Melting Clinamen was born from a small deviation from the methodology used by Failure Circle in this serie of compositions Frozen Clinamen that normally uses only sounds recorded while no human intervention is applied to the used set-up ( no-input mixer most of the time). The creation of the first track of this album followed the same rules – except that it used a recording that features some little changes created manually (this sound can be heard between 3min11 et 12m06). This is also the first release in which Failure Circle doesn’t use a no-input mixer but a semi-modular analog synthesizer, the Neutron by Behringer, with no effects except its built-in ones. Another notable difference with the past volumes lies into the way the material has been edited & mixed. The other track of the album (Frozen Clinamen #2M) follows more strictly the Frozen Clinamen methodology, but all sounds were also created with synthesizer. Thus, Melting Clinamen is and isn’t part of the Frozen Clinamen serie.
Methodology of the Frozen Clinamen serie step (1) Tweaking the set-up until it produces some seemingly autonomously self-sustained sound sequences. step (2) Stopping tweaking and recording for at least 20 minutes without any intervention on the set-up. step (3) Repeating steps (1) & (2) several times. step (4) Using the generated sounds as only source in a posteriori compositions. The only variations used while mixing are equalization, panoramics and volume levels. step (5) play it at low/high volume with open/closed window while complety asleep / fully conscious.
Click on the picture to visit the download page on archive.org :
Laura Cavan is a french visual artist who also works with sounds, and especially natural ones like in her first album Unsuspicious. This project started in 2016 when Laura Cavan was studying arts in Marseille and created an installation using pieces of wood found in the area of her school (which is located close to a forest). The insertion of contact microphones in these pieces of woods allowed to transmit small vibrations emitted by its inhabitants : termites. The resulting sounds were sent in real time through headphones for the installation’s visitors.
Early 2019, some of these sounds have been selected, edited and mixed by Kecap Tuyul in for the realisation of this album. Different, light treatments (mostly equalization) have been applied to the orginal tracks, without trying to hide the recorder’s hiss nor other unwanted sounds, but rather with the aim of letting appear all aspects of the recordings in an organic way. The results don’t pretend to give an accurate reproduction of termite sounds but should rather be considered like sound pieces where the recording technology is a part of the material and not a transparent medium. As a sequel of this release, Kecap Tuyul is currently working on tracks mixing electronic sounds with Laura Cavan’s recordings.
The artwork is made of a selection of Laura Cavan’s drawings of these wood pieces which that were created for her installation.
When I listened to Laura Cavan in a traditionally unsuspicious way, i noticed how cozy it was. From the first moments in her work I felt as if I was in the inner mechanism of a prepared coffee machine, not a cheap one but one of those luxurious ones that had the green light on, ready for a coffee loving person to place a cup underneath and make an automatic cup of sheer deliciousness.
This feeling of being in this cozy coffee machine of sheer luxury that had been equipped with hot warm water inside, the kind of wanted liquid ready to be used to please the great tasting flavours of a coffee lover in an instant simply continued in the second track that Laura Cavan had boiled up. It made me feel very small, but also very safe. I could sit in this coffee maker for ages, dreaming about raindrops on a attics window; it’s one of my favourites calming things to fantasise about…
When the third track came in, it was as if Laura Cavan had read my mind.. I didn’t wanted the release of sound to go anywhere. I wanted to stay inside this coffee machine and listen from this place like a voyeur to the possible human activities that might happen outside of this coffee maker. I could clearly hear someone walking around, it might be muffled but that only added more comfort to the “I’m just a microscopic figure tucked away in a coffee machine” experience.
Laura Cavan really kept on giving what I wanted to hear, kept the bubbling watery sounds as muffled and wet as they could be, while still keeping me as a listener dry and warm. I mean it wasn’t that the artist was boiling us listeners in a hot pot or anything like that; more as if we could sit dry on a bit of luxurious plastic inside as the water kept itself hot and ready to be used to flush itself through the coffee bean purée.
When track five came even the sound of the coffee maker’s inside seemed to have chilled out. In fact I must say that this was definitely the moment in which I thought that it’s quite relaxing to be here in this coffee machine with no reason to be found by an owner or operator of such an device. It feels so safe and pleasant that I can only say that it’s been a real pleasure to have been Unsuspiciously teleported into this strange situation & I’m gladly inviting you over to be in this coffee machine too. We might want to drink some coffee later if you are in need to do things after experiencing it, as it is pretty sleep inducing!
Jeudi 13 juin 2019 Tiasci, 13 rue de l’Acqueduc (porte vitrée) 75010 Paris 20H ouverture des portes 20H30 premier set P.A.F. 5 €
Notre dernière soirée de la saison, dans le cadre d’une série mensuelle associant concerts de musiques improvisée/expérimentale et performances “autres”. L’événement sur facebook
Roberto Robao : Rêve de bambou
Concert performance pour flûte et dispositif électroacoustique.
Gestion en temps réel d’un univers électroacoustique crée dans Main Stage-logiciel Midi et l’utilisation d’un instrument à base de capteurs gestuelles.
Groupe Novembre : Le viol de Lucrèce (théâtre d’objets)
Elle est seule. Autour d’elle : une table, une chaise et du papier journal. Dans l’air plane comme le souvenir de paroles médiatiques à n’en plus finir… Des débats houleux, des raccourcis dangereux, des témoignages maladroits, qui alimentent les polémiques au profit des audiences. La télévision, la radio, internet nous livrent des paroles ambigües et quotidiennes à propos du viol, parfois dévastatrices, rarement réconfortantes, presque jamais encourageantes.
Elle est seule et elle a besoin de raconter cette histoire, qui aurait pu être la sienne. Lucrèce a été violée, elle pense à mourir. Du papier journal qui l’inonde, la narratrice fait jaillir tour à tour les personnages de Lucrèce, Tarquin (l’agresseur), du père, du mari, et de Brutus, dans la langue terriblement actuelle de Shakespeare.
Textes : Shakespeare
Mise en scène : Morgane Reignier
Comédienne et marionnettiste : Evangélia Pruvot
Création musicale : Luxalove
Avec le soutien du Théâtre aux Mains Nues, du Clastic Théâtre et de la Halle Roublot-Le Pilier des Anges.
« En moi il y a désormais bien plus de souffrances que de paroles, et ce serait trop longtemps me lamenter que de les dire toutes de ma pauvre langue fatiguée. Qu’elle se borne donc à ceci : Cher époux, un intrus a pris possession de ton lit, il s’est appuyé sur cet oreiller où tu avais coutume de reposer ta tête lasse. Le reste de l’offense, tu peux l’imaginer, et quelle odieuse violence il m’a fait subir. Hélas, ta Lucrèce n’a pu échapper à rien. »
A.d.du.nord is a musician who doesn’t work in a particular style but is guided by ideas of the moment without feeling compelled to maintain a single sound aesthetic. His first releases have been a few minimalist drone tracks published in 2018. He now aims to create some kind of “post-music” that is “strange and dysfunctional”. In short, a.d.du.nord is a project for free experimentation, where everything is possible.
Sana Grano is some kind of mixtape that gathers ten one minute long improvised sequences created with granular synthesis tools. The choice of samples was purely intuitive, and the results are partially aleatory. But if you listen between the lines, you may find reminscences of dub and afrobeat.
After 5 years spent exploring improvised and noise guitar, Xavier Mussat opened a parenthesis without his usual instrument. He recorded abstract sound ambiances to be used as background sounds to accompany the work of his students during the intuitive drawing classes he gives. Here simplicity prevailed : he used the cheap internal microphone of his computer and several objects (bowls, balls, crumpled paper, table, prepared banjo), as well as remixed sounds taken from videos of snowy landscapes. Experimenting with the austerity of a minimalist aesthetic, he extracted 4 tracks from these raw textures and materials.
John Krausbauer (US) et Kaori Suzuki (US/JP) proposent une musique mêlant voix, électronique, et percussion. Leur travail s’inspire d’un intérêt commun pour la musique spirituelle et ecstatique, ainsi que pour les pratiques d’avant-garde. Basée sur des sons longs, des accordages alternatifs, la longue durée et l’endurance physique, leur musique explore les paramètres et possibilités des expériences de types psychotropiques plutôt que le strictement musical.
(The Lab, San Francisco. 2018)
John Krausbauer is a composer/multi-instrumentalist/improviser based in Oakland, CA. A long time purveyor of the ur-drone and trance-psychedelia, his work involves audio transmissions for TOTAL/immersive sensory experience. Transcendence through repetition, duration, alternate tunings, maximum volumes, and (often) stroboscopic lighting.
He has performed and presented his music in the U.S., Canada, Mexico, and Japan, in a multitude of settings – from basements, sidewalks, and rock clubs to colleges, churches, and art museums.
Over 20 recordings of his have been released on independent labels in the US, Europe, and Japan. His group and solo music can be found on Important, Beta-Lactam Ring, ANTS, Fabrica, Debacle, Autumn, and a number of other international labels.
His current music projects include the Ecstatic Music Band (a 10+ member-collective of strings players); solo music for voice, violin, and synth; his collaboration with partner, Kaori Suzuki, with bells, voices, strings, tape; the Minimalist psych-punk group Night Collectors; his systems-based phase compositions; and ongoing duo collaborations with Kentuckian steel bodied resonator guitar player R. Keenan Lawler, NYC bagpipe player David Watson, and Tokyo based guitarist Tetuzi Akiyama.
Kaori Suzuki is a Tokyo-born music maker/composer residing in Oakland, CA. Her solo music involves electroacoustic sound technologies, intensely high register electronics, acoustic instruments and tape, seeking to create heightened listening states.
She has toured and performed her music in various venues across the U.S., Japan, Mexico, and Canada. From 2009-2015 she ran her electronic instrument building project, Magic Echo Music, collaborating with musicians on making custom interfaces and instruments for live performance (ASTRO, Mood Organ, Manuel Knapp). Her feedback/synthesizer recordings are found on Newsun (Sounds et al), and her release of a durational composition for very high frequencies, Conduit, is out on Second Editions (Berlin).
She currently plays drums in the Oakland based Minimalist psych-punk group, Night Collectors, and collaborates with partner, John Krausbauer, on voice, amplified strings, bells, and immersive light/sound happenings.
Ce duo, composé de Sig Valax et Nicolas Tourney, propose une expérience singulière d’écoute musicale dans le noir.
Plongeant scène et public dans une obscurité intégrale, Seuil Optique élabore des transmissions électroniques éthérées, fabrique des drones qui oscillent entre bruitisme et voyage cinématique, sublime ces objets du quotidien que nos habitudes avaient rendu inaudibles. En bousculant les frontières entre l’écoute, la manipulation aveugle des machines et l’expérience immersive proposée au public, les deux musiciens recherchent de nouvelles pistes sonores. Cette recherche est aussi une exploration, en dialogue permanent avec les musicalités hybrides et la pratique d’instruments rares. Sur scène, ils utilisent des stratégies d’improvisation volontairement “ouvertes”, et s’autorisent après-coup des chemins différés dans la création radiophonique.
Lundi 13 mai 2019 Le Zorba 137 rue Faubourg du Temple, 75010 Paris 21H-23H PAF : participation libre
Co-organisé avec Doxa Esta et Le Zorba
L’événement sur facebook
Duo Beat Keller & Werner Puntigam
Beat Keller (feedbacker guitar)
“Guitarist, multi-instrumentalist, composer and bandleader based in Winterthur, Switzerland and in Berlin. Beat Keller is amongst the important Swiss musicians in the field of experimental and improvised music. Through the exploration of extended playing techniques, guitar tunings and the use of an electric feedbacker guitar, he has developed a unique musical language. Beat Keller has played together with many major exponents of the Swiss and international scenes and performs regularly around the world at festivals and renowned concert venues. (…) Keller’s 10’s debut album won “Best Debut Release 2008 (worldwide)” awarded by the American magazine All About Jazz. Beat Keller is currently a member of the groups Cao-Keller-Siedl (VN, CH, AT), Rough Cave (CH), Bowee-Keller (CH), Tilo Weber’s Animate Repose (DE), Keller’s 10, Gunfire Orchestra (SA, NO, CH) as well as Jason Kahn // Beat Keller (US, CH).” https://beatkeller.com
Werner Puntigam (trombone)
“Freelancing multidisciplinary artist in the fields of music (composition & improvisation / trombone, conch shell, voice & noises), visual arts (photography, video & graphic-design) and interdisciplinary performances & audio-visual installations.
WP, the improvising and composing musician (trombone, conch shell, voice, noises), called “the alchemist of the sounds” in a review, has founded several groups with outstanding line-ups and unique sound conceptions, and performs live from solo up to orchestra size. (…) Collaborations with well known fellow artists such as Joey Baron, Tom Cora, Joe Bowie, Hank Roberts, Han Bennink, Joëlle Léandre, Jon Rose, Oliver Mtukudzi, Stewart Sukuma, Malangatana, Shih-Yang Lee, Rabito Arimoto, Sakaki Mango, Akemi Takeya, Marta Binneti, Mookwon Kim, Ewald Oberleitner, Gabriele Mirabassi, Franz Hautzinger, Hope Masike, Josef Haslinger or Henning Mankell – to name but a few.” https://www.ear-x-eye.info http://www.youtube.com/user/wpntgm/videos
Trio Fred Marty, Xavier Mussat & Kecap Tuyul
Trio inédit de 3 improvisateurs ayant déjà joué ensemble dans d’autres contextes
Since their beginnings in February 2018, M.A.K.T. Sono (Magali Albespy and Kecap Tuyul) have been experimenting with different set-ups and ways of playing. Amongst them, they like to play both on the same instruments / set-ups in the same time. It’s what they did on ‘UNK.0, an improvisation played on a no-input mixer. The other tracks of this EP are electronic compositions by Kecap Tuyul and Doedelzak using this improvisation as only sound material.
Face à face, épisode 2, saison 1, the new album of Ayato is the 2nd part of a cut-up recomposition series recorded and mixed at La Ferme Là, Olivet, France between 2015 and 2017. It consists of playing in real time two tapes with two different multitrack recorders, which gives 4 stereo sounds side A in normal play and side B in reverse added to others sounds played depending on which way the wind is blowing with the others devices. Some Loops have been created during the mixing process. Cassettes are from private collection, gifts, prepared and found tapes, archives…
Click on the picture to visit the download page on archive.org
Mercredi 8 mai 2019
Tiasci, 13 rue de l’Acqueduc (porte vitrée)
75010 Paris
20H ouverture des portes
20H30 premier set
5 €
Dans le cadre d’une série mensuelle associant concerts de musiques improvisée/expérimentale et performances “autres”. L’événement sur facebook
Microfusion
Conte d’avant-garde rétro-futuriste au suspens doux et aux angoisses relaxante
Paul Kauffman – voix, boucles et basse allongée
Bruno Gattegno – voix, boucles et kaos pad
“Au bord de sa cabine le capitaine divaguait. De lents mouvement sourds ajoutaient à son silence des odeurs métalliques …”
Premier album
Florence Artur & Kecap Tuyul (performance vidéosonore)
Dans cette performance audio-visuelle, la principale source sonore provient des interférences que le dispositif de Florence Artur (peinture et vidéo numériques travaillées en direct) produisent sur les micros de Kecap Tuyul, sons retraités par une table de mixage configurée de manière peu orthodoxe.
Les deux artistes exploitent également les artefacts et comportements imprévisibles de leurs outils respectifs. Ils donnent ainsi naissance à un dispositif hybride permettant d’expérimenter plusieurs formes de rétroaction entre machines, entre humain et machine, vidéo et son – autant de relations invitant à rechercher diverses stratégies d’improvisation et modes d’interaction.
Video teaser :
Une vidéo plus ancienne de Florence Artur utilisant un morceau de Failure Circle (un projet solo de Kecap Tuyul)
visuel de l’événement tiré d’une vidéo de Florence Artur
Eg0cide Productions 