Two tracks from a forthcoming 3CD box set entirely devoted to Luc Ferrari's film music - a landmark release for many reasons. Not only does it reveal a little-known chunk of his oeuvre as a composer for the screen (replete with several previously unavailable tracks), but it also sheds light on the ties between cinema and musique concrète, especially during the fruitful period that stretched from the 1960s to the 1980s.

Tinguely (1967) Musique concrète for a television program by C. Caspari. From recordings made by the composer in 1966 at an exhibition f Jean Tinguely's work. Once the 110V Liliput engine is turned on, the sculptures start moving instantly in unpredictable ways, as if they had suddenly become frantic. They move in disorganized and excited ways; each action brings them on the verge of self-destruction. Tinguely's "Balubas" show us how ephemeral and intangible art and life are. The "Balubas" carry joy and despair, ascination and disillusionment.

Dernier Matin d'Edgar-Allan Poe (1964) Musique concrète for a short 33 mm black-and-white film by Jean Barral.