Recollection GRM is the worthwhile new project by Austrian label Editions Mego focused on the forerunning sonic research of legendary Groupe de Recherches Musicales, the hyperactive collective of sound artists and researchers created by Pierre Schaeffer, whose releases are authentic miliar stones for the development of the so-called musique concrete and electroacoustic music. Peter Rehberg's label should have justifiably thought that the reprise of some sonic jewels kept in GRM's archives could be a useful anthology for all those people, audiophiles and musicians, who are seriously approaching electronic music, so that Francois Bonnet and Christian Zanesi, coordinators of Recollection GRM project, decided to sift through them in order to reprint some of the most meaningful finds. After the reissues of GRM founder Pierre Schaeffer's "Le Triedre Fertile" (previously released by Philips in 1978) and "Granulations-Sillages/Franges Du Signe", one of the first release by Guy Reibel, first assistant of Schaeffer's electroacoustic composition courses at the Conservatoire de Paris, the third release of the series has been dedicated to a couple of astonishing sound collages by Bernard Parmegiani, the protean sound engineer who's expressly been numbered in the list of sources of inspirations by some effulgent star of contemporary electronic music scene such as Autechre and Aphex Twin. Named after the oxymoronic title of an essay by French poet Paul Claudet, "L'oeil ecoute" (meaning "The eye hears", released in 1970) is a majestic intertwining of concrete and electronic sound, one of the first release which was recorded in GRM's Studio 54; it begins with field recordings which sound grabbed during a train trip (according to many essaysts such a preface should be a tribute to Pierre Schaeffer's "L'Etude aux chemins de fer" (The Study of Railways) and carry on impressive sonic sketches, where you could easily recognize some of the sonic tricks which are still used by many electronic musicians. On the other side of the record, you'll find "Dedans-Dehors" (1977), an impressively realistic field recording-oriented long composition focused on the notion of metamorphosis, which, according to the explanation by Parmegiani himself, "is one of the principles that leads the course of the musical suite, reflecting changes (fluid-solid passages: water/ice/fire) or movements (ebb/flow/wave, inspiration/expiration) or inside-outside passages (door/individual/crowd). Thus, the perceived object is not entirely what we would have liked it to be. Our music brings us closer to some whilst it takes us away from others: each with their own inside.". Both of them are not just collection of stunning sound effects, but the words used by Parmegiani to introduce them seems to subtend some authentic aesthetic and ethic fundamentals as well as a sort of teaching about the infinite possibilities offered to our sense organs by stimuli whose existence often gets ignored by sentient beings, even just in order to feed and drive its imagination. Definitively a must-listen.