It's probably safe to call Mr. Andre Almuro an unsung hero. And while his scantly available catalog certainly provides reason why, its contents offer ample argument to the contrary. Not long after the conclusion of his apprenticeship to Pierre Schaeffer, he began crafting in what could easily be called the Almuro aesthetic: sparce pieces built from limited sound elements, often timbrally altered percussive sounds, slowly paced and coated thick in reverb and tape echo.

While Dépli does not quite meet the mark of his earlier two releases (both of which have been recently Creel Pone'd), the fourteen years spanned in this release show how Almuro adapted to changes in technology and how he responded to a variety of sonic circumstances. For evidence of the latter, hear on "Terae Incognitae" how Almuro melts a 60 voice choir into a murky inferno. The two bookended pieces are woozy and lumbering pieces that sound almost contemporary despite a vintage of twenty years or more.
Boomerang, prelude (1979) - This composition was the basis of a performance-scenography in which the acting ones moved among luminous fences and road cones, big standing mattresses and a whole tree hanging upside down. Cover photograph taken during the première of Terrae Incognitae at the Èglise Notre-Dame de Caen.
Le Troisième Oeil (1991) - This is the soundtrack to a collaborative experimental film on the body which is part of a series of some thirty films of a similar nature.
Terrae Incognitae, pour bande et 60 chanteurs sprechgesang (1978) - Recorded live at Notre-Dame Cathedral in Caen (Normandie). During its première, an action was taking place in the apse, performed by three offciants using materials such as powders, strings, honey, seaweeds, etc.… At the end, the reations of the audience somehow extend some vocal formulations of the work itself….
Includes bilingual (French/English) 12-page booklet with chronology and stills from films.