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nnjzz · 1 month ago

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CAROLE RIEUSSEC + ABYSMO + ROSE FELICITY + WYSOCKA & FEDEREA

20:00 PORTES 20:45 ACTION ! OLYMPIC CAFÉ 20 rue Léon 75018 M° Château Rouge

P.A.F. 6€

CAROLE RIEUSSEC fr Artiste sonore active depuis 1986 : elle compose et improvise avec " les voix, les sons électroniques, les silences et les rythmiques du monde."

Suite à la rencontre, en 1990, avec Jean-Kristoff Camps ( " croisé " dans un septet de platine tourne-disque, Les Arènes du Vinyle ), un excellent duo électroacoustique est né, KRISTOFF K.ROLL, toujours en activité..

Sur scène elle manie machines, sets de microphones, matières brutes et objets de la vie quotidienne. Formée au détournement, elle transforme haut-parleurs et microphones en instruments de musique, en travaillant particulièrement la relation du son à l’espace.

" J’aime activer l’improbable dans mes performances, j’aime l’usage de masques. La voix est l’un de mes matériaux privilégiés, à travers elle, j’imagine des objets qui naviguent entre poésie, philosophie, radiophonie. "

Plusieurs projets collaboratifs avec entre autres, Anne-Julie Rollet et Christophe Cardoen, Anne Laure Pigache, Chantal Dumas, Elena Biserna, Jean Michel Espitallier, la compagnie Exit, Carol Sansour, Enna Chaton, Sophie Agnel, Daunik Lazro...

En 2004, avec le poète Anne-James Chaton, le guitariste Didier Aschour, la plasticienne Enna Chaton, l’artiste transdisciplinaire Frédéric Dumond et toujours avec Jean-Kristoff Camps, elle co-fonde le festival Sonorités, qui au croisement des musiques électroniques et électroacoustiques, propose chaque année son édition, au mois d'octobre, en explorant les affinités susceptibles d'exister entre les musiciens et les écrivains.

Depuis 1998 elle est aussi membre du comité de rédaction de « Revue et Corrigée » (" surface écrite des pratiques sonores expérimentales " - dont la version papier paraît à une fréquence trimestrielle), et depuis 2012 elle en développe en parallèle une " net rubrique audio " dédiée au genre, à l’expérimentation artistique et à son récit : « wi watt’heure” ( en collaboration avec Elena Biserna depuis 2018).

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ABYSMO fr " Mealbient, hypnagogic dance music " " Composé de Nonmei9227 et de C Folle, le duo crée de la musique visqueuse inspirée des parcs à thème, des marécages et états hypnagogiques au travers de synthèses de vocalisation et de patterns flasques."

ROSE FELICITY fr " Montages de souvenirs et d’histoires venant tout droit de la plage de l’amour sexy. "

Une pop électronique et minimaliste, bricolée maison, fragile, hybride, toute en tension, suspense, et mélancolie, tantôt bancale et claudiquant, avec ses récits non-linéaires nimbés d'un insondable mystère, tantôt lévitant, voire s'excitant dans des envolées lyriques d'une joie aussi intense qu'éphémère.

Bribes de mélodies, sons concrets, nappes vaporeuses et, pourquoi pas, quelques glitches grinçant, se glissant ça et là, savamment saupoudrant la mixture, et cette voix qui susurre, en nous guidant ( ou nous égarant ) dans une traversée hallucinée à travers un univers cotonneux, onirique et capiteux.

NB / Une petite foule de réminiscences des choses cinématographiques ou sonores que m'évoquent, par moments, ces tracks beaux et fragiles, se bouscule dans ma tête mais je préfère les garder pour moi ( par-devers moi ) de peur de trop imposer leur écrasantes présences. Chacun son trip.

Pas de lien public qui tienne pour le moment. WYSOCKA & FEDEREA ar / pl Le duo poursuit son projet sonore initié depuis l'année dernière, fusionnant des approches distinctes mais complémentaires. Emilia, artiste et scientifique, manipule des tables de mixage sans entrée (no-input mixing boards) pour générer des sons avec des tensions amplifiées et des résonances fugaces, se déployant à la frontière entre structure et chaos, en écho des systèmes complexes qu'elle explore à travers ses recherches scientifiques. De son côté, Federea, musicien et compositeur, s'engage dans une quête sonore multidimensionnelle où se mêlent acoustique, électronique et numérique. Avec une approche à la fois hétérodoxe et fluide, il tisse des atmosphères mouvantes en intégrant pianos, électroacoustique, voix et instruments venus d'ailleurs. Ensemble, ils façonnent des expériences sonores immersives, jouant sur l'inattendu et la transformation constante, dans une alchimie où douceur et frénésie se rejoignent.

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Fly - Jo L'Indien

#Youtube #Bandcamp

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micromontage · 3 months ago

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Anne-James Chaton started releasing spoken word glitch in 2001 when he was 30 years old. never too late

#post.fm

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smerzbeliever · 2 years ago

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#Spotify

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achtkant · 5 years ago

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Alva Noto & Anne-James Chaton, Alphabet, 2019 —

Berlin, next Wednesday I will play two DJ sets at the release of ‘Alphabet’ at Trauma Bar und Kino – say hi!

#Alva Noto #Anne-James Chaton

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marcogiovenale · 1 year ago

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da oggi, 13 ottobre, a villa medici: "storie di pietra. sulle tracce di roger caillois"

VILLA MEDICI / Académie de France à Rome Viale della Trinità dei Monti, 1 Mostra STORIE DI PIETRA Sulle tracce di Roger Caillois Da oggi, 13 ottobre 2023, fino al 14 gennaio 2024 Curatori: Jean de Loisy e Sam Stourdzé Compagne delle nostre fantasticherie, le pietre, più antiche della vita, hanno esercitato sugli esseri umani un fascino di cui ognuno di noi condivide l’esperienza: una raccolta,…

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lflip · 5 years ago

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(NOTON)

#SoundCloud #music #NOTON #alva noto #anne-james chaton #alphabet #noton

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dustedmagazine · 6 years ago

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Dust, Volume 4, Number 8

Sad Baxter

For the latest installment in our often-monthly roundup of shorter reviews, we've got an elusively rare CDR, a brief discussion of "Mallcore," the merging of Arabic tones with a free jazz style of performance, and some lovely, understated Aussie songwriting. Contributors include Bill Meyer, Jonathan Shaw, Jennifer Kelly, and Justin Cober-Lake

Anne-James Chaton/Andy Moor —Tout Ce Que Je Sais (Unsounds)

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Tout Ce Que Je Sais (All That I Know) is the fourth cohesive recording project by vocalist Anne-James Chaton and guitarist Andy Moor, and the second under their Heretics project. Sonically, it comes full circle to the strengths of their marvelous debut, Le Journaliste. Stripped back to what the two men can do live, certain strengths come to the fore. Moor’s guitar playing, an amalgam of chugging riffs, melodic permutations and those emotion-overloading near-explosions that have been his gift to the Ex for decades, is simply fantastic. You could just listen him do his stuff and the only thing you’d be missing is the way he shadows, underlines and propels the stark unfuckwithable authority of Chaton’s delivery. The Frenchman sounds undeniable reading the contents of his wallet, but the contents here — Francophone texts borrowed from or written about heretical figures that have endorsed the idea of undoing something — can’t help but add gravity to the music. Simultaneously freewheeling and unmovable, no matter what you’ve been listening to lately, this is one record that you really ought to know.

Bill Meyer

Neon Tiger—Accessorize (Bogus Collective)

Accessorize by Neon Tiger

Mallcore is a thing, it seems, so much so that multiple, competing subgenres lay claim to the label. One doesn’t know whether to laugh or weep. Neon Tiger’s recent EP sure doesn’t clarify anything. A few of the tracks scan as celebratory invocations of the climate-controlled corporate space of the late-twentieth century shopping mall, and the various consumer pleasures to be had therein. A few tunes feature weirdly distorted baritone vocals (including “Waiting in Line,” which turns out to be a couple sections of Tina Turner’s “What’s Love Got to Do with It?” chopped up and slowed down a cycle or three; perversely, it’s compelling listening). The distortion misshapes the vocals discomfitingly enough to suggest a measure of critical distance from all the logos and fluorescent lighting and foodcourt linoleum. But it’s hard to say for sure what attitude Neon Tiger takes toward its subject matter. In that way, the EP is a perfect postmodern object—mystifying surfaces, ambivalent values, with only the commodity form as a legible presence.

Jonathan Shaw

Luke Stewart—Works for Upright Bass and Amplifier (Astral Spirits)

Works for Upright Bass and Amplifier by Luke Stewart

There was a time when you had an excuse to not know who Luke Stewart was if you were not hip to Washington, DC’s jazz scene. Given his membership in the fiery improvising-for-justice quintet Irreversible Entanglements, that time is coming to an end. But that’s only one rock on a veritable heap of live-performance and community-building work that dwarfs his still-slender discography (debut efforts by Heart of the Ghost, Heroes are Gang Leaders, Mean Crow, Trio OOO). To that you can add the 31-year-old bassist’s solo cassette. Rather typically, his voice on his instrument is strong, but it does not speak alone. First comes a burrowing feedback tone, which morphs and recurs throughout the nearly half-hour long first piece as if to say that even when you’re alone, you’re not alone. Sometimes Stewart uses that continuous presence as a springboard for knotted, bursting figures; others he lets the amplification add a red, ragged glow to sprinting pizzicato forays. Turns out that the upright bass and amplifier make good company when Stewart’s giving out the working orders.

Bill Meyer

Leo Mullins—Being Here Is Everything (Self-Released)

Being Here is Everything by Leo Mullins

Leo Mullins, an Australian songwriter also affiliated with the Small Knives, makes a low-key but excellent folk-tinged full-length here, with shimmering spiderwebs of acoustic picking and soft shadowy melodies. “Weight of the World,” with its quietly gorgeous harmonies, is maybe the pick of the litter; it is melancholic and uplifting at once, and the guitar cuts through shifting vocal textures with a clean, sure resonance. Mullins brings in Amy Galloway and Kirti Mills to add subtle, pretty embellishments to a couple of songs, the slyly percussive “This Paper Boat” cushioned and softened with dual vocals at the chorus (that’s Mills), the drone-y mysteries of “Linger On” enhanced with Galloway’s wavery unisons (she also sings on the very lovely “Weight of the World"). This latter cut is one of two to feature Mick Turner of the Dirty Three on guitar. He bows his instrument on “Linger On,” adding to the VU-ish mesh of tones and undertones that flicker through that cut. “Let the Light In” also bears his imprint, though unassumingly, in the glittering lattices of picked acoustic that are hemmed in with bells. The songs take shape slowly out of mists and aura and tone, shiver like rainbows for a little while and then subside into the air, all the prettier for their evanescence.

Jennifer Kelly

Finn Loxbo—Eter (Gikt)

Apparently Finn Loxbo is a restless sort. The Swedish musician has played punky electric bass in the jazz trio Doglife, navigated his electric guitar through the busy traffic of the Mats Gustafsson’s Fire Orchestra and recorded an album of pensive folk-rock for Kning. Now comes a solo CD, the first release by the Stockholm-based Gikt label, comprising solo improvisations on the steel-stringed acoustic guitar. Is this the real Finn? Probably not, anymore than any one good thing you do sums up the real you. But he’s pretty good at it, and it concentrates talents he’s likely developed in his other endeavors. Loxbo seems to have prepared his instruments strings and mic-ed them closely, yielding gamelan-like sonorities on one piece, Derek Bailey meets razor wire fence sound-spikes on another and soft abrasions on a third. Each of the album’s seven tracks proceeds with a lucidity that suggests his songwriter’s mind does not shut off when he puts away the vocal microphone. File this with the work of Bailey, David Stackenäs, and Norberto Lobo, but don’t just file it away.

Bill Meyer

Mutilation Rites—Chasm (Gilead Media)

Chasm by Mutilation Rites

This record completes Mutilation Rites’ transformation from a black metal band flirting with death metal, to a death metal band that sometimes plays black metal riffs. When Mutilation Rites began dallying with deathy rhythms and chunky chords on Harbinger (2014), it was worrying stuff: it suggested a band flailing for a sense of identity, and the resulting record was uneven, at best. Mutilation Rites’ more significant commitment to death metal on Chasm turns out to be an enlivening move (pun intended, hardy-fucking-har). This sort of music isn’t supposed to be fun, but on Chasm the band sounds loose and confident, like they’re enjoying themselves. Maybe that’s partially due to their decision to cut the tracks for the record at Brooklyn’s Saint Vitus, a venue the band plays regularly. In any case, Chasm is a good record, and folks who really loved Mutilation Rites’ first few EPs needn’t fret: “Putrid Decomposition,” the longest track on the album and ironically the one with the most death metal title, has the fleet, jagged riffing that captures the band at their blackest.

Jonathan Shaw

Shelton/Mofjell—Uncovered short run CDR (Singlespeed)

Uncovered by Shelton Mofjell

Ole Mofjell kicks off Uncovered with a blast of force. Unrelenting but texturally varied, it makes this clear; you’re not in for an easy ride. In short order Aram Shelton joins him, blowing so hard and low that you might ask, “who’s the tenor player?” Ride the wave into the next track and the pitch territory moves upward, and then the question changes to, “how does he make an alto sound like that?” Time and experience have darkened and deepened Shelton’s instrumental voice, which has shed the diamond brightness that he wielded in various Chicago-based ensembles in the earliest years of the century. But his fluency has increased, and there’s no better place to hear it than in the company of a drummer like Mofjell. Each player shifts tone and tack in a second, using silence as well as motion to give the other room to take deep dives into the complexity of interactions with their instruments and each other. Caveat — the physical edition of this album is a pressing of 100 professionally duplicated discs that you might only be able to get by attending one of Shelton’s concerts or contacting him directly via his webpage or the Singlespeed site. But if you’re not into keeping the international postage racket afloat, there’s always Bandcamp!

Bill Meyer

Sad Baxter—So Happy (Cold Lunch)

So Happy by Sad Baxter

Sad Baxter’s “Sick-Outt” does the mid-1990s ramp up from relatively quiet, melodic verse to screaming, crashing, unhinged chorus in a way that few bands even attempt these days, and if you’re thinking Hole, that’s because Deezy Violet’s a girl. The real reference is Nirvana, here and in the slow building guitar-and-cymbals firestorm that is “Wash,” a transformation from clamped down palm-muted tension to full on feedback fused noise. Violet’s partner in all this, Alex Mojaverian, builds a bristling, shivering dissonant wall of percussion and amp buzz around a voice that snakes around curvy melodies like the Muffs’ Kim Shattuck or, more recently, Speedy Ortiz’s Sadie Dupuis. Sweetness and melody lurk in the intervals between bursts of splintering noise, hooking a finger to lure you in for the kill.

Jennifer Kelly

Manas—Live At (Null Zone)

Live At by MANAS

This cassette, which was recorded last summer at Fresh Produce Records in Macon GA, drives home a point that’s never exactly been a secret. These guys are punks. Guitarist Tashi Dorji may have been raised in Bhutan and he and drummer Thom Nguyen may operate within the realm of freely improvised music, but they're writing their own rule book. This half-hour performance rolls, slashes and rumbles in some pretty rocking ways; they play with an improvisers’ faith that their music will create its own form, but also with an abandon that suggests they really don’t care if someone doesn’t get it; they sound really loud; and out of all the places where they could have made a record, they picked a shop that (per photographic evidence sourced from a Yelp review) puts all four Kiss solo LPs on the wall. That’s plenty punk enough! Sobering up for a second, the music on this tape evinces more nuance and space than other Manas recordings, and sports their clearest recording quality to date. Rock on.

Bill Meyer

Gordon Grdina's The Marrow—Ejdeha (Songlines)

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Gordon Grdina's been merging his jazz-based guitar work and his oud studies for a decade and a half now, finding his way into Middle Eastern traditions while integrating his own voice. With his Marrow quartet, he's expanded the strangeness of what he does by opening space for bassist Mark Helias and cellist Hank Roberts, each of whom toy with the function and sound of their own instruments on new album Ejdeha. “Idiolect” lets each of the three musicians shine (percussionist Hamin Honari mostly stays steady here) while revealing Grdina's gift for composition. The track ebbs and flows, trading melodies and shifting intensity across its eight minutes before its surprising end. The piece relies on Arabic tones, but feels like a free jazz approach to performance, the sort of blend that Grdina can deliver in a way that's both comfortable and alien. “Ejdeha” pulses in a different way, its heavy beat thumping through as the quartet finds an unlikely groove. Grdina and his bandmates have figured out how to keep a grounding in various traditions while still sounding surprising.

Justin Cober-Lake

#dusted magazine #dust #anne-james chaton #andy moor #neon tiger #luke stewart #leo mullins #finn loxbo #mutilation rites #aram shelton #ole mofjell #manas #gordon grdina #bill meyer #jonathan shaw #jennifer kelly #justin cober-lake

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thepassengertimes · 7 years ago

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Music & Visions

a cura di clanMC: selezione musicale – Stefano Santoni, selezione progetto visuale – Nicoletta Lolli

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translator on the right side traductor en el lado derecho traducteur à droite

HERETICS – “Dull Jack” Molti sono stati i personaggi storici che sono stati considerati come eretici, soprattutto dalla chiesa cattolica. Spesso e volentieri erano studiosi, intellettuali con l’unica colpa di farsi domande e di voler allontanarsi radicalmente dalle ideologie ufficialmente accettate. Gran parte di loro sono stati perseguitati, oltraggiati o addirittura giustiziati dal potere costituito, in ragione delle loro idee troppo scomode. Le loro ricerche sono state ignorate, derise o addirittura sminuite ad arte affinché risultassero palesemente false. Solo a distanza di anni, se non addirittura secoli, il lavoro di questi “eretici” che hanno avuto il coraggio di contrapporsi alle verità del sapere ufficiale, è stato rivalutato, anche se questo è successo non per tutti e solo in maniera parziale. Sviluppare un tema così controverso ha intrigato così tanto il poeta-vocalist francese Anne-James Chaton, da convincerlo a chiamare di nuovo il suo decennale amico e sodale Andy Moor (chitarrista dei The Ex e fondatore dell’etichetta Unsounds) e ad aggiungere la chitarra abrasiva di Thurston Moore per dare ancora più forza all’approfondimento di una serie di personaggi radicali ed eretici che hanno caratterizzato la storia recente. Testi poetici e improvvisazione sperimentale, melodia e noise si alternano, usando nelle varie tracce tutte le diverse combinazioni tra voce, chitarra ed elettroniche. Siano esse usate in solo, duo o trio, riescono perfettamente ad esplorare un tema tanto complesso e difficile quanto affascinante e oscuro. In tutto questo troviamo la splendida dimensione estetica di “Heretics”, nella combinazione tra chitarra noise-rock e spoken words in grado di creare un universo nuovo, misterioso ed estremamente complesso, capace, grazie ad un diverso livello di accessibilità, di poter conquistare nuova popolarità e nuovi (eretici) adepti.

(Stefano Santoni)

Lieko Shiga – Rasen kaigan Le immagini di Lieko Shiga sono eretiche, distanti, complesse, mitologiche . Si interroga sulla vita, sul disordine quotidiano e su come lo si possa ritrarre, su come lo strumento fotografico possa permettere all’istinto di esprimere ciò che vede e all’uomo ciò che vive. Vi è una certa intimità tra Lieko e i soggetti ritratti, hanno stabilito un rapporto intenso, così profondo che al momento dello scatto l’inesprimibile si palesa senza remore, ha il coraggio di mostrarsi e offre nuda la propria essenza. Accompagnati da queste immagini, facciamo un viaggio nella cupa oscurità delle nostre paure trasformandole in esperienza emozionale, attraversiamo scenari surreali dove

“there is no past, present or future”

il tempo si annulla, siamo nella fase del sogno consapevole, ndove nulla può essere narrato a parole, si può esprimere solo attraverso l’inevitabile scatto, che paralizza e lo pone sul rogo dell’ immaginazione, acceso dalla potentissima scintilla creativa di Lieko Shiga. (Nicoletta Lolli)

translator on the right side traductor en el lado derecho traducteur à droite

螺旋海岸 / RASEN KAIGAN “In winter 2008, I met a place called Kitagama, a village in North East part of Japan, facing pacific ocean. There 372 people with 107 houses lived in. The Rasen-Kaigan series consists of 250 pictures which were taken in this village, while I was living there as a resident photographer: documenting photographs of festivals, ceremonies, and every official activities of the village, collecting oral histories of the village to my body. These works were born with collaboration of residents in Kitagama and I. The bodies of those residents who became subject of the works, represent the all stories which are so delicate and invisible to be written as a history. Through the ritual of the shooting the photographs, their bodies unify to “the land”. On the other hand I tried to photograph, through subsuming and reflecting the ritual of shooting photographs, my body experiences and traces which are related to the land of the Kitagama.

The title “Rasen-Kaigan” means “Rasen= spiral / helical-morphology, Kaigan＝coast” in direct translation but I also meant “Past, Present, Future” with this title. In the space of photographs, there is no past, present or future: the value of the photographs swings from being treated as a paper garbage to a same value of the living human being, or more, a subject for a prayer.”.

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Music & Visions project * HERETICS / Lieko Shiga Music & Visions a cura di clanMC: selezione musicale - Stefano Santoni, selezione progetto visuale -

#Andy Moor #Anne-James Chaton #art #artist #fotograpfia #Heretics #Lieko Shiga #music #Nicoletta Lolli #photography #Rasen kaigan #serrealism #surrealismo #The Ex #Thurstone Moore #vision #visuale

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