eclo.re: Redefining the Musical Experience through Interactive Audiovisual Capsules*
*Currently being written, to be completed.
The eclo.re project, led by Sylvain Stoppani of Blinksonic, is a groundbreaking endeavor that redefines the relationship between artist, music, and listener. It transcends traditional music releases by offering interactive audiovisual "capsules" where the music is designed for real-time manipulation and remixing. This innovative approach introduces a new stylistic dimension, particularly within "Abstract Rhythmic" and immersive electronic music.
Stylistic Innovations in "Abstract Rhythmic"
eclo.re brings significant stylistic advancements, especially relevant to the "Abstract Rhythmic" genre, through several key aspects:
Interactive Composition & Generative Potential
Unlike passive listening experiences, eclo.re releases EPs and albums embedded in Native Instruments Reaktor ensembles. This transforms the listener into an active participant who can loop, remix, stretch, reverse, repitch, and manipulate multi-channel tracks. This interactive nature fosters a generative abstract rhythmic experience.
The original compositions, often characterized by complex, non-linear rhythmic patterns (reminiscent of "glitch electronica" and "sync skipping abuses" from earlier works), become raw material for real-time manipulation. This allows for an infinite number of abstract rhythmic variations, creating unexpected loops, breaks, and unique sonic textures with each interaction. The "album" evolves into a sonic game installation or a "virtual DJ tool," enabling users to "smash the structure of existing songs" and "generate sounds." This shifts the engagement from mere listening to actively creating new rhythmic and textural landscapes from the source material.
Focus on "Plunderphonics" and Granular Synthesis
eclo.re incorporates "plunderphonic and granular synthesis recipes" into its EPs, such as FR3SK77, described as "organic dreamtronica plunderphonic." These techniques inherently lend themselves to abstract rhythm:
- Plunderphonics involves manipulating existing audio recordings to create new compositions, often resulting in fragmented, cut-up rhythms and textures.
- Granular synthesis breaks sounds into tiny "grains" that can be rearranged, stretched, and processed to create shimmering, evolving textures and complex, non-standard rhythmic patterns.
Applying these techniques within an interactive player empowers the user to actively participate in the fragmentation and re-synthesis of sound, pushing the boundaries of abstract rhythmic possibilities even further.
Audiovisual Synchronization and Immersive Experience
The eclo.re players seamlessly integrate synchronized visual feedback with the audio, creating "immersive media" and an "audiovisual capsule." This tight coupling of sound and vision enhances the perception of abstract rhythms, as visual patterns can reinforce or contrast with the sonic ones. This multi-sensory approach extends the "stylistic level" to encompass the full interactive AV show.
Beyond Genre Boundaries
While eclo.re's early work is rooted in IDM and Glitch Electronica, newer releases showcase a willingness to explore diverse influences (e.g., "Acid Break Funktronica" in "Lemondance" or "Botanica, Petalcore, Dreamtronica" in "FR3SK77"). This refusal to be "shackled to any single style or genre" makes it a fertile ground for "abstract rhythmic" innovation, allowing for the recontextualization of elements from different traditions in new, interactive ways.
In essence, eclo.re doesn't just create abstract rhythmic music; it provides a framework for experiencing and creating it interactively. This shifts the stylistic innovation from solely the composer's output to a collaborative experience between artist and listener, making it a truly forward-thinking project in the realm of immersive and manipulable electronic sound.
The Specificity of eclo.re: Releasing Interactive Albums
Sylvain Stoppani's eclo.re project is particularly notable for making the interactive Reaktor ensemble the primary release format for the album itself, rather than merely a supplementary tool or a live performance aspect. This makes the album directly playable and modifiable by the end-user.
A Common Thread: Pioneering Interactive Music
eclo.re shares a common thread with other innovative artists and projects, all driven by a deep interest in:
- Process over static product: The "how" the music is made, or how it can be experienced, becomes as important as the final audio file.
- Blurring lines: The boundaries between composer, performer, listener, and even developer are intentionally blurred.
- Leveraging technology: Advanced software, coding, and sometimes AI are utilized to create dynamic and evolving musical experiences.
While "interactive albums" in the eclo.re style remain a niche, the broader movement toward generative and interactive sound is a significant trend championed by these innovative artists.
- Tracks in .wav (44,1 kHz, 24 bits) and MP3 (242 kbps),
- 7 eclo.re players for NI REAKTOR 6 (version 6.5) with stems, remix system, effects and visualizer,
- This collection includes a total of 600 snapshots that can be incorporated into your music productions (under a license agreement),
- BONUS: All EP's tracks available with multi channel Wav. files (4 stereo 44,1 kHz, 16 bits) that can be opened in major DAWS (Logic, Cubase, Pro Tools) but also with hardware such as Teenage Engineering TP-7.
Inspirations and Similar Projects
The eclo.re project was greatly motivated by enthusiasm for existing interactive album concepts. Key inspirations include:
- MEWARK STODERAFT by Lazyfish (2001): Released by Native Instruments and built on the same Reaktor technology, this project was a significant precursor to eclo.re's vision for the future of music broadcasting.
- FLOWs by Tim Exile: Designed with Reaktor, FLOWs collected five years of loops and soundscapes that could be remixed within an effects device, featuring an interface that blended an animated record cover with an audio plugin.
- "Cosmogramma Fieldlines" by Flying Lotus: An augmented reality application accompanying the album
- "EGRÉGORE" by CHDH: A less visible but equally cutting-edge broadcast software archive of an AV show performance.
These projects fuel the ardent dream that artistic initiatives toward publishing music recordings in conjunction with interactive design will become a more global trend.
Challenges in Releasing Interactive Albums
Releasing an interactive software instrument as an album presents unique challenges:
- Complexity of Release: It's significantly more complex than distributing audio files, requiring expertise in coding (Max/MSP, Reaktor, etc.), GUI design, and user experience.
- Target Audience: The audience for a "playable album" is much smaller and more specialized, primarily consisting of other producers, sound designers, or highly engaged fans who own the necessary host software (e.g., Ableton Live Suite for Max for Live, or the full version of Native Instruments Reaktor).
- Discovery: Traditional music distribution platforms like Bandcamp are not optimized for this type of product, so discovery often relies on word-of-mouth within niche communities (e.g., Reddit's r/idm, r/MaxforLive, forums for Reaktor users).