Elegance is the first word that comes to my mind to describe the "Le Palais Trasparent".
Julien Skrobek expands the paths of Radu Malfatti and Taku Sugimoto exploring time and structure by placing sinewaves and guitar notes that  brake the very rich silences. Carefully constructed, "Le Palais Trasparent"
creates absorbing spaces that produce calm and intelligently suspended tensions.

"Don't let the fact that the words FREE SOFTWARE SERIES are four times as big as the name of the composer put you off; Le Palais Transparent is a bona fide composition by 28 year old Paris based Julien Skrobek, and the software itself (Audacity under Debian, if you're interested) is but a means to an end, not an end in itself. It's used simply to sequence the sounding events, which consist of dabs of Skrobek's own guitar playing, and a filtered and processed 12,000 Hz sinewave.

More important is the dedication to überminimalist Radu Malfatti, whose music Skrobek analysed in detail prior to composing his three-movement work. "I took all the Malfatti records available and made transcriptions of everything: timing, tones and studied them," he explains. "I wanted to get his feeling of space and time." Mission accomplished - silence accounts for nearly 85 percent of the work's duration - but it would be wrong to see Skrobek as little more than a country priest in Pope Radu's church. Whereas MAlfatti's sounds are pale and unobtrusive, almost daring the listener to forget them as soon as they stop, Skrobek beautifully sculpted sinewaves and deftly placed Zen brushstrokes of guitar, reminiscent of Italia-period Taku Sugimoto, reveal a fine ear and a genuine fondness for intervals - at times unashamedly consonant ones - which resonate in the memory long after they've been swallowed up in blank digital silence. The work's title is also a nod to another master craftsman of poetic extremism, Morton Feldma,, whose Palais de Mari Skrobek, with commendable taste, also cites as an influence" | Dan Warburton, The Wire