Time after time, Half Evidence‘s sound becomes more incisive, and their playing more focused, alternating smoothly between meditative atmospheres and explosive intensities . Their new album Entreciel (consisting of 2 tracks improvised and recorded on 9 november 2014) features also a regular use of voices by both members Charles premier and Kecap Tuyul, which enhances the incantatory dimension of their music.

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Full album download links

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Reviews

David Nemeth / Acts of Silence (june 3, 2015)

“Half Evidence is the duo of Charles premier and Kecap Tuyul, who are no strangers to the netlabel world. Solo or working with others, premier and Tuyul have made a variety of experimental music in the Creative Commons scene from the ambient to noise, but always live and improvised. Enterciel on Eg0cide Productions is their latest release.

premier and Tuyul’s latest as the duo Half Evidence is Entreciel and, by my count, it’s their fifth release over the last several years, however they have released work on the Necktar and Classwar Karaoke compilations as well. Their first work as a duo was on 2 x 2 (2012), an Eg0cide Production release which featured Tuyul with premier on a track called, “Half Evidence” and another track with Tuyul and Matthew Tyas called “Pasta Doble”. The liner notes mention that the musician Mescalibur  introduced Tuyul to both premiere and Tyas as well as recorded and mixed the “Half Evidence” track. The new duo of premiere and Tuyul would later continue making music together under the moniker Half Evidence. Most of their work has been released on the Eg0cide Productions netlabel.

In listening to Half Evidence’s early work, the releases are consistent good and they are able to keep the listener’s attention as they go from quiet to intense and loud to slow. The first track of Half Evidence’s Entreciel continues their outstanding work though this time voices are added into the fray. As “D’orage-patienter” begins with a Half Evidence whispering to you, making sure you are comfortable and relaxed, maybe they are even offering you a beer. But as the track progresses, you realize that Half Evidence is ripping at your ears, tearing them slowly off, leaving the sides of your head a mixture of blood and sound. You relish in your masochism, enjoying the assault, soaking in the sonic vibrations as best as you can.

Maybe that previous paragraph is filled with ridiculous hyperbole which was most likely caused by listening to some insipid shit previously to my first listen of Enterciel. Regardless of where my head was when I was jotting down my notes, after repeated listens, “D’orage-patienter” is still quite intense.

“D’essor-s’essouffler”, the second and last track of Entreciel, is just as forceful as the opening track though it seems to use more vocal improvisation then it’s predecessor. “D’essor-s’essouffler” grabs and twists you into unbelievable contortions and then releases you into a solitude of noise.

For a long form improvisational experimental album, Half Evidence’s Entreciel keeps the listener intrigued and never bored. Entreciel is most likely Half Evidence’s best release to date, but that should take nothing away from their previous releases which are head and shoulders above some of the work of their peers. Maybe the success of their sound has to do with their frequent collaborations with others — you know that he ability to play well with others. I surely don’t know, but I do enjoy being the recipient of such a wonderful work as Half Evidence’s Entreciel.”

http://www.actsofsilence.com/album-review/half-evidence-enterciel/