Joni Void

Mise En Abyme

CST140   180gLP • CD • DL

Mise En Abyme is the second full-length by Joni Void, the avant-electronica project of France/Canada producer Jean Cousin, following his acutely accomplished and acclaimed 2017 debut album Selfless (#8 Experimental Album of 2017 at Pitchfork, among other accolades).

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$30 CAD ($22 USD / €20 / £18 / JPY3000) +$7.00 CAD per additional LP
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AMERICAN VINYL SHIPPING
$8 USD - any quantity

CANADIAN VINYL SHIPPING
$16 CAD - any quantity

INTERNATIONAL VINYL SHIPPING
$30 CAD ($22 USD / €20 / £18 / JPY3000) +$7.00 CAD per additional LP
*Some exceptions for deluxe editions

Click here for full Shipping Details

Deluxe LP is 180gram heavyweight audiophile vinyl pressed at Optimal (Germany) and comes in a thick 24pt/450gsm jacket printed on uncoated 100% recycled paperboard, with a 12"x24" art print poster, and 320kbps MP3 download card.

CD comes in a custom mini-gatefold jacket printed on uncoated 100% recycled paperboard, with an inner dust sleeve housing the disc.

Release Date: 29 March 2019
Duration: 44:28

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STREAMING

Streaming Links:
Spotify
Apple Music
Deezer

Streaming Links:
Spotify
Apple Music
Deezer

Discography

Videos

"There is still experience that can't be atomized and analyzed, however slippery it may be even to those feeling it. Mise En Abyme hunts that sensation of flux and liminality, unearthing warmth in a landscape of paranoia." – Pitchfork 8.0

Mise En Abyme is the second full-length by Joni Void, the avant-electronica project of France/Canada producer Jean Cousin, following his acutely accomplished and acclaimed 2017 debut album Selfless. (#8 Experimental Album of 2017 at Pitchfork, among other accolades.)

Mise En Abyme refers to the aesthetic technique of putting a copy within the work itself, a story within a story, as a metafunction that aims to reflect the object back onto the perceptual subject in an explicitly conceptual way. Cousin also plays upon the literal etymology of the term – “placed into abyss” – invoking the recursive neuroses of identity and self-consciousness, the lacuna of seeing/being-seen and projection/introspection; the metaphoric standing between two mirrors, plunged into spatio-temporal disorientation through reflections multiplied to an impossibly infinite vanishing point.

Consistent with Selfless, the primary raw material for the sample-based cut-up songcraft on Mise En Abyme is Cousin’s recordings of the voices of various friends. His self-professed body/voice dysmorphia and search for the disembodied-yet-emotional transcendent subject continues to mandate the use of other (mostly wordless) voices in the construction of his sublimely affecting electronic-minimalist compositions. But where Selfless was a restless, kinetic and visceral work of outer projection, Mise En Abyme is markedly more introspective and meditative – explicitly in search of intimacy and recuperative beauty.

Grappling with a cascade of heartbreaks and discontinuities over the past year, Cousin also calls the new album a “time-travel experiment”, as he culls sounds from devices and sources spanning childhood to the present (phones, cameras, video games, home movies) to retrieve and reframe subjective memories, histories and “regressions through former selves” through immersion in the evocative potential of the mostly wordless voices of others. The resulting sonic portraits simultaneously convey formally abstract dislocations and highly emotive warmth, interiority, humanity and specificity. Side A especially highlights these works – the “with people” half of the album, replete with contemplative, melancholic songs, each featuring a deconstructed performance by a different female voice, propelled to varying degrees with additive rhythmic and textural layers. Side B is the “isolation” half: vocal samples continue to make appearances, including Cousin’s own voice on the vertiginous “Voix Sans Issue” and his own lyrics on the computer-narrated text-to-speech spoken word of the confessional “Deep Impression” – but the contrasting vibe is more claustrophobic, anxious and febrile. Mise En Abyme ends with a throwback to Cousin’s pre-Joni Void keyboard-based works as johnny_ripper on the gorgeous Rhodes piece “Persistence”, while the closing exuberant maximalist jam of “Resolve” fittingly samples every previous song and locks the album into a self-referential recursive sequence.

Thanks for listening. 
CREDITS

Catherine Debard: vocals on "Lov-Ender"
Sarah Pagé: vocals on "Abusers"
Naomie De Lorimier: vocals on "Non-Dit"
Ayuko Goto: Vocals on "Dysfunctional Helper"

Constructed and assembled by Jean Cousin.

Mastered by Warren Hildebrand.

Catherine Debard: vocals on "Lov-Ender"
Sarah Pagé: vocals on "Abusers"
Naomie De Lorimier: vocals on "Non-Dit"
Ayuko Goto: Vocals on "Dysfunctional Helper"

Constructed and assembled by Jean Cousin.

Mastered by Warren Hildebrand.