
«Brilliant, crystalline waves of sound...
Adams' music is never less than spellbinding.» – Sequenza 21
Adams' music is never less than spellbinding.» – Sequenza 21




| | 1 La Ballade Des Pendus Music By – Jacques Lasry | 3:20 | | |
| | 2 Annabel-Lee Music By – Jacques Lasry | 4:20 | | |
| | 3 Batterie Music By – Jacques Lasry | 2:25 | | |
| | 4 La Femme Infidèle Music By – Jacques Lasry | 3:02 | | |
| | 5 Nonoche Music By – Jacques Lasry | 4:30 | | |
| | 6 Gui Chante Pour Lou Lyrics By – Guillaume Apollinaire | 1:30 | | |
| | 7 Chant De La Grand'Route Lyrics By – Walt Whitman | 2:20 | | |
| | 8 Je Sais Lyrics By – Pierre Emmanuel | 2:12 | | |
| | 9 Un Feu Vivant Lyrics By – Luc Bérimont | 2:50 | | |
| | 10 Visite Lyrics By – Charles Vildrac | 4:49 | | |
| | 11 Tarendol Music By – Jacques Lasry | 2:42 | | |
| | 12 Le Dit De La Force D'Amour Lyrics By – Paul Eluard | 1:35 | | |
| | 14 Le Rachdingue Lyrics By – Henri-François Rey | 3:31 |

he music on spellewauerynsherde is as unusual as its title which, redefined, reads ‘spell.wavering.shard.’―‘spell’ alluding to the effect cast by its hypnotic incantatory voices, ‘wavering’ their shivering quality once filtered through Rabelais’ Argeïphontes Lyre software and ‘shard’ their fragmentary character. After Rabelais discovered forgotten tape recordings of traditional Icelandic a cappella singing, he found himself so transfixed by the female voices’ heartbreaking sound that he decided to digitally weave them into pulsating drones. By exhuming these phantom, siren-like voices and digitally reconfiguring them, Rabelais’ haunting recording straddles medieval and modern eras. Don’t think that he smothers the remnants with distracting treatments, though. His approach is far subtler; in some cases, voices seemingly stand unadorned of any added embellishment. (source)