It is a question of speaking of the two movements / moments, which coexist in the piece. In the beginning, there are these sounds more industiel, this impression of striking against a wall, then one goes to a more organic atmosphere, which goes more in the sense of an opening. It is something that is important in my music. If you have listened to other pieces, this idea of fracture, breakage, and the coexistence of heterogeneous elements, and sudden bifurcations.‌

Unstable Distance
Parisian Michel Guillet‘s impressive resume dates back to the turn of the century: film work, dance scores, concerts and collaborations.  Unstable Distance is his fourth album.  The stated goal: “to create continuity with discontinuity.”  While the artist succeeds in his goal, the greater success is in the sheer massiveness of his sound. Guillet stuffs so many sources into his music that one fears it will become one long note; and yet, it never does.  Each sound remains distinct, even when welded to sonic hordes.The two 33-minute tracks are each dense excursions, as notable for their silences as they are for their smashings.  The album begins with harsh metallic tones, offset by such silences: a portent of things to come.  As the other sounds arrive, one struggles to identify them: kettles, large metallic sheets, rubber heels on wooden floors.  Yet only five minutes into the piece, the clash of the titans ends, giving way to percussion: a bell tone, followed by pipes and lids.  It’s all speculation, of course; imagine the Blue Man group trapped in a factory, needing rescue and knowing that if they only could be loud enough for long enough, help might come.  This is Guillet’s primary appeal: not the contrast between sudden and sustained tones, but the claustrophobic cacophony he creates.
Over the years, I’ve come to love these timbres: alarms, faulty circuits, stuttering computers.  But it took a long time to get here, and these sounds are not for all people.  Call this the advanced course; when all the smooth, lovely, predictable sounds grow dull, the harsh and broken possess a different appeal.  The album is most recommended to those who appreciate a variety of noises, regardless of harshness: sputtering fuses, crashing cymbals, engine failures, stuck discs.  Unstable Distance is the sound of everything falling apart at once; and yet, because the weldings continue, it’s also the sound of constant entropy.  The best example can be found in the opening segment of “Unstable Distance 2″, which features the album’s longest continuous pattern.  When this pattern eventually falls into the compactor, it leaves behind a sonic legacy: the only constant is change.  If instability is stable, can it still be called instability?  And if so,

HYPERLINK "http://www.thesoundprojector.com/2015/08/04/itinerary-planner/"04/08/2015 HYPERLINK "http://www.thesoundprojector.com/author/editor/"Ed Pinsent in THE SOUND PROJECTOR
Itinerary Planner
HYPERLINK "http://tsp.edpinsent.com/wp-content/uploads/2015/08/guillet.jpg"
Last heard from Paris-based composer HYPERLINK "https://soundcloud.com/michel-guillet"Michel Guillet with his 2011 album Behind Nothing, which HYPERLINK "http://www.thesoundprojector.com/2012/02/04/uncertain-ground/"impressed us with the meticulous precision in its execution melded with its general determination to stare into the black voids of nothingness which surround mankind at every turn. Now comes Unstable Distance (ING-ON 04) which we received from the composer himself on 6th October 2014. At a time when those hideous black nightmares are increasing in number and dimension in the world on a weekly basis, we need detailed instructions like these from informed composers such as Guillet, simply to stay alive. As with his previous work, these two lengthy 33-minute pieces don’t stint when it comes to priming every physical object in sight with a thick coat of black emulsion paint, until the entire world enters a state of permanent midnight.

MICHEL GUILLET - BEHIND NOTHING (CD by Ing-on)
The name Michel Guillet popped on a compilation back in Vital Weekly 459, but with his third album 'Behind Nothing', I get my first proper introduction. The information that came along consists of a list of concerts he played, various collaborations, installations and the previous releases. He describes his music to be with an 'electroacoustic spirit and a noisy touch' - which is not far from the truth. Like so many composers, especially from France, Guillet is a man to use computer treatments as his primary source/instruments. What goes into that, we don't know. These might very well be field recordings or pure electronic sounds, but whatever it is, they are indeed heavily treated. The output - the music released on CD - is quite dynamic, all over the sound spectrum, with great care for details, but its also quite loud, in a noisy sense of the word. And normally I am not a big lover of noise anymore, but such works as those by Guillet are quite nice: you can hear that it is made with
great care and thought, which is something that lacks in the world of true noise. Composition is something that seems of interest to Guillet, and not 'let the machines run by themselves'. Loops of sound, abstract blocks and tiny segments are placed alongside each other. A rare thing to see musique concrete using such volume (which is not even close to say Merzbow), but still with great sensitivity towards composition. Excellent discovery. (FdW)
Address: HYPERLINK "http://www.myspace.com/michelguillet"http://www.myspace.com/michelguillet

Frans de Waard in Vital Weekly 801 octobre 2011
Concerts – Editions – Collaborations
2018 Concert, festival « L’Homme aux deux oreilles », La Briqueterie
2017 Concert, festival Serendip, The Electric Circus, Paris
Concert, The Instants Chavirés, Montreuil
Concert, Distopia, Platform Gallery, Paris
Participation in the project, Acoustic Cameras, sound annexation project of
video surveillance cameras, an Optical Sound label proposal
2016 Concert, The Cube, Space Digital Arts, Issy-Les-Moulineaux
Concert, Blockhaus DY10, Nantes
Edition of Ribbon 4, on LP Weapons compilation
2015 Composition of the music of Comparses, choreographic creation of
Claudia Triozzi, Louvre Museum, Paris
Concert MAC/VAL Museum, programmation of The Instants Chavirés, Paris
Broadcast of Instable Distance on France Musique Radio
Concert Blockhaus DY 10, Nantes
Claudia Triozzi-Michel Guillet, improvisation, Ménagerie de Verre, Paris
Music of Avanti tutta 30 ans dans un an et tant pis pour ceux qui sont fatigués
performance of the choreographer Claudia Triozzi, Ménagerie de Verre, Paris
Concert, Michel Guillet-Claudia Triozzi, Auditorium School of Art, Quimper
Concert Beaubourg Museum, Metz, whith also Otomo Yoshihide
Music of the documentary, France Liquid Territory
Concert Michel Guillet-Claudia Trioziz, Emmetrop, Bourges.
Radiophony : haunted Hair international radio broadcast, Hobart, Tasmania
Concert Cave 12, Genève, Switzerland, with also Keith Fullerton Whitman and Greg Davis
Concert Blockaus DY 10, Nantes
Concert show-case at Souffle Continu recordstore, Paris
Concert, Comtemporary Art Center, Nantes
Concert, l’Espace d’en Bas, Mal au Pixel festival, Paris
Edition of the cd Behind Nothing, label ing-on, distribution Metamkine.
Broadcast of Ribbons, Radiophonic Création Day, Paris
2010 Composition of the music of de Strata, a choregraphic show by Donata D’Ursa, Biennale
de Danse de Lyon, Turin, Gagliari
Concert, Treatise of Cornelius Cardew, Culturgest, Porto, Portugal
Edition of Slumping 3, Box Shattle Rattle and Roll, Radiophonic Creation Day
Concert, Claudia Triozzi – Michel Guillet, Le Nouveau Festival , Beaubourg Museum, Paris
Concert, Art School, Angers
Concert, La Société de Curiosités, Paris
Concert, Claudia Triozzi-Michel Guillet CNDC , Angers
Creation and diffusion of Slumping 3, Radiophonic Création,Day, Jel-asso
Creation and diffusion of Slumping 2, Fuites Radiophoniques, Radio 108, Bourges
Concert, festival Free Son, VIP, Saint-Nazaire
Concert, Treatise of Cornelius Cardew, quartet with Samon Takahashi, Marckus Schmickler
Palix., Comtenporary Art Center, Brétigny
Edition of the CD Without Shade, label ing-on 02, distribution Metamkine
Concert, European Sound Delta festival, Strasbourg
Intonations, sound creation l’Encyclopédie de la parole, project at les

Unstable Distance
Michel Guillet, visual artist and musician, builds his works from the link between identity and everyday environment through installation pieces, objects, wall paintings and soundtracks. Parasitic noises, bits of melodies and fragments of rhythms intuitively structure an erratic path sliding inside different levels of texture. Third album