The French composer and scientist Jean-Claude Risset (1938-2016) is known for his pioneering work on sound synthesis, and for his electroaustic and instrumental musical works integrating models such as the effects of infinite descents or chaos theories. However, beyond an analysis of his music “in itself”, or even “in us”, and its technological components, this article proposes an approach to the apollonian, euphonic, transcendental aspects of his music, of which the composer himself has spoken. Another important and rarely dealt with area is the relationship to native cultures in the post-colonial context through works such as Mokee (tribute to the Amerindian peoples since 1492) and Otro (who takes up this tribute and meditates on the notion of otherness). It is based on the hypothesis put forward by the socio-anthropologist Edgar Morin of the contemporary artist as a post shaman, who, at the time of the creative process, finds himself in a state of semi-transe combined with a state of consciousness. This poetic state contrasts with the prosaic state of our daily lives. Risset's dealings with the « au-delà » (playing on the dialectics between the visible and the invisible, the present and the absent, life and the dead, etc.) are perceptible in Invisibles (between the real voice and the recorded voice), Oscura (vocal piece on San Juan de la Cruz's mystical love poem), Pentacle (with esoteric dimensions). Risset adopted Plato's words: “There are three kinds of men: the living, the dead and then those who go to the sea”. As a postchaman artist, he is one of the smugglers who, through music, allowed people to travel to new Atlantis.