We note that the large arbitrary breaks in tone Parmegiani achieves in l’oeil écoute and indeed throughout all his musical compositions, arise as searching encounters. As such they are gestures deriving from the sculptor himself. The blocks used are very imposing and the matter extremely dense...
The composer’s preference for this generously developed ghostly realm or space is also based on a specific creative foundation: it enables him to conceal things and thus especially allows him to disclose them to play on and with the ambiguity of their presence. Through its momentary and background quality the rather dense and complex matter in the piece gives rise to remarkable and constantly renewed perceptions of appearance and concealment able to assume utterly surprising forms since the interplay, mixing, blending and transparency of elements remains ever changing and is often highly unforeseeable. The surging fight of the potentiometers and balanced crescendos are all gradually chipped away at, carved out, transformed by the matter from which they are intended to extract specific essence. The entire work of B P. is imbued with such games of hide and seek and disclosure.
Philippe Mion, L’oeil écoute: An Analytical Commentary