Plants with neither roots nor leaves: the dissonant, organic suggestions of Tatiana Paris's new album stem from the shifting nature of algae, fungi and lichens, vegetal bodies devoid of complex vascular tissue, a symbol of a nature that invites rebirth and youth.
"Thalle" is made up of nine sound fragments that, like matter observed under a microscope, reveal a rich and intricate nature, often unpredictable, as in the delicate vocals and the flowing, diaphanous melody of "Canine".
At times the music turns solemn, especially when Rachel Langlais's organ acts as the glue holding together the electroacoustic balance of field recordings, modular synths, drone music, recorded tapes and found objects: it's this same mastery and ingenuity that feeds the two drone ambient chapters named after the album's title, "Thalle I" and "Thalle II".
The barely perceptible chaos and discursive fragmentation of "Salluit" and the apparent harmonic contrast of "Avril" are two sides of the same coin, a blend of experimentation and technical awareness that runs through all of Tatiana Paris's work and that on "Thalle" finds fertile ground for an admirable synthesis.
Following in the footsteps of artists like Ellen Arkbro, the French artist explores the graces of music with an exploratory approach akin to geology and paleontology, and the result is naturally captivating.
Add OndaRock to your favorite sources on Google Discover. Don't miss our reviews, milestones and latest news straight in your feed.
28/04/2026
This article is an English translation of the original Italian text by Gianfranco Marmoro, published on OndaRock.it. It was translated with the help of artificial intelligence, under the editorial responsibility of OndaRock's editor-in-chief, Claudio Fabretti.