An intriguing linkage of characters from compatible sectors of sonic manipulation. While Bernier represents the “flexibly academical” side of the acousmatic cosmos, Meirino is mostly known for circuit-altering activities causing serious quaking before and after the auditive filtering. In Fiction a compromise of sorts between the respective aesthetics was reached, but there’s no trace of compromise in the resulting sonorities: forebodingly impenetrable, not necessary “stable” from a mechanical point of view, stimulatingly physical in essence.
The LP format helps, both with conciseness – no time for boredom, although this was not a probability to begin with – and via the addition of trademark vinyl noises which, in this particular occasion, seem to complement the music rather than hinder its flow. The experiment we’re looking at deals with the degradation/modification of the evident shapes in conjunction with the enhanced perception of less visible components. We identify – erroneously, we’re sure – the large part of the frequencies as a special variety of unbalanced feedback; those unsettling grips on the nerves acquire completely different meanings inside frameworks where repetition, randomness, interference and subsonic anomaly outweigh any latent philosophy.
The sources are not clearly distinguishable; it doesn’t matter at all. Over consecutive spins the ears get acquainted with an overcharged integrity grooved by an unspeakable disbelief. Either in the collaborative track or in the shorter pieces credited to the single artists, the mind crystallizes its impressions into a disenchanted detachment from reality. If it’s true that certain combinations of concrete noise and harmonic attributes deliver from the obligations of ineffective analysis, then Bernier and Meirino have definitely produced a useful means to achieve a significant aim.