M.A.K.T. Sono ‘s new release Doozie-Doozzie consists of two improvisations recorded in November and December 2019 by Magali Albespy (analog synthesizer, soundbox, voice) & Kecap Tuyul (analog synthesizer, no-input mixer).
Half Evidence isa french free improvisation duo formed in 2012 by Charles premier & Kecap Tuyul. The 3 tracks included in their new album Tierce Opacité were recorded in november 2014 in Saint-Denis, France. In these sessions, Charles premier played several of his home-made instruments, while Kecap Tuyul used prepared guitar and voice.
Uni.Sol_ (United Artists For Well Being Of Solar System) is an “all inclusive project exploring the potential of extrasensory communication”. It was started in 2018 by Slavek Kwi (aka Artificial Memory Trace), with the purpose to “explore and implement the idea of freedom, to enhance research for extrasensory communication through art practise (and related media) and to create stimulating sensual, spiritual and aesthetic experience.”
Participants of Uni.Sol events are invited to “engage simultaneously (=in the same moment) across various time-zones in different locations (=around globe) in ABSTRACT inter-play via sound-media and similar”. But sometimes, despite of their good will, some contributors mess with the time zones. Rather than rejecting the resulting recordings and mixes, Slavek Kwi prefer to consider them as “creative misunderstandings”, which he regularily publishes in a special “Time Travel Section” of uni.Sol_. Blurmoon fall in this category : it comprises mixes of out of sync recordings by the three contributors of uni.Sol meeting of the 13 October 2019
1. Stephen Bradley : Fra Mauro
2. Slavek Kwi : Timeslides & Shortcuts pt1
3. Slavek Kwi : Timeslides & Shortcuts pt2
4. Kecap Tuyul : Splitted Moon Cake
Pictures by Slavek Kwi
Slavek Kwi’s insight on his work here : “TIMESLIDES & SHORTCUTS (BLURMOON) pt1+2 is extra-subjective (re)mix of uni.Sol_fuLLmOOn, almost random encounter in between Stephen Bradley (USA), Kecap Tuyul (France) and Slavek Kwi (Ireland), recorded Monday 13/10/2019 from 11 PM to 1 AM night in time-zone of Ireland exploring extrasensory long-distance connection (telepathy).
Within memories, time merges in mysterious ways. The observer travels through time while selecting memories through distorted lenses of interpretation and personal preferences. Time then shifts accordingly, creating parallel realities. Untrue to one timeline, true to its nature – allowing to unfold another possible chain of events. Time as constant value collapses.
This sound composition is following coincidental stream of events unfolding in between 3 (or more) interpretations, trying to respect each individual vision as much is possible and put those in panoramic display within mix. Expansive nature of subjectivity creates the paradox of absurd but complementary contradictions: blurring of initial idea on one side and simultaneously multiplying the potential of the same idea on opposite side.”
Under the Podarces pseudonym Benoît Rouits (who also plays oboe in Jukpic ) creates experimental improvised music with keyboards. Last year he made us discover one of his old works : A Frozen Journey, made in 2009 with virtual synthesizers and inspired by some writings of Philip K. Dick. We enjoyed this album a lot and although it undoubtedly stands on its own we felt its minimalist abstraction could make it a very interesting material to incorporate in new works. We made this suggestion to Benoît and some other collaborators and aquaintances who agreed and accepted to contribute remixes of what is now called “Frozen Journeys”, featuring the original tracks as well as remixes by Humanfobia, Human Koala, Nina Kardec, Anastatsia Vronski, Kecap Tuyul, Nicolas Tourney, Sig Valax, Filmy Ghost, Yann Pillas, Thomas Park, Luciftias, Doedelzak.
Click on the picture to visit the download page on archive.org :
z(xW+yV) is a solo project of Kecap Tuyul started spring 2018 while experimenting different ways to generate low volume feedback with small gear. After some tries with one contact microphone and one 1W battery-powered amplifier he developped a modular system on this basis, in order to generate not only feedback, but also feedback of feedback, and feedback of feedback of feedback (…) by chaining amps and microphones in a circular way that blurs more and more the distinction between sound source and sound’s reproduction, between acoustic musical instruments and electronic sound diffusion.
Unlike its first album 3×2(1W+18V) whose 3 pieces where mixes of 2 improvisations, Trois Prises features only raw improvisations played on more complex versions of the set-up (with 3 or 4 amplifiers). Track 1 & 3 contain no edits, track 2 was edited from a longer improvisation.