"I don't know if it is because I never stop keeping my ears open to what is welling out and humming through water in any landscape, but when Joe Colley proposed to me to take part in his series Explorer, water sprang to my mind at once. Here I have chosen the Adriatic sea, in Rovinj, Istria. Following my first trip in 1995, I was lucky enough to go back there and carry on with my recordings in 1997. Many days on end, I have let my ears, then a pair of microphones glide between and into the rocks of the old town and those along the shore. This meeting of the stone and water has fascinated me in the way that it was dilating the frontiers between the two components. Muffled water, as if heavier, penetrating stone, stone reduced to small pebbles singing the motion of the waves... So many plays on sounds between tough and flexible, liquid and solid... In the middle, this throbbing sea marking the breathing of the universe. All these aqueous or mineral substances hold a never ending dialogue with our own corporeity.

In "L'inspir du rivage part 2 (the shore breathing in part 2)" one is provided with a privileged listening point. It makes 9 acoustic statements converge, where time and space (or rhythm) set into perspective a listening area. Here reality unfolds unadulterated. And it is thus carrying in from the quasi "naturalistic" first version (part 1) made in 1996 for the CD "L'empreinte de l'ivresse" (Digital Narcis limited)

On the other hand, "L'inspir rivage part 3 (the shore breathing in part 3)" is a variation from some elements of part 2, having no regard for any logic about recordings, place, ... For it is just as much fascinating to go beyond the skin of this reality, taking only into account its inner morphology. One's own sensation is found again by penetrating this matter "physically" through sound processing, and no longer through the ear only. The listener is expected to enter this sensation, to have his ear turned upside down, diving inside, and his body vibrating with what this inner listening is giving him. Sound becomes breathing. Water, stone, man, every living materiality becomes part of this breathing, of this sound, from where anything is possible... "-Eric La Casa