"So, what dates a landscape? In human perception, the passage of time is detected through evidence of change or decay, and on Paysages Sans Age III, it's the sounds themselves that decay. Hints of synthetic melody surface and then recoil, as though recognizing their own inevitable demise, and sustained tones fade to nothing like a horizon just after dusk. Fix your ear on a synthesizer or piano note, and you'll find another sound behind that sound, and then another. Duplant also supplied the CD's three cover images, each a blurred black and white image of trees in various states of wintry undress. Sight and sound converge to create an impression of a landscape that is, perhaps, ageless because aging is no longer an option."-Bill Meyer @ Dusted, June 2021

"Besides a long text on the cover, which is more a poem of some kind than something informative, I started the CD by Bruno Duplant by not knowing much else about this release. Sublime Retreat didn't add much information either. There are two parts of 'Paysage no 5', both exactly fifteen minutes and 'Paysage no.6', which is twenty minutes and one second. I reviewed quite a bit of Duplant's music over the recent years, without having much clue as to what he does, in terms of instruments and so on. I would think that in many of his releases, field recordings play an important role and that these two/three 'Paysage', which can be translated as 'landscape'. With such a title, it is easy to think about field recordings I would think, but these pieces are indeed wide open and spacious, like looking for a vast amount of land, hills, green grass, rather than trees or a forest. In the two parts of 'No.5', there is, I think, some sort of computer processing going, slowly altering and changing and with far, far away a dash of piano sounds; more in the first than in the second part. But in the second there might be some kind of different instrument that I couldn't figure out; it might be a synthesizer. In 'No.6' we have, essentially, the same elements, but now it is a more orchestral composition for slow strings and wind instruments and the occasional bang on the piano. It has a fine, estranged melodic drift, floating on what seems, again, computer-processed sounds. I enjoyed all three pieces, but whereas the double bill of 'No.5' seemed also a bit standard to me, I found the orchestral quality of 'No.6' of great beauty and equally great sadness. Almost like a lament for a landscape. [...]"-Frans de Waard, Vital Weekly