‘Yves [Klein] was trying to nourish us with these ideas [he’d brought from the Lettrists in Paris]. And we began to speak in nonsense syllables on the beach. Arman [Éliane Radigue’s husband] said the idea to make a simple tone was mine, but I’m not so sure. The thing I am sure about is that it was my idea to harmonize the voices – to have everyone in their own register. So, we did the first monotone symphony on the beach, in a certain sense. For me, it was a game – nothing more. But Yves found it very interesting and asked me to write it down for him.’
— interview with Éliane Radigue in Purple Magazine, May 2019

‘Instruments come in various sizes and shapes, often reminding me of animals or humans. The guitar is about the size of a small child and lies as if sleeping on the guitarist’s lap. The guitarist’s hands play the notes, the lines, the melodies – possible dreams of the sleeping child – at the child’s head height … I recall Liszt’s Sonetto 104 del Petrarca. In a masterclass, I learned to inwardly sing along with the main motif, ‘Ach Du mein liebes Kind’ (‘Ah, my dear child’). The idea of KIND revolves around this internal
singing.’ — Lisa Streich

‘The band are free improvisors or play in rock bands and I’ve composed this piece with them and on them and through them. Gag has three sort-of sections that I have been calling with the band “Radigue”, “Pink Floyd” and “Rameau”. The beginning is my guess at what Éliane Radigue would make if she was writing for an indie band. “Pink Floyd” is pretty self explanatory, this section feels like ecstatic, collapsing prog rock to me. I had a draft of the piece ready to go in September but the feedback I got from a few people was that the end wasn’t “giving” (as the young people say) and I made a new end. This took the form of a kind of pseudo French Baroque unmeasured harpsichord piece like the ones by Rameau and Couperin, using chords I had in my notebook for a song that I never wrote. This is on the piano, while Theo strokes his drumkit which sounds/feels a bit like being in bed with a lover (a relic from the now excised section referred to as “bed”).’