I've already introduced the project Recollection GRM, based on an interesting series of records focused on the huge archives of Pierre Schaeffer's Groupe de Recherches Musicales and supported by Editions Mego. This release is the first compilation, fed with the experiments of various scholars of that legendary smithy of sound researchers, who intercepted noises and built more or less encrypted sonic codes from that creative process which arises from the silence of the author or of the composer and from the resulting capture and elaboration of impulses from external world or machines, which get maneuvered in the dark by composer itself. On the first face of the record, the Argentinian music therapist and sonic researcher Beatriz Ferreyra separates electronic factors from concrete ones for the preparation of L'Orvietan - the choice of such a title which mentions a panacea against poisonings sounds on the beam! -, where she gradually extracts abstract (and sometimes scary) pseudosymphonies from polyphonic stratifications, while French composer Philippe Carson manages to build a sort of industrial suite in three movements by recombining noises grabbed in the Stuyvesant factories where twist drills, grinding machines, sizing press, hydraulic pistons, chain curtain, gas pipes, hot-air ducts, power drills, cog wheels and other machines sound like uttering in unison after they grabbed listener's attention with their intrinsic pace and before they intensity and thickness increase. Other three cheing gems have been cut on the second face: Edgardo Canton sonically renders homage to Italian composer Gaetano Donizzetti by composing an electroacoustic aria by means of quivers, pulses and shivers, which could abstractly define the Italian word "palpito", which that composer inspired to Edgardo, while "Chemins d'avant la mort" is a true rarity, one of the rare works by GRM technical coordinator Francis Regnier, where two linear sounds, rising from the silence, experiences a sort of strong sonic tremor before returning to silence. The last track of this collection, the only known compostion by Mireille Chamass-Kyrou, is the oldest one as well: "Etude 1" is an astonishing application of physical processing to sounds, whose transitions could let you think of the first stages of the evolutionary sonic processes by contemporary sonic pathfinders such as Alva Noto or Mika Vainio, even if Mireille completed this sonic study in 1960!