Messages

1

SELF PROMOTION / v4w.enko+d'incise - AM.P.E.REM.EC (LP)

« on: September 23, 2012, 08:16:45 am »

v4w.enko + d'incise
AM.P.E.REM.EC
LP, 6 tracks, 37min, released with Everestrecords.

Details, preview & order http://www.dincise.net/LP.html

V4w.enko and d’incise collaboration is a pure product of the internet generation, they knew each others music far before getting really in touch. They’ve been both very present on the netaudio scene during the past years. They created this album, then later meet and played some concerts in Switzerland developing a different way, more based in improvisation, to generate their music. So the album is definitely home music, a fine tuning of ambient, glitches, electroacoustic, soft hisses and a slight touch of fragmented electronica.
Their music is about duality, of spaces, languages, focal points, always so close but never totally in contact.
The sounds are built from a contrasted proposition between automatic processing, algorithmic synthesis, cold demonstration of theories that are suddenly getting sensitive by a context of stochastic, organic, human mind related layers of acoustic sounds and underlines of delicate noises.
Thing happens separately and simultaniously, never in conflict, none having more value than the other, till reaching the point where the melt into one music.

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SELF PROMOTION / Re: d'incise "prairie" [Observatory, 2cdr, obs038]

« on: August 24, 2012, 07:20:37 am »

some carefull analysis by Richard Pinnell here: http://www.thewatchfulear.com/?p=7653

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SELF PROMOTION / Re: d'incise "prairie" [Observatory, 2cdr, obs038]

« on: August 17, 2012, 05:30:07 am »

by Kenneth K. http://www.damned-by-light.com/reviews/653.html
It’s a shame, don’t you think?
There’s only so much you can write about an ambient drone release.
A damn shame indeed.
At my hand I have an ultra ambitious display of audial artistry, but words are not ample to describe what you hear. The slow, stasis like, progression might be moving though you hardly notice it. Atmospheres evolve but you can’t really grasp it without skipping forward every now and then. The whole crawls over you like resonating air.
It’s a shiver down your spine or a menacing figure just outside your view.
D’incise practically uses every trick in the book. We have pulsating sounds, on-site recordings, crackles, sparkles and resonance. Distortion and manipulations.
Some parts are closer to noise than ambient but everything is tainted by a minimalist aura.
This is the definitive soundtrack to meditation … or that really, really bad hangover.
I really cannot suggest you listen to this if you wan’t to dance, or need need that uplifting summer hit. If that’s your game, check out MTV, this is art!
Whit all this said, I refuse to rate this release. The whole concept of a numeral value for a piece such as this is unfair and demeaning. This is a sonic equivalent of a painting. A painting that could be displayed inside the very halls of any major modern art museum.
What I can say to summarize everything is that not everyone will enjoy this.
That’s just the way it is. Other people like expressive art while some enjoy the abstract.
The fortunate few that do enjoy Prairie, they win!
x / 10

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SELF PROMOTION / Re: d'incise "prairie" [Observatory, 2cdr, obs038]

« on: August 14, 2012, 02:35:55 pm »

a review from http://thefieldreporter.wordpress.com/2012/08/13/171/
The genre of drone music has found a powerful voice in Swiss composer D’incise. During the past decade he has worked on several releases that have pushed this hypnotic medium into new territories. The latest release from d’incise, “Prairie”, continues this exploration of the minimal, stretching field recordings of various objects beyond their original forms, transforming them into unrecognisable sounds with their own tonal and emotional resonance.
“Prairie” is a four-track release split over 2-cds. Each track is quite lengthy, ranging from twenty-five minutes to one hour. Over the duration of three hours the listener is presented with subtle layers of sound that slowly weave around each other in a darkly atmospheric way. One of the pleasures of “Prairie” is listening beneath the swirl of drones, where a plethora of minute sounds is revealed.
“Prairie” demonstrates a highly creative process behind each track. “What’s wrong with a cowboy in Hamburg” features the harmonic vibrations of a drum skin, whilst “Amplification of a number of points supposedly worthless” features the magnification of quiet moments at a number of concerts. Recordings of nails, plastic boxes, feedback, and domestic sounds are also included to add depth to the tracks.
As with most forms of drone music the compositions sit comfortably in the background, the subtly layered tones fading in and out of the listener’s consciousness. However listening attentively through headphones provides a much more rewarding experience. D’incise knows how to use stereophonic effects to their fullest potential, with miniscule crackles and bleeps moving steadily between one ear and the other. It is through this act of listening that we realize the multi-layered complexity that exists in his work. Drone music, often accused of being too simplistic or monotonous, is shown in “Prairie” to be a highly elaborate construction. A sense of tension exists in “Prairie”, as the listener’s attention is manipulated between the background and foreground of the compositional elements.
In modern musical discourse drone music is often reduced to the label of “stoner rock”, yet this terminology shows a disregard to its historical lineage and present day intent. Drones can be traced back thousands of years to the mesmeric sound of the Australian Aboriginal didgeridoo, and in the religious music of medieval European music. As with contemporary drone music these ancient cultures utilised dense and slowly evolving harmonies to subconsciously still the listener’s sense of time, enabling us to leave the external world and travel inwards. This approach is in opposition to today’s modern music that relies upon fast editing, big beats and anthemic build-ups; a point alluded to by d’incise in his liner notes stating “when it gets boring it becomes interesting”.
“Prairie” can be played as both an ambient record or as something to be listened to much more attentively. My suggestion is to put on a pair of headphones, turn off the lights and allow yourself to be moved by the deeply meditative tones of d’incise.

and from Brian Olewnick http://olewnick.blogspot.de/2012/07/300-basses-sei-ritornelli-potlatch-i.html
Swiss-based Peter Laurent (d'incise) offers four lengthy works on this double-disc set, centered around drones and the audible elevation of small sounds. These range from vibrating drum skins to the amplification of "quiet parts" from past concerts (an idea I rather like). This latter is my favorite piece here, yielding a varied rnge of not-overtly-related sounds and textures that possess a very full feeling, elements jostling around in space, buffeting each other, sliding past one another, chaotic but of a whole. In the notes tot he release, he writes, "When it gets boring it becomes interesting" and d'incise abuts that subjective divide now and then. All the tracks are listenable though at times, my attention wandered,which is perhaps fine. I'm guessing that they'd function quite well as traditional (that is, Eno-oriented) ambient music in the sense of subtly causing one to think differently. Hard to say. Listening to the final piece, assembled from "feedbacks, open piano, magnetic glitches, pre-amps, laptop and house noises", one realizes that there's a hell of a lot occurring beneath the apparently simple hum though attempting to focus on it, like looking directly at a faint star in the night sky, often causes the cohesion to disappear. Very interesting work, especially the second disc. Worth checking out for those inclined in this direction.

5

SELF PROMOTION / d'incise "prairie" [Observatory, 2cdr, obs038]

« on: June 20, 2012, 09:56:56 am »

d'incise "prairie"
double cdr, 4 long minimalist-electroacoustic pieces on Observatory label.
http://abser1.narod2.ru/releases/obs_038/
I have some copies directly available [13chf, w.ship.incl.]
here, http://www.insubordinations.net/shop.html

disc1.1. what's wrong with a cowboy in Hamburg ?                             
disc1.2. éclats banquise                                                        
disc2.1. amplification of a number of points supposedly worthless
disc2.2. c'est ces choses là que nous enterrons

1.1 bassdrum, feedbacks [various vibrating/harmonic states of a drumskin], "what's wrong with a cowboy in Hamburg ?" (in "Der Amerikanische Freund", Wim Wenders, 1977). 1.2 vinyls, nails, plastic box, pick-up parasits and feedback [from moving mono to static stereo, orginally composed for a performance with Violetta Perra], "splinters floe" might be a poor translation. 2.1 many concerts recordings in various large spaces [amplification of the "silent parts"], I shall here thank all the friends and musicians one can hear fragments on this piece. 2.2 feedbacks, open piano, magnetic glitches, pre-amps, laptop and house noises, "c'est ces choses là que nous enterrons" (from a french translation of "O Esplendor de Portugal", Antonion Lobo Natunes, 1997, or perhaps from "A Ordem Natural das Coisas", 1992, not quite sure now), something like "it is these things that we bury".

When it gets boring it becomes interesting. (How far can one go with a very simple idea ?) Is there a point in time where the boredom mutate to something else ? (Not physchedelia, just new mechanisms). Mettre deux choses en regard. (The most so-called non-expressive is it still expressive somehow?) (I'm listen Sun Ra while writting this..."so the nothing and the air and the water and the fire are really the same --- upon different degrees"). I love this state of almost nothing happening, but in constant way, just like it looks almost immobile but not, like the continental drifting, (things take shapes "upon different degrees"). Is all of this an allegorie of myself ? (it sounds damn romantic then). "Of course it won't work. So what?" (from the english subtitles for "Angst essen Seele auf", Rainer Werner Fassbinder, 1974).

http://www.dincise.net/

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SELF PROMOTION / [insubcd04] INSUB META ORCHESTRA archive #1

« on: May 24, 2012, 03:33:10 pm »

We're very happy to announce the release of our 4th cd,
INSUB META ORCHESTRA archive #1 [insubcd04]

a gathering of 40 improvisors, a work of details, restraint, variable densities, breathes, drones, basses...
Antoine Läng mouth - Brice Catherin cello - Brooks Giger doublebass - Christian Müller contrabass clarinet - Christophe Berthet saxophone, conduction n°2 - Christoph Schiller spinet, conduction n°1 - Cyril Bondi floor tom, cymbal - d’incise objects, conduction n°3 - Denis Beuret trombone - Dragos Tara doublebass - Edmée Fleury voice - Eric Ruffing theremin, analog electronics - Fabrice Pittet ac. guitar, voice, perc. - Filippo Provenzale percussions - Frédéric Minner elec. bass - Florence Melnotte keyboard - Ganesh Geymeier saxophone - Gianluca Ruggeri function generator - G! ! érald Zbinden! ac.& elec. guitars - Guy Bettini trumpet - Hannah Marshall cello - Heike Fiedler voice - Igor Cubrilovic acoustic resonator guitar - Ivan Verda elec. guitar, buzuki - Jamasp Jhabvala violin - Jonas Kocher accordion - Loïc Grobéty piano strings elec. bass - Marcel Chagrin elec. guitar - Nicolas Raufaste ac. guitar - Olga Kokcharova typewriter, voice - Patricia Bosshard violin, conduction n°5 - Phonotopy tennis raquet - Raphaël Ortis elec. bass - Richard Jean elec. guitar - Rodolphe Loubatière percussions, conduction n°4 - Simon Berz d.i.y. instruments, electronic - Steve Buchanan saxo! phone, elec! . g! uitar - ! Thierry Simonot electronics - Thomas Peter laptop - Vinz Vonlanthen elec. guitar, banjo

the free mp3 & flac, and the cd edition:
http://www.insubordinations.net/releasescd04.html

INSUB META ORCHESTRA
The IMO is a very large improvisors ensemble, founded in september 2010, It usually gather about 35 musicians per concert, from all switzerland and beyond.
From the, expected, mess of the first concerts emerged a collective consciousness and involvement from the impressive number of musicians included in this ambitious projet. After a year - and 7 concerts - 40 of them met during 3 day during the 2011 summer, marking a sensitive step in the orchestra progression. Working deeply a certain amount of pieces - concepts and conductions - appeared a new sound quality, a opening of the space, a fragility of the volume, a more electroacoustique, minimal, "concrète" direction. The orchestra started to think as an an emsemble, with multiple components but looking to projec! t ! a unique/co! mmon sound, to look for details, restr! aint, variable densities, breathes, drones, subbasses...
The alternation of "free" and "conducted" improvisation was from the begining a manner to test various pathes of collective operation. If this first record - first archive - contain mainly conducted pieces it's because at one time they were crucial about etablishing a common background into the orchestra, it resulted a definitive strenght allowing us now to play autonomously with far much accuracy.
The IMO, whom will have done 16 concerts more at the end of its second season, became, beyond the manifest gathering, a solid group and a experience open on an exciting future.

***
In a (very) short futur be ready for two releases, by Trigger (Chris Heenan, Matthias Müller, Nils Ostendorf) and Cyril Bondi & Phonotopy.

***



***
INSUBORDINATIONS netlabel
http://www.insubordinations.net

***

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SELF PROMOTION / Re: IHab041 d'incise "The fields remain while the recorder has long vanished"

« on: May 11, 2012, 01:25:32 pm »

and another one, from the same lovely blog,
http://thefieldreporter.wordpress.com/2012/05/05/118/

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SELF PROMOTION / Re: IHab041 d'incise "The fields remain while the recorder has long vanished"

« on: April 07, 2012, 04:19:48 pm »

some kind words,
http://thefieldreporter.wordpress.com/2012/03/26/93/

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SELF PROMOTION / Honoré Feraille “au sud,”

« on: April 07, 2012, 04:18:46 pm »

Honoré Feraille is another new artist moniker for Geneva, Switzerland based experimental noise artist Laurent Peter. He records under a collection of different aliases and through several different projects including Diatribes, Heu{s-k}ach, Karst and perhaps the more familiar solo production pseudonym D’incise.

The first official excursion for this new project from an already well established artist is Au Sud, presented here on Audio Gourmet.
Here, the work of Honoré Feraille delves through the sorts of deep, dark and dense drone tapestries that have won the artist so much acclaim via the likes of D’Incise and his other collaborative projects.
As you would expect, the detail and sounds that comprise Au Sud, are meticulously constructed and unfurl carefully over the short duration of this two piece EP. Little more is specified as the artist allows the sounds to wander without purpose, free from order, structure and design

flac & mp3 on audiogourmet netlabel
http://music.audiogourmet.co.uk/album/au-sud
http://www.dincise.net/

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SELF PROMOTION / IHab041 d'incise "The fields remain while the recorder has long vanished"

« on: March 15, 2012, 01:42:54 pm »

07-2010[.....................................................................
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bloody preamps, no windshields, fuck, hours feet in the
water, for almost nothing, time passed, I'm long gone, the
fields remain.

d'incise
"The fields remain while the recorder has long vanished"

http://impulsivehabitat.com/releases/ihab041.htm
.flac & .mp3

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SELF PROMOTION / [insub.dlt01.cd] PLAISTOW Lacrimosa

« on: February 25, 2012, 06:17:58 pm »

[insub.dlt01.cd] PLAISTOW Lacrimosa

Two 20 minutes heavy post-jazz tracks, hypnothic and strong, introducing the new Insub Delta serie.

Cyril Bondi: drums
Raphaël Ortis: bass
Johann Bourquenez: piano

Free download (mp3, flac wave 88.2/24) and cd edition.

http://www.insubordinations.net/releasesdlt01.html

***

PLAISTOW:
Baptisés du nom d'un titre de Squarepusher, les trois jeunes musiciens franco-suisses jouent une musique indéfinissable. On croit tenir du jazz et ça dérape semi-électro. On accroche une mélodie et voilà qu'ils la déjouent dans de grands éclats métalliques. Un côté rock, un autre qui penche vers le minimalisme de Steve Reich et, au milieu, un groupe scénique singulier qui travaille, joue, cherche, creuse depuis cinq ans dans une terre encore vierge. Une découverte, une vraie.

“...Comme s’il n’y avait pas chez Plaistow d’à priori stylistique mais une exigence permanente: une approche libertaire de la musique associée à une esthétique de la profondeur, voire de la gravité.”
Denis Desassis, CitizenJazz


***

PLAISTOW:
Named after a song of Squarepusher, these three young musicians of French and Swiss origin play a music style which is hard to define. Thinking one is listening to jazz, the music suddenly mutates into semi-electro. One just managed to filter out a melody when it disintegrates into coarse, metalic splitters. Rock on the one side, on the other minimalism à la Steve Reich, and in the midst an highly willful trio which has been plugging and playing away in virgin soil the last five years: a genuine discovery.

“The music by the Swiss band Plaistow is often dubbed “post jazz”. However, what Plaistow actually does often defies genre definitions and could be anything from minimalism to improvisation.”
Vladimir Kozlov, The Moscow News

***

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SELF PROMOTION / Re: [insubcdr11] D'INCISE/HENNIG/KOCHER/SCISS

« on: January 25, 2012, 06:18:36 am »

thanks !

a nice review here as well,
http://www.thewatchfulear.com/?p=6591#more-6591

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SELF PROMOTION / [insubcdr11] D'INCISE/HENNIG/KOCHER/SCISS

« on: January 19, 2012, 09:22:33 am »

d'incise: objects, laptop
ludger hennig: laptop
jonas kocher: accordion
sciss: laptop

electroacoustic improv, textures in mouvement, chirugical pitches, objects versus software, a gently vibrant music.

[insubcdr11]
.mp3, .flac & limited cdr.
http://www.insubordinations.net/releasescdr11.html

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SELF PROMOTION / Re: [insubrwk02] V.A. Marées de hauteurs diverses

« on: December 18, 2011, 06:48:59 am »

de rien 
(by the way the .flac link has a bug, it's fixed now)

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SELF PROMOTION / [insubrwk02] V.A. Marées de hauteurs diverses

« on: December 14, 2011, 09:23:41 am »

[insubrwk02] V.A. Marées de hauteurs diverses

01. Blindhæð - Un fracas d'asthme, de gravier et de ferraille suintante pour Jacques Sternberg
02. Nicolas Bernier - cructacés (remix)
03. Honoré Feraille - the tide is gone on its own
04. Ludger Hennig - retro forensic version
05. Mokuhen - poisson silence, Oki
06. Francisco López - untitled#279
07. Herzog - naufrage (remix)

All tracks based on their corresponding ones from [insubcd02] Complaintes de marée basse by Diatribes & Abdul Moimême.

Insubordinations netlabel
http://www.insubordinations.net/releasesrwk02.html
in collaboration with Tsuku Tsuku Grammofon
http://tsukuboshi.wordpress.com/2011/12/13/v-a-marees-de-hauteurs-diverses/

free mp3 & flac + limited cdr edition

At the end we have in our hands a journey into electroacoustic music, colored by the acoustic and improvised energy of "complainte de marée basse". It is pretty curious to ear how each musicians used the original material with very different concerns, according to their own usual practice. Some use them as "field recording", others work with sorts of "dub" remixing technics, some turned totally the sounds into their worlds without any attempt to keep a trace of the sources. And none of this sounds wrong, but in every case establishe dialogs between the reworks and originals, showing each time another vision of the role or value of "recorded sound".