, danses compulsives pour séquenceurs têtus. Certains y voient du Mogwai sans guitares, du PanSonic humanisé, du Ikeda devenu mélodique. Une expérience fœtale très sombre ou post-baise ultime au lever du soleil, selon."

read a live review (in french)

| fuck (we don't give a) | live at Pompidou 5'52 | 192 kbps

| faustina mauricio mercedes | live at Pompidou 11'29 | 192 kbps

| personal computer music - 8' | 192 kbps

| sandance - 8'43 | 256 kbps | written for choregrapher blanca li | ***

More tracks here


f.e chanfrault, sylvain chauveau, aurélien delamour | untitled EP | ? the week of the quatre jeudis

| composition 1, 2 & 3 - 10' | 256 kbps

original piano composition & guitar by s.chauveau | personal computer by f.e | keyboards & guitar by a.delamour | 2005
piano, sam crowther | guitare, s.chauveau | computer, f.e | keyboards, a.delamour


f.e chanfrault | FILMWORKS | abandonned (or will, one day, be released by Hold Up Films ?)

Collection of works for films. Originally planned on a born-dead french label, Sonoteca.

Anyway, who cares about beautiful string quartet & electronics for unseen independant movies ;-) ?

| spring - 6'27 | 192 kbps | written for "Au delà de la haine" by olivier meyrou (Teddy Award - Berlin) | 2005

| the letter - 4'30 | 192 kbps | written for "Au delà de la haine" by olivier meyrou (Teddy Award - Berlin) | 2005

| nevertheless empire - 6' | written for "The hills have eyes"* by alex aja | 2006 | (coming soon)

| cooper - 5'11 | written for "Qui a tué bambi ? " by gilles marchand | 2003 | (coming soon)

* as american entertainment companies call modern computer music (Stockhausen ? Pan Sonic ? Ikeda ? Kasper T. Toeplitz ?) "sound design", i'm credited on this film as "sound illustrator" or "musical sound designer". Electronic music is : poum, then tchack, then re-poum, then re-tchack...(ad lib to death).

variety | about "Au delà de la haine" : "Film requires auds not just to look but to listen, and deploys sound in an imaginative and exemplary way. For instance, in one bravura sequence, Francois' sister Aurelie's offscreen voice is heard calmly recounting how she suspected that an unidentified corpse reported in the news might be her brother. She relates how she then viewed his body at the morgue, while a long static shot of the park where the murder took place unspools, backed by Francois Eudes Chanfrault's sparse, sorrowful, string-based score."


f.e chanfrault | "High Tension" original soundtrack | abandonned

Once there was a hope that Thrive Music would release it for the U.S but they get in touch with me too lately. Although, the french producer EuropaCorp™, doesn't give a fuck. You'll have to watch the movie or wait untill i put one of these tracks on a next album.

all titles here included in "High Tension" by alex aja (Silver Grand Prize - sitges, spain) | 2003

| faustina mauricio mercedes part iv - 3'42 | 192 kbps

| out of the mundial - 6'15 | 192 kbps

| celebration A2 - 2'56 | 192 kbps

And for the many people still thinking the soundtrack is a 1' syncronized song of Muse and a 20" of "Sara perche ti amo", i have the pleasure to tell you that it's a 52' electronic score which is a mix of original work & previous pieces.

L'Express (fr) | « (...) excellemment mixé (son et bande originale au-dessus du lot)."

British Film Institute - Sight and Sound | "We are witness to a series of gruelling encounters played out against a splendidly abstract soundtrack packed with guttural moans, unworldly booms and insistent electrical hisses.The ambient sound of Switchblade Romance creaks away like a rusty gate in hell, cranking up the knuckle-chewing tension and reminding us just what an inventively dangerous weapon the slasher genre can be when placed in disreputable hands."

Filmjudge (ca) | “Of particular note is the sound work. Throughout the film, but especially during the opening sequence, the sounds will gnaw at you, tear fibers behind your eyes, hold you and impose upon you itchy sensations of helplessness and madness. I'm getting nervous just thinking about it...whoa!”

Salles Obscures (be) | « La musique est aussi pour beaucoup dans la transmission des émotions. (…) Le travail sur le son est en tout point remarquable. »

Trash Times (ca) | « Toutes les scènes qui se passent dans la maison et dans les alentours (champs, balançoires, voiture, station-service...) sont de brillants morceaux d’angoisse intensifiés par un travail sur le son remarquable. »

Arrow In The Head (us) | "An unconventional and unsettling score that fiercely supported the grisly goodies. (...) The score itself was deliciously odd and disconcerting. It jingled like Carpenter’s Halloween score. PERFECT!"

Playbackstl | "The music score by Francois-Eudes Chanfrault is ultra-creepy. There’s not much orchestration; instead, Chanfrault utilizes repetitive drones and percussion, and nearly ambient solemness in his score to keep you primed for the absolute worst of all things. This is a horror movie that truly horrifies."

Underground Online | "Aja uses a lot of sound, from the incredible screams of co-star Maiwenn to the high-pitched sound that he calls a score*, to keep his audience off guard and on the edge of their seats."

Hollywood Reporter | "Effective, too, is an unorthodox score that achieves the requisite dread by creating a claustrophobic, computer-generated soundscape rather than using conventional music."

The HotSpot Online | The score (by Francois-Eudes Chanfrault) is full of menacing; atmospheric tracks as well as Carpenter-ish choppy rhythms that pound away full of menace as danger boils over to bloody mayhem. In another scene when Marie is searching for Alex in the cornfields, the camera tracks her urgently and the sound menaces her from a million directions creating levels of unbearable tension. The sound design and the sound mix are crucial to the atmosphere of urgency and tension that the film manages to attain."

(*) : i love this one ;-) It shows Alex tried to explain, in any possible ways, that it was, in fact, m.u.s.i.c, but they still don't understand.


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