The antiquarian aesthetic of a fastidious watchmaker mingles with that of modern-day cinematic sound designer on this utterly compelling musique concrète album. The numerous detours, razor cuts, slamming doors, wooden squeaks and articulated arrangement of sonic debris are on display with considerable panache, recalling concrète compositions dating back to the late 1950s and early ’60s. The toxic hiss that arises within the mechanical clatter on Paysages articulés no zéro is particularly effective. Elsewhere, on Les chambres de l’atelier, Bernier deftly moves from oblique passages of ratcheted turmoil and springloaded jolts into pools of half-melodic tones and nightmarish foreshadowing. Here, these almost musical passages are situated between David Lynch’s horror-laden sound design and the Schimpfluch-Gruppe’s more sublime moments.