#olivier lamm

[one-additional-time]

Daft Punk in Chronic'art 2007/2008 - scans & translated interview

Here it is, the long-awaited monster interview that sat untouched on my bookshelf for 6 years. I bought this magazine on eBay in 2017, fresh off the Grammys performance with The Weeknd, and I was really excited when I realized it was a huge 10 page spread... Until I started translating and realized the content was extremely in-depth and complicated. So, it got put to the side and accidentally left there for many years.

Anyway, here we go. Buckle in for a long read! Please note that I did not translate the extra sections of the article titled "Discovered" and "Very Disco" as these are just basic information about DP's discography and samples they've used- they are not part of the interview.

My usual disclaimer- I am not French, nor am I fluent in French, so some of this may be incorrect or interpreted differently than the author intended. If you find any glaring errors, my ask box is open for feedback and I can update the post/files as needed. (Post updated May 2023 with corrections)

Feel free to repost to other platforms/social media sites, but I humbly beg that you link back here or give me credit because I really spent a lot of time slaving over this (like 50+ hours).

Thank you so much for sticking around my blog after so many years. I really appreciate this fandom and community and I'm excited to experience new music with you all soon!

(Trigger warning for discussion of suicide [Electroma] in the interview!)

Download full scans and translation at my Dropbox.

Full translation below the cut.

In ten years, from Homework in 1997 to Alive 2007 and Electroma, the electro duo Daft Punk have popularized electronic music, launched fads (the French Touch, filtered house, monumental live shows), and transformed a simple music project into a verifiable universal, even metaphysical, concept. Are Daft Punk dropping the helmets?

BY: WILFRIED PARIS & OLIVIER LAMM | PHOTOS: © MAUD BERNOS

SCANS AND TRANSLATION BY STEPH @ ONE-ADDITIONAL-TIME.TUMBLR.COM

(Please see the downloadable PDF file for translation notes/comments)

Everyone has been hearing about Daft Punk for the last two months, because their live CD (Alive 2007, from EMI) and the DVD of their robotic road-movie Electroma are being released for the holidays. We wanted to go a little bit beyond the obligated promo, and the repeated wooden language found in all the media, by trapping Thomas Bangalter and Guy-Manuel de Homem-Christo for an hour and a half in a restaurant in the Latin Quarter, subjecting them to questioning, and if possible, making them drop the helmets a little bit, over ten pages and many questions.

We’re not going to harp on what you already know (the French touch, the robot helmets, the live pyrotechnics), we’ll just say that we wanted to do this thorough interview with Daft Punk because they’re more than a CD or a DVD, more than music, more than any current pop group. They are an essential symbol of our post-post-modern times, speaking in a very clear yet always paradoxical voice (between hedonistic joy and profound existential sadness) on the human condition, no less. Over the ten years of their career (Homework, like Chronic’art, again, decidedly, appeared in 1997), Daft Punk have invented a new way of presenting music to the world. The robot helmets reveal (social uniformity) more than they cover (buried humanity) and have given them perfect anonymity, which seems like the anonymity of those who succeeded, not in annihilating the self, but becoming self-less. This anonymity accentuates the dominance of the art over the artist, and it has made Daft Punk a universally well-liked and famous group.

A conceptual, pop, philosophical, even metaphysical group, Daft Punk mixes Andy Warhol (seriality, pop art, emptiness) and Friedrich Nietzsche (the man who wanted to die in Electroma, the superhuman for and against technology), mass culture (disco, Albator, Star Wars) and esoteric symbols (the masonic pyramid), the dancing body and thinking brain. In that respect, they are a purely manufactured product of our culture and likely represent the completion of the pop figure began by the Beatles: fragmented culture (the sample) and repetition, theatricality and abstraction, universalism and experimentation, technological innovation and advanced marketing, refusal of the embodiment and worship of the personality…

The current tour (Alive can also mean “en vie”) also refers to an interstellar voyage, like Discovery and Interstella, which seemed to mean that humanity is, by nature, dispossessed, that humans do not belong on Earth but came from Heaven and are destined to return there, that they are “stardust.” They themselves [Daft Punk] are probably not aware of the symbolic and almost metaphysical significance of their creations, and they always prefer to talk about “emotions” rather than thoughts, the heart instead of the head, and they act as the “guinea pigs” for their own experiments. Listening to them, we realized that Thomas Bangalter and Guy-Manuel de Homem-Christo do not really theorize their work, their music, or their image, but that they react to the infinite accumulation of data from our culture of abundance, that they are indeed the guinea pigs of an experience that has outrun them, marionettes played by “high culture,” pop culture, and the entertainment industry. Maybe Daft Punk really are robots, and no one is pulling the strings, certainly not them.

Chronic’art: Between Homework, which would correspond to your schoolwork or your learning phase, Discovery, which would represent your adolescence, the discovery of the world, microscopic to macroscopic, and Human After All, a moment of reset before a new cycle, it seems to us like you have come full circle, which would be represented by the mirroring of your two live albums, in 1997 and in 2007. Could you have scripted your career?

Thomas Bangalter: It’s strange. We have never written out any part of our career, because even ten years ago we didn’t think we would do this for a long time. After the fact, without having planned it, we realize more that we had sort of reset prior to the live show from 2007. For us, these concerts, this tour, this CD, they are more of a new step than a conclusion. We had not done concerts for 10 years, and there was something very exciting about doing things that weren’t technologically possible when we started. With the last live, we wanted to produce something original, that could predict what might become the norm of tomorrow. We know that we’ve done certain things in the past that were five years ahead of their time, and we are happy to be trying something no one else has done right now. We feel like, during each album, we’ve started back at zero and have had to create a new process, even if it’s true that there is a consistency which emerges in the straight line of our career. But this consistency is not defined a priori, we just emphasize working on projects that can become sort of a realignment of everything we’ve accomplished until now. Interstella was consistent with Discovery, the live show was consistent with our third album compared to the two previous albums, but each step represents, in the moment, the desire to start a new cycle. As for Human After All and Electroma, they’re about something darker, less celebratory… Maybe the live show is a loop; our record label released a Best Of last year, but the concert itself and the way we worked on it is more a way of combining things and expressing them in a new way, rather than celebrating a sort of anniversary or something from the past. We definitely didn’t want to give people the impression that they were in 1997, in a continuation of past music: we instead wanted to give them the chance to feel like they were really in 2007.

During the live shows, you mix together your own tracks, referencing and quoting yourselves. It’s like being simultaneously and precisely between 1997 and 2007, as if the past and the present were merging. All of your songs evolving in a sort of loop…

T.B.: It’s almost the third generation of sampling: us sampling ourselves. At the same time, it’s like having created a universe and an aesthetic that is more than the music, or that the music isn’t actually a central vector. Our approach isn’t at all demonstrative, it’s entirely sensory. There isn’t another message to understand. That being said, there is a desire for cohesion, to make sure that each element added to the structure resonates with the others, with the little mythology that governs this universe. It’s a bit like in a video game, each new element opens a new level in a new environment rather than replacing an older element. We wanted, for example, to break these things with Human After All, but in the end we realized that the album was very cohesive in the continuity of our work.

There is a very strong sense of nostalgia, mixed with a strangeness, in the timeless juxtapositions listeners are subjected to in the tracks. They seem to be complementing and responding to each other, as much musically as thematically… 

Guy-Manuel de Homem-Christo: It’s especially very exciting to see that twelve or thirteen years after our first maxi, our music has not aged too much. There is a sense of nostalgia1, but it still works in the present, and it’s very strange to see that we can mix four tracks from four different eras simultaneously, and not a single one kills the mood. Right after we started making music, we were seeking timelessness. It’s the same with Electroma. At our core, we are fans of timeless things. If you listen to the Beatles, aside from their very first period which is a little bit stuck in the past, you notice that time doesn’t touch their music. We are following that: we are trying to move through time without getting stuck in it. In the same way, we are trying to make sure that our music can be listened to by a lot of different people, without having to worry about languages or genres.

The Beatles were, for that matter, the first group to reference themselves, for example in All You Need is Love, where John Lennon sings She Loves You… 

G-M.H-C.: We don’t compare ourselves to the Beatles, either… 

T.B.: The idea is constructing a cohesive universe from a series of spontaneous attempts. If you watch Star Wars, people don’t seem to come from when the film was made. It’s as if the 70s have no effect on the film’s universe. Its atmosphere is its own, even if mixes a lot of things together. For about five or six years we have tried not to let the times we live in make an impression on us.

You are very privileged to be in a time when everything moves so fast, or everything ages so fast, right in the middle of acceleration. For example, you did a massive world tour without having an album to promote… 

G-M.H-C.: The day before the first concert of the tour, at Coachella, we were terrified, we weren’t sure of anything. Every time we try something new, we start back at zero.

T.B.: It’s the live show that sparked the craze, I think, truly. The success was really unintentional. Separate from that, being immersed in a certain underground before our first album taught us a lot. We’ve seen all the trends come and go—jungle, speed garage, electroclash, new rave, French touch, revival—and we are really surprised to have slipped by all of that. We didn’t want to be specifically concentrated on music, we only released three albums in 15 years, and we had a lot of luck. The legitimacy of our music, the future of our music lives in the combination of different forms of expression, the scope of influences, the mixing of techno with funk, with metal, the intermingling of rules and cliches. A lot of important decisions have been roughly made; also by means of spending time solidifying this roughness in order to share it. In fact, electronic music, in the 90s, put you in a state of experimentation, urgency, innovation, it literally prohibited you from repeating yourself. Electronic music was still very elitist, because it was expensive—you had to go to the library to find out about these musicians, you had to go to Beaubourg to make photocopies of books on filmmakers, you had to go to small shops to buy old drum machines. We know what changed, we’re familiar with the saturation that followed. We were also lucky because actually there wasn’t much of that happening when we started out.

The permanence of Daft Punk is also really linked to your image. People don’t only dance to your music, they dance with your personas, with the robots, like you predicted the fatal characteristic of the embodiment of rock (John Lennon, Kurt Cobain). With your robot helmets, you have made the entire process of love, requisition, and the sacrificial reclaiming in your place impossible. You come across as impersonal and therefore verifiably impossible to sacrifice. Not gods, rockers, heroes, nor rulers. The helmet prohibits any kind of identification process. When put on, they show the listener-viewer their own reflection. By giving nothing, the helmet says (silently), “Know thyself.” Can your work be considered an invitation for people to know themselves?

G-M.H-C.: Yes, I agree with that interpretation. At least, that’s what happens with our concerts. Audience members, rather than being lost in the view of a far-off guy, Mick Jagger or another inaccessible idol above the audience, find themselves between us, or even with themselves. It’s kind of like a rave, without superstars, like in the era of anonymity. The robots don’t give the audience much except music. There are robots in a pyramid, but the audience enjoys it in a more selfish, more self-centered way.

T.B.: It’s a mixture—the chance to show the listener their own reflection, to respond to a question with another question, but also the opportunity to go back to a fiction, in a cult that isn’t the cult of a personality, but of an art, of an image, of an aesthetic. Without personification. Then we can let ourselves to be two robots in a pyramid of light. If our faces were uncovered, it would be the most megalomaniacal thing in the world; with the helmets, no one sees us because we stay within the fiction. And without wanting to make a joke, there is also a degree of separation, a distance. A distance from the reflection, like in Electroma, or a distance from the entertainment, softer.

All the lines from Human After All work in the same way. They recall Kraftwerk, but Kraftwerk developed a precise message about celebrating, in a way, the immediate future. Your messages are a lot more ambiguous: are they critical, ironic, devoid of meaning? Like we see so well in Electroma, your helmets are, above all else, mirrors…

T.B.: Ambiguity is good, because it allows for a certain interaction between the viewer and the artist; between what the viewer interprets and what the artist is trying to depict. It’s very participative, and that comes from a desire to go against the demonstration. We are the first consumers of our music, and we hold the view that we can’t make any judgement values by calling things into question. In speaking about technology, about consumer society, which completely inhabits our art, we don’t want to teach a lesson, or offer a point of view or a judgement, we just want to find paradoxes and point them out as is. For example, we’re dependent on consumer society and it’s so appealing, productive, optimized, and at the same time totally terrifying, horrible, and very funny.

Your work is dialectical: sometimes it seems to denounce a sort of robotic totalitarianism (like in the Technologic video which depicts propaganda of a robot on top of a pyramid) and at the same time it plays with this imagery, strikingly. The video for Around The World also shows how robots surround and surveil the population; they are in the last circle, and they are the ones who chant the phrase “Around The World.” Does the video denounce the surveillance of us by nonhumans, or does it condition us to accept it? We never know if you’re denouncing a conspiracy against humanity or if you’re participating in it. You use of language is equally dialectical. Your language is refined, born from catchphrases and words of totalitarian order (Technologic), and if taken literally, it’s this: the phrase “Television Rules The Nation” can be taken as the assertion of an established fact. It then becomes constraint, manipulation. At the same time, the distance imposed by the performance can give the words a double meaning, and adds to them a critique of this established fact, even the denunciation of a totalitarian power. This recalls the “doublethink” in Orwell’s 1984: the capacity to simultaneously accept two opposing points of view and thereby put critical thinking on the back burner. Where do you situate yourselves in this in-betweenness?

T.B.: But it’s inside this paradox where we progress. In terms of our experimentation, we are in fact the heart of the system; it would be totally obscene to lean more to one side or the other, to claim to be part of a totalitarian system, as if we were giving lectures. It’s because this is so interesting that we refused to do any promotion for Human After All, because there couldn’t be a willingness on our part to encourage people to buy the album, because of this paradox. Because it’s like an unbiased opinion on technology, on consumer society. The video for Technologic actually gives you the keys to derive an ironic and scary message from the track, but it has since been used by Apple in a commercial for the iPod, and there the lyrics turned into blind praise for technology! It’s funny seeing to what extent the double meaning has effectively functioned. That’s why we so often refer to Andy Warhol who had an experimental approach through his connection to pop culture that, depending on the project, had as much a place in very elitist and private circles as it did on supermarket shelves. Creating with perplexity, in short.

Nevertheless, you use very strongly significant symbols, like the robots or the pyramid. The pyramid that you use on stage is a Masonic symbol. It is on the dollar bill, with George Washington and the note, “New World Order.” The pyramid represents the structure of society, from the masses up to the elites and the leaders. The cornerstone with the “all-seeing eye” surely represents the summation of technology which, though it could be plainly operational, will make sure that the “New World Order” can truly start coming forward and establishing itself on Earth. Some interpret it like the construction of a new technology, a technologic eye that would see all, through a generalized surveillance. With that said, the presence of robots like operators of this pyramid makes a lot of sense. How do you fit in with regard to these symbols and this story?

T.B.: We work a lot with the senses, with the power of symbols on the subconscious, and the pyramid, in effect, is a very heavy symbol, in terms of the senses. We don’t want to discuss the details of the symbolism, but to question its power without its history. The pyramid has become a symbol because, geometrically, harmonically, it’s a magical, occult, mysterious object. There is also this mysterious and occult, on the verge of paranormal, power in music. No one can really theorize about the effects of music on the body and mind, so it’s incredible. We just try to pass on that magic in a rather empirical way. Moreover, we could carry out experiments on the way in which light or sound intensity acts on the body and on crowds, to see which types of sensations or emotions are provoked by one frequency or another. But we could never really explain the reason for these effects.

G-M.H-C.: We are the guinea pigs of our own universe. We managed to create a sort of self-sufficiency between the two of us, which lets us experiment with a consistent voice, and what works for us tends to work for the audience, it’s like a small miracle. We put a pyramid on stage because we think it’s cool, and it makes everyone trip out.

When you talk about guinea pigs, it’s as if you were manipulated from the outside, by a mysterious third-party, as if you were also puppets. There is a determinism there, but one that serves humanity. According to the Laws of Robotics by Isaac Asimov, it’s humankind who constructed the robot, and the robot is at its service…

T.B.: Above all we want to express a paradox on the discussion of human dependency on technology. We’re not virtuosos and we rely on technology like a crutch. We could never do it without technology, and at the same time, we try to value, like any artists, the human element in our work. The process we’ve used for these fifteen years has been to try merging the machines and us. We are the operators of these machines, the editors of the experiments: we select them, we choose them, and we decide to keep them or not. Daft Punk is the product of a tug of war between human and technology, always questioning the place of technology in the project.

Electroma addresses this discussion between human and machine, in a sort of grand general inversion. Electroma seems to be the account of a traumatic experience: in the world of robots, the two characters presented a human face to the others, in openness, generosity, expressiveness. The result of this demonstration of humanity leaves them ostracized, chased, and reduced to aimlessness and suicide. Do you think that showing your humanity is dangerous?

T.B.: Yes, that’s the background of the film. But speaking more broadly, formally, it’s part of the same approach as what we’ve been able to do before; to know how to create emotion while using machines, in a creative process. Without actors, without a script, without a real plotline, but with photography, color, framing, made from machines, objects, just like a still life. We began with creating an environment around the spectator, who is almost like the only actor in the film, and wondering how to make them experience these emotions, which are not the same as those on the dancefloor, but aesthetic emotions, where the spectator can project onto themselves. The film is totally open, and we thought a lot about Magritte when making the plans. What you can see in Electroma is essentially sensation, that’s a lot more at the level of the gut or the eyes than of the brain…

Robots After All by Philippe Katerine was clearly inspired by your album Human After All and touches on the idea that human society has attained such a degree of conditioning and conforming that humanity became a species of robot, a determined creature, ruled by automation, in their language as much as their everyday comportment. When we recently asked what he thought about your music, Katerine told us, “I hear nothingness in it, so I want to find a place there.” Is the universality of your music due to the fact that it’s also, in a sense, empty?

T.B.: It’s empty because it’s more sensory than significance, yes. Theoretically devoid of sense, it allows people to see something from nothing and project themselves there. We just heard Katerine’s single. Our music is open, it can be interpreted and taken in different ways.

The musical abstraction and loops that by and large make up your music allow each person to take possession of the music and go beyond it. There is a shamanic aspect in this usage of emptiness and repetition. As a matter of fact, musicians like Animal Collective, who were inspired by shamanic trances, now cite you as an influence. Also, you could interpret the end of Electroma, when the two robots die by explosion and combustion, as referring to shamanic initiation rituals, in which one goes through a symbolic death by division of the body or self-combustion. Could you say that the end of Electroma represents, in some sort, this symbolic and initiatory death? In other words, do you perceive a shamanic side to your music?

T.B.: Yes, it’s a trance: the loop, the heartbeats… We use samples to express the desire of prolonging a strong sensation that comes during one or two seconds in a track, and wanting to repeat this sensation, not only feeling it for ten minutes, but also seeing what consequences come from ten minutes of that feeling, how everything unfolds. Visually, with Electroma, our desire is the same: to create images or an assembly of images that produce a physical sensation, a feeling of hypnosis, wandering, or weariness; in any case a state of mind that you can only reach by feeling this sensation for a certain time, for quite a long time. 

Wandering, loss of identity, and expropriation are pop themes in a sense. If you think of the Beatles, the “Magical Mystery Tour,” the transformation of the Beatles into the “Lonely Hearts Club Band.” As of now, you are a group that “turns,” that travels, to those “lonely hearts.” Is there a “trip” pop?

T.B.: It’s true that during this tour, we felt a little bit of a psychedelic thing: there are people who saw and re-watched the concert multiple times, almost like a Grateful Dead concert, with this idea of there being, during the concert, something imperceptible that you can never capture on disc or on film: an experience which was unique and can only live in reality, at a time where everything is virtualized. We felt like people wanted happenings, concrete experiences, which could consequently be produced by advanced technology: we could multiply the giant screens, have a very strong sound, and combine everything into these unprecedented audiovisual processes, which had never been seen anywhere before. Even a film projected in an IMAX theater could be no more than the “ghettoblaster” from another experiment with new technologies. Our music is moving: it was within an industrial system which ended, it was dependent on the economy. And the economy was destroying itself, it influenced new formats and new ways of creation, like the tours we’re doing currently.

Today, music needs to find new ways for distribution, with the death of the record industry and the virtualization of music. The live show, as a unique experience, is a response to this situation. You were the first to start a download site on the internet, with the Daft Club in 2001, which didn’t work out. Was it five years too early?

T.B.: Being current five years too early is really better than we can hope for. It’s good to be precursory, it’s almost our principal objective. Speaking about the musical economy, I think that music has never been as important as it is now, and the concert isn’t a response to difficulty selling CDs nowadays, because live shows are also very expensive. Economic upheavals are interesting: I read a book recently by Jacques Attali, Bruits, which talks about the musical economy and its power since the Middle Ages, and if you look at the place of music in the world in the last 2 thousand or 3 thousand years, the place of the record and pop music industries will have not been an end in itself, compared to music as a whole. It’s interesting to try to find out where music will go and what it will generate, in the sense that it is often a precursor of the relationship to come between social and economic powers. But we define ourselves less as musicians than as artists and creators, in trying to combine things and experiment with new formats and new technologies. We aren’t uniquely musicians.

Homework represents a sort of pinnacle of the age where a certain technologic novelty was expressed directly through music. You could literally hear knobs being turned. Does Daft Punk necessarily have to excel technologically in an age where all these methods have become normalized? Were the concerts from your new tour sort of like an advantage?

T.B.: It’s not an advantage, it’s a set of challenges that could be technological, actually. You wind up with a concert that looks sort of futuristic, like a remake of Close Encounters of the Third Kind or a mix of a Grateful Dead and a Kraftwerk concert. Making something that we couldn’t make before. We pick up the tools, we manipulate them, we try to progress. Electronic music in itself, in 2007, doesn’t seem to me to be very conducive to experimentation from a strictly musical point of view. I’m waiting for the new generations to prove to me otherwise… We pay attention to technological developments because we’re interested in them, and because they are at the heart of our art. Musical instruments are advanced technologies which have continuously reinvented music.

Since Human After All was released online, there were a lot of rumors about the album, which was an indication that people were waiting for you. In that context, are you able to feel free as musicians? Have you produced things in reaction to the public’s expectations?

T.B.: Actually, we aren’t free relative to our own expectations. We can’t totally set the public aside, but we have our own demands and we respond to our own vision of what we make, while taking into account paradoxes, contradictions, restarts, new beginnings. But we don’t think about the public: it’s both selfish and more respectful for people because we don’t have the pretentiousness of putting ourselves in their shoes.

G-M.H-C.: We are our own fans. We work until we find moments of pleasure in our work, and when we save those moments and explore them on an album or in a film which we release, that resonates for people. But within those moments, which are like lightning, we are like spectators—we feel like we’re revealing something, and discovering something we created at the same time. In this way we are ourselves in the position of spectators and fans. I imagine that this process is even more evident in painting: you have a piece of canvas in front of you, and there is a tangible process of creation. Creation is a mystery and you can really speak about magic when it comes to music or art.

Could the image of the pyramid that you use be a graphic representation of your music? With its foundations, progressions, ascents, and its climax? Bercy, it so happens, also has a pyramid shape…

G-M.H-C.: Not all of our songs follow a progression. We have flat songs, square songs, round songs… And in the live show, there are a few final moments where the tension comes back down. Bercy really does have a pyramid shape, but the top is missing. And it’s true that we would have really liked to play on top of it (laughs)…

[inthemoodforportnawak]

[affairesasuivre]

Requin Chagrin - Mauvais présage

Désormais résumé à Marion Brunetto, sa tête de proue, le groupe dream pop annonce pour octobre un deuxième album qu'on espère apocalyptique et léger.

Revoilà Requin Chagrin, adorable – au sens premier – formation dream chanson de France menée par la magnétique Marion Brunetto et tranquillement propulsée il y a deux ans par La Souterraine.

Récupéré entre temps par KMS Disques, label de Nicolas Sirkis qu'on imagine tout chose d'entendre quelque chose de son Indochine revitalisé les doigts dans le nez par une jeunesse qui n'avait sans doute jamais assisté à ses concerts avant d'en assurer les premières parties tout au long du printemps dernier, le groupe – désormais ramassé tout entier en la personne de sa chanteuse-songwriteuse-multi-instrumentiste – sort son deuxième album le 12 octobre, dont le clip de Mauvais présage ci-dessous, réalisé par Simon Noizat, annonce la couleur : héroïque, pastel, désespérée.

Rien ne sert de courir, dites-vous avec Jean de La Fontaine ? Sauf si le monde est en train de finir et qu'on ambitionne de terminer sa vie libre avant de disparaître avec lui.

Olivier Lamm

[jbgravereaux]

RYÛICHI SAKAMOTO, L’ENVIE D’APRÈS , Libération                                                                                                                                                                     Olivier Lamm : Remis d’un cancer, le pianiste japonais sort son premier album original depuis huit ans, d’une froideur expérimentale à la fois tendre et redoutable.                                                                                                                                                                                                                                     Rencontré au début de l’été 2017 à l’occasion d’une installation à la Fondation Cartier (Plankton, réalisée avec le vidéaste Shiro Takatani, du collectif Dumb Type), Ryûichi Sakamoto semblait plongé dans une grande mélancolie. Survivant d’un cancer de la gorge qui l’a condamné à une soif perpétuelle, retourné à son activité de musicien après un hiatus imposé avec une partition pour un film de Yôji Yamada, il avait l’air de regarder le monde des hommes - notamment son Japon natal, dans l’évolution duquel il dit percevoir un nouveau glissement vers un autoritarisme droitier - avec lassitude voire animosité, avouant sa préférence pour les temples ou les forêts que l’humanité, trop sûre de son bon droit à exister, s’obstine encore à dépeupler. Async, qui est son premier disque de composition originale depuis Out of Noise, il y a huit ans, porte haut les couleurs - délavées - de ce drôle de sentiment.                                                                                                                                               Redoutables.                                                                                                                                                                                                                           Aboutissement protéiforme d’une quête de sens très profonde, ce qui s’apparente à une collection d’instrumentaux étonnamment arbitraire forme même une ode discrète au désordre de l’univers et à sa capacité à s’adapter à tout, même aux plus sévères dysfonctionnements. L’homme y a-t-il encore sa place ? Rien n’est moins sûr, précisément, et Async s’aventure sur des terrains à la fois tendres et redoutables de froideur expérimentale - comme la musique d’un musicien en lutte contre une misanthropie qui gagnerait chaque jour du terrain.                                                                                                                                                                                                                                                   Une philosophie bien connue semble prévaloir à tout ce qu’on entend : celle de John Cage, qui déclara un jour : «Je n’ai jamais écouté aucun son sans l’aimer.» En préambule à la composition, Sakamoto s’est d’ailleurs fixé une routine créative digne du père de la modernité américaine - composer sur synthétiseur dès le lever, collecter des sons dans autant d’endroits différents que possible ou réarranger la musique de Bach comme si elle tonnait à travers un brouillard épais. Autant de rituels qui lui permettent d’aborder les objets musicaux les plus différents - d’un tintement de triangle à une mélodie de piano - à égalité.                                                                                                                       Rigoureux.                                                                                                                                                                                                                                 Désordonnées en apparence, ces quatorze pièces de natures très diverses (du paysage ambiant à la miniature symphonique) mais où le geste musical est toujours rigoureux à l’extrême témoignent surtout de la même attention intense au tourbillon de phénomènes sonores qu’est notre monde aural, des plus hasardeux qui y surviennent en masse à la minorité mélodieuse et cadencée qu’on nomme naturellement musique. Assez logiquement, elles ne livrent ainsi leurs secrets - qui renferment leur raison d’être - qu’à force d’écoutes multiples et prolongées. Le moment de la révélation est d’autant plus émouvant qu’un pan de la carrière du plus célèbre des musiciens japonais à l’étranger de ces trente dernières années s’y révèle à chaque fois. Comme si Ryûichi Sakamoto avait cherché à se perdre dans le bruit du monde par tous les moyens, mais s’y était retrouvé de la manière la plus inattendue partout où il écoutait : Async est le contraire d’un disque crépusculaire, c’est la symphonie d’une résurrection.                          Ryûichi Sakamoto async (Milan)                                                                                                                                                                                                       Ryuichi Sakamoto - async (2017) (Full Album) : https://www.youtube.com/watch?v=IGeoSorlVyY

[nnjzz]

9 JANVIER SOIRÉE de SOUTIEN au Non_Jazz /

MERCREDI 09 JANVIER

avec l’aimable complicité des INSTANTS CHAVIRÉS 

7, rue Richard Lenoir Montreuil M° Robespierre (9)

Ouverture des portes 20h00 Premier concert à 20h20 précises 8 euros ou PLUS (tarif soutien)

On vous attend nombreux ! merci !

https://www.facebook.com/events/377781626361853/

https://www.instantschavires.com/soutien-non_jazz/

NB / Une cagnotte de soutien sur Leetchi sera également -  bientôt - mise en place, pour permettre à touts celles / tous ceux qui ne pourraient pas se déplacer & qui souhaiteraient tout de même soutenir Le Non_Jazz, d'apporter leur contribution

============

DEEAT PALACE / Electronics /  Paris

Salement techno & cru, DEEAT PALACE est le projet solo de Marion Camy-Palou, une musicienne touche-à-tout, vue et entendue aussi chez OKTOBER LIEBER ( duo " EDM + post punk), OFFICINE ( "trio post punk +  hard core + no wave") ou ASTRE (duo "gabber / no wave / bruits).

Usant sauvagement et aléatoirement de deux ou trois machines ( + "un micro, et un devenir robot" (Olivier Lamm, Libération),DEEAT PALACE assène une no-wave primaire abrasive et inaudible, en déchiquetant la techno originelle à coups de cris, rythmes et orgues aux pourtours stridents.

Martèlement de percussions lourdes et métalliques, ambiances potentiellement "dark" & anxiogènes s'y déploient en lorgnant vers les racines de la musique industrielle. On pense - éventuellement - à Genocid Organ, Military Position ou encore, un peu, à Puce Mary.

https://vimeo.com/307958469

https://soundcloud.com/deeatpalace

https://deeatpalace.bandcamp.com/

http://deeatpalace.bandcamp.com/track/lnnl

https://www.youtube.com/watch?v=AYkYrCCgUac

https://inverted-audio.com/review/deeat-palace-ksx/

http://inverted-audio.com/review/deeat-palace-deeat-palace/

https://next.liberation.fr/musique/2018/02/14/le-son-du-jour-244-inconfortable-comme-deeat-palace_1629639

SOPHIE AGNEL & NINA GARCIA /  montreuil paris 12

Une avant-première mondiale et exclusive pour le moment  : duo inédit réunissant ces deux improvisatrices chevronnées, aux styles bien affirmés, nuancés et tranchants.

Sophie Agnel "joue du piano depuis toujours, improvise et sculpte la matière depuis une vingtaine d’années, alliant les rencontres avec un grand nombre de musiciens internationaux et le travail sur le long terme avec d’autres.

Pour s’immerger dans son univers sonore, il vaut mieux  abandonner quelques à priori sur ce que c’est que « jouer du piano » et accepter que le clavier n’en soit qu’une partie émergée. Ce n’est pas si compliqué et une fois ce petit effort accompli, le monde qui s’ouvre est sidérant. Les frottements de cordes, les résonances, les effleurements des étouffoirs, évoquent un paysage musical où le temps suit un déroulement bien singulier et où l’espace est rempli de sonorités inouïes.

On a pu et on peut l’entendre aux cotés de Jérôme Nœtinger, Daunik Lazro, eRikm, Ikue Mori, Phil Minton, John Butcher, Catherine Jauniaux, Steve Noble, John Edwards, Andrea Neumann, Bertrand Gauguet, Thurston Moore, Arnaud Rivière, Joke Lanz…

Un album de son fabuleux trio avec John Edwads et Steve Noble vient de sortir chez ONJ Records

Nina Garcia Crépitements, clusters, feedbacks catatoniques ou larvés de déflagrations imminentes, harmoniques, voire notes et/ou ébauches mélodiques émergent du chaos d'une matière sonore brute, en combustion permanente, triturée, cisaillée avec patience, passion et précision - non sans rien laisser au hasard, pour autant."

.

Nina Garcia émaille de ses riffs lacérés, incisifs & wtf les morceaux d'agit-pop post-no wave de l'excellent combo MAMIEDARAGON.

Membre également du trio Quonicho B. ou d'ENSEMBLE ELECTRON (big-band d'improvisation dirigée par Olivier Bénoît), elle joue régulièrement en duo avec la tromboniste danoise Maria Bertelet et depuis un peu plus récemment avec le batteur Augustin Bette.

Solo elle se produit sous le nom MARIACHI et après quelques sorties K7, son premier LP vient d'être publié conjointement par les labels Doubtful Sounds & No Lagos Music.

https://www.sophieagnel.com/

http://www.parabailarlabamba.fr/

https://www.youtube.com/watch?v=0rK2u0XrvHs

https://nolagosmusique.bandcamp.com/album/mariachi-2

https://nolagosmusique.bandcamp.com/album/mariachi

https://www.youtube.com/watch?v=nHg5bVOLfLU

https://www.youtube.com/watch?v=jM3WUjtREZQ

PAL / paris marseille toulouse Un des groupes live préférés du N_J, assurément parmi les 5 premiers dans les rankings ! "PAL est formé des composantes d'ÎLE/MER/FROID, dont il est le versant recherche et expérimentation sonore live. PAL est composé de 3 musiciens, 31 instruments, et 12 055 cm de câbles. PAL se produit dans divers contextes, salles de concerts, bars de nuit, centres d'arts, musées, galeries, milieux naturels et ruines industrielles, auto-produisant cassettes et compact discs de ses performances enregistrées." Un vinyl est sorti tout juste avant l'été sur le label de la galerie Treize. 

https://palssounds.bandcamp.com/

http://ile-mer-froid.tumblr.com/

https://www.youtube.com/watch?v=vhx3vKZo0Ig

https://vimeo.com/110879495

DELTANIK / paris Drawing recordings : "Elle pleure dans un bureau de l'Institut Français à Beyruth" + image monochrome, 10mn Drawing recordings est une collection de récits sonores hétéroclites qui font écho à la pratique du dessin. Ré-assemblés et lancés en direct, ils ressemblent à des interpellations d'une parole personnelle, face à laquelle on réagit comme on peut quoique toujours un peu gêné. https://soundcloud.com/deltanik/tracks http://dln-bleu.blogspot.com/

POSSESSION / paris le pré-saint-gervais "Blind PES et furry Danos, hurricane guitar fighter by delta plane blues, POSSESSION joue acoustique" ... Il s'agira d'un autre duo inédit : tellement nouveau et inédit qu'un lien se fait attendre ... une rencontre entre l'ineffable PES aka Clark Gable, cinéaste, crooner & co-responsable du label K7, Afterhours Eden Prostitute d'un côté et de Frédéric DANOS, performeur touche-à-tout,que le public du Non_Jazz peut surtout re-connaître en tant que membre fondateur & permanent de JEUNE FILLE ORRIBLE ("un principe d'infamie lyrique en trio qui élabore et manipule du bruit acoustique sans aucune sonorisation" ). Soirée-découverte !

Fly :: Jo L’Indien

[noem-verm]

[Research] Publication sur la Critique Musicale

La Critique musicale au XXe siècle, sous la direction de Timothée Picard, Rennes, Presses universitaires de Rennes, 2020, 1564 p.

N. Vermoesen, “Vice France: chroniques d’album, chronique de la critique”, p. 273.

N. Vermoesen, “ Diederich Diederichsen: à la Recherche d’une critique de la musique pop en Allemagne”, p. 841.

N. Vermoesen, “Introduction à la critique des musiques actuelles”, p. 1437.

N. Vermoesen, Entretien avec Samuel Etienne, Agnès Gayraud, Olivier Lamm, Etienne Menu et Emmanuel Parent, “En France, la tradition littéraire et la culture pop ne se sont pas encore rencontrées, ou presque pas. Quelle critique pour les musiques actuelles”, p. 1477.

Lien et infos

[ppwbm-blog]

STREAMING MUSICAL : DES MIETTES DERRIÈRE LE MIRAGE

STREAMING MUSICAL : DES MIETTES DERRIÈRE LE MIRAGE

Billet par  Olivier Lamm. dans LIBERATION : https://bit.ly/2E5liu6

Comment ça va, le disque ? Pas terrible, pour tout dire. D’après le tout dernier rapport du Syndicat national de l’édition phonographique (Snep) sur les performances nationales du marché au premier semestre, ce dernier a vu un «ralentissement brutal» de sa croissance, en augmentation constante depuis plusieurs années, pour un…

[nosvemosenprimerafila]

PARIS BANLIEUE: "Les enfants vont bien".......... El grupo adolescente Paris Banlieue editará su cinta'Gueuseries' a finales de junio 2020. Historias de punks, personajes medievales o prostitutas son protagonistas en las canciones de estas tres adolescentes francesas que publicarán su primer disco 'Gueuseries' en junio.  Leonor, Clara y Adèle han hecho, fruto del aburrimiento, el disco de anti-folk que llevábamos años esperando y, sin duda, uno de nuestros discos favoritos de este 2020. "Son menores, crueles, morbosos, espirituales. Cantan himnos al suicidio y las moscas de la mierda, disparan silenciosamente contra la industria de lo bio y los pilares de la sociedad, y saben reírse de sí mismas con una alegría maravillosa." Olivier Lamm, Libération.  Paris Banlieue son Clara, Leonor y su mejor amiga Adèle. Tres adolescentes parisinas (aunque Clara y Leonor nacieron y se criaron en Madrid) que se juntaron para hacer sus canciones dado su amor por la música de los años cincuenta (desde Eddie Cochran a Buddy Holly), las películas de Eric Rohmer, los cómics y la cultura popular. Gueuseries, su primer trabajo en largo son once canciones, muy breves, casi como postales, en las que la guitarra y su gusto por los coros y los arreglos dejan entrever su influencia por artistas como Philippe Katerine, Jonathan Richman, Kinks o la Velvet Underground. Canciones imperfectas que se desafinan y que se detienen de repente, que incorporan ritmos medievales, que hablan de personajes inventados, malditos, de punks de medio pelo o prostitutas. Un discurso que encaja raramente en un grupo que tiene una media de 15 años de edad, pero que musicalmente nos conecta con The Shaggs, los primeros Beat Happenings, o el anti-folk que The Moldy Peaches arrancaron y que Kimya Dawson hizo que nos enamoráramos de él. Un proyecto que ellas reconocen como "una mezcla de psicoanálisis y absurdidad". [...] CONTINÚA en https://www.nosvemosenprimerafila.com #francia #frances #pop #adolescente #indie #antifolk (en Paris, France) https://www.instagram.com/p/CBwQimgqOv8/?igshid=v92t6pdu88y9

[fantasyorchestraparis]

L’album du Fantasy sort aujourd’hui !

28 fev 2020. Après 2 jours d’enregistrement et presque 2 ans de perfectionnement, nous sommes extrêmement fiers de vous présenter notre premier album:  « The Bear and Other Stories ».

Vous pouvez trouver tous les liens d’écoute ici :

Si vous voulez soutenir le Fantasy Orchestra, allez sur notre site bandcamp pour acheter l'album en téléchargement digital, où obtenez le en CD/Vinyle chez les discaires. Il est disponible également chez Fnac et sur Amazon. 

Voici quelque mots de la critique:

Rolling Stone: 

Libération:

“ Sur The Bear and Other Stories, premier album enregistré en deux jours, l’association de bienfaitrices et bienfaiteurs revisite Sun Ra, Jimi Hendrix ou Caetano Veloso - pour les plus connus - mais également le compositeur de B.O. de jeux vidéo Disasterpeace ou notre chouchou Richard Dawson, un signe que si le collectif dirigé par Jesse D. Vernon a effectivement la folie chevillée au corps, il a la tête bien vissée sur ses 320 épaules.” Olivier Lamm

Shindig Magazine:

[paulbenedictblog]

%news%

New Post has been published on %http://paulbenedictsgeneralstore.com%

Fox news Injuries: Nelson Agholor (knee) out vs. Cowboys - NFL.com

Fox news

With playoff hopes within the steadiness, the Steelers will have their No. 1 receiver aid within the lineup nowadays.

Pittsburgh huge receiver JuJu Smith-Schuster (knee) is active and may well maybe maybe also simply play for the first time in 5 games on Sunday against the Jets.

Smith-Schuster final played in Week 11 in his crew's 21-7 loss to the Browns whereby he left the game injured.

Other files we're monitoring ahead of Sunday's Week 16 games:

» It appears the Philadelphia Eagles shall be missing a key weapon of their pivotal matchup against the Dallas Cowboys on Sunday.

Huge receiver Nelson Agholor is no longer anticipated to play, a provide tells NFL Network Insider Ian Rapoport.

Agholor has neglected the final two games with a knee injury. The USC product has 39 receptions for 363 yards and three touchdowns in 11 games this season.

The Eagles (7-7) and Cowboys (7-7) will square off at Lincoln Monetary Enviornment in Philadelphia. A Dallas victory would clinch the NFC East title for the Cowboys whereas a Philly buy would give the Eagles the within note to the division crown.

»  Arizona Cardinals huge receiver Christian Kirk (ankle) is anticipated to play against the Seahawks, a provide tells Rapoport. He modified into once listed as questionable.

»  Baltimore Ravens left tackle Ronnie Stanley (concussion) has cleared the concussion protocol and is active to play against the Cleveland Browns.

»  Carolina Panthers huge receiver Curtis Samuel (knee), listed as questionable, is active to play against the Indianapolis Colts. Then again, linebacker Shaq Thompson (sickness) is inactive.

»  Detroit Lions operating aid Kerryon Johnson may well maybe maybe also simply no longer attain out as the starter, however is anticipated to ranking his fat half of carries along with Bo Scarbrough against the Denver Broncos, a provide tells Rapoport.

»  Jacksonville Jaguars huge receiver D.J. Chark (ankle), listed as questionable, is active against the Atlanta Falcons, Rapoport experiences.

»  Unique York Jets safety Jamal Adams (ankle) is active for Sunday's sport against the Steelers. As anticipated, huge receiver Demaryius Thomas is inactive.

»  Cleveland Browns tight discontinue David Njoku, defensive discontinue Olivier Vernon and offensive lineman Kendall Lamm are inactive against the Ravens.

»  Indianapolis Colts cornerback Kenny Moore is inactive against the Panthers nowadays.

»  Tennessee Titans operating aid Derrick Henry is inactive against the Saints and, as anticipated, huge receiver Adam Humphries and cornerback Adoree' Jackson are inactive, as effectively.

»  Unique Orleans Saints offensive lineman Andrus Peat is inactive against the Titans.

»  As anticipated and as he has been all season, Cincinnati Bengals huge receiver A.J. Green is inactive against the Dolphins on Sunday.

[bloglivre-blog]

Estreias da semana: ‘Troca de Rainhas’, ‘Como é Cruel Viver Assim’ e ‘Unicórnio’

New Post has been published on http://baixafilmestorrent.com/cinema/estreias-da-semana-troca-de-rainhas-como-e-cruel-viver-assim-e-unicornio/

Estreias da semana: ‘Troca de Rainhas’, ‘Como é Cruel Viver Assim’ e ‘Unicórnio’

Amanhã (16) é dia de estreia nos cinemas! Confira os destaques da semana:

1 – TROCA DE RAINHAS

Em 1721, para manter a paz entre França e Espanha após anos de guerra, o Regente do Reino da França, Filipe II, Duque d’Orleães (Olivier Gourmet), propõe ao rei espanhol Filipe V (Lambert Wilson) um casamento entre seus respectivos herdeiros: Luís XV (Igor van Dessel), com 11 anos, e Maria Vitória de Espanha (Juliane Lepoureau), a infanta (princesa) espanhola de 4 anos. O Regente da França também se oferece para casar sua filha, Luísa Isabel de Orleães (Anamaria Vartolomei), de 11 anos, com o Príncipe das Astúrias, o futuro rei Luís I de Espanha (Kacey Mottet Klein) que tinha 14 anos de idade.

Madri responde entusiasticamente às duas propostas e as cerimônias são prontamente organizadas. A troca das princesas acontecerá com grande pompa numa pequena ilha, no rio que faz fronteira com os dois países. Tudo foi feito para esperar o melhor dos filhos, mas nada irá proceder como planejado. Com a chegada dessas jovens princesas os jogos de poder na Corte começam a ser comprometidos.

Troca de Rainhas é o quarto longa-metragem de Marc Dugain que, além de dirigir, assina o roteiro em parceria com Chantal Thomas. O longa-metragem francês foi exibido durante o Festival Varilux de Cinema Francês (de 7 a 20 de junho) e foi indicado ao César de Melhor Filme Estrangeiro, o Oscar francês, mas acabou perdendo para o drama russo Loveless (Andrey Zvyagintsev).

Condenados à pomposidade e às versões oficiais dos fatos, os filmes históricos muitas vezes padecem de confiabilidade. Embora Troca de Rainhas tenha todos os elementos folhetinescos, tão comum às narrativas históricas, Thomas foge deles não deixa que seu relato se contamine com as facilidades do gênero.

2 – COMO É CRUEL VIVER ASSIM

O humor amargo atravessa o novo filme de Julia Rezende. Baseado na peça homônima de Fernando Ceylão, que assina o roteiro da adaptação cinematográfica, Como é Cruel Viver Assim acompanha um quarteto que planeja sequestrar um milionário, mas eles não tem nenhuma experiência na vida do crime.

Vladimir (Marcelo Valle), Clivia (Fabíula Nascimento), Regina (Débora Lamm) e Primo (Sílvio Guindane) são pessoas solitárias e incapazes de realizar qualquer coisa que dê sentido às suas vidas, mesmo que seja um absurdo. Enquanto tomam as providências práticas para o sequentro, revelam-se suas frustrações, ambições e medos.

3 – UNICÓRNIO

Quando o pai de Maria (Bárbara Luz) deixa sua casa, a menina e a mãe (Patrícia Pillar) voltam ao cotidiano de cuidar da casa e da plantação enquanto esperam que ele regresse. Enquanto isso, um viajante (Lee Taylor), aparece e muda a relação entre mãe e filha, criando uma atmosfera de suspense e romance.

Quando o diretor e roteirista Eduardo Nunes planejou filmar o longa-metragem Unicórnio, inspirado em contos de Hilda Hilst (1930-2004), a escritora e poeta paulista ainda não estava tão em voga como agora. A autora de A Obscena Senhora D (1982) e de Tu Não Te Moves de Ti foi a homenageada da edição 2018 da Festa Literária Internacional de Paraty (Flip), realizada no mês passado, o que impulsionou o relançamento de sua obra, incluindo uma caixa com sua prosa completa e outra com a produção poética de Hilda Hilst, dispersa em mais de vinte livros, reunida em um único volume editada pela Companhia das Letras.

Este é o segundo longa de Eduardo Nunes, que lançou em 2011 Sudoeste, com o qual recebeu 23 prêmios. Unicórnio marca a estreia no cinema da jovem atriz mineira Bárbara Luz.

[affairesasuivre]

LE SON DU JOUR #345 : RESSUSCITÉ COMME ALICE CLARK

L'unique album de cette comète de la soul, sorti en 1972, n'a pas eu le succès qu'il méritait. Grâce à We Want Sounds et Judd Apatow, il ressort samedi pour le Disquaire Day.

L’unique album d’Alice Clark est sorti en 1972 sur Mainstream, le plus fameux label de Bob Shad, le grand-père de Judd Apatow (dont Libévous parlait avec enthousiasme tantôt). Puis pour cause de succès commercial trop mitigé – jusqu’au Royaume-Uni ou aux Caraïbes, ou cette New-Yorkaise de naissance a travaillé sur les scènes minuscules des clubs de jazz jusqu’à l’orée des années 80 –, elle a disparu du circuit, laissant le monde orphelin de sa voix cabossée là où il faut et son disque à un destin d’objet culte dont le prix de vente avoisinerait bientôt les 500 dollars (543 euros) de prix de revente en convention ou site spécialisés.

Autant dire que cette nouvelle réédition chapeautée par We Want Sounds et la famille Apatow, quelques années après un retour d’amour dans l’underground acid jazz, est un vrai cadeau aux amateurs de soul pour qui l’album est devenu au fil des ans un véritable signe extérieur d’autorité. Et aux autres, puisque Alice Clark est une splendeur dont on se pince qu’il ne soit pas devenu un classique instantané au même titre que Talking Book de Stevie Wonder ou Let’s Stay Together d’Al Green, tous deux sortis la même année.

Enregistré en deux jours par Bob Shad au Record Plant de New York et bénéficiant d’arrangements opulents d’Ernie Wilkins pour un all stars de pointures qui avaient pour habitude de travailler pour Aretha Franklin (Bernard Purdie, Earl T. Dunbar…), l’album sonne comme le contraire d’une curiosité – plutôt le hit total d’un monde parallèle légèrement différent du nôtre qui aurait appris à mieux écouter. Alice Clark est morte en 2004 des suites d’un cancer. Elle n’a pas de fiche Wikipédia à son nom mais son unique album sera de nouveau disponible en LP soigné et très documenté dès samedi, autrement appelé chez les amateurs le Disquaire Day.

Par Olivier Lamm

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TH DA FREAK DÉCOUVREZ LE CLIP DE 'PEELING THE ONION'

TH DA FREAK DÉCOUVREZ LE CLIP DE ‘PEELING THE ONION’

“Dinosaur Jr, Teenage Fanclub, My Bloody Valentine… Le Bordelais TH da Freak a un panthéon très «power chords anglo-saxons des 90’s» dans la tête, on le sait, on l’a lu dans tout un tas d’articles à son sujet. Ceci étant posé, ce bouquet d’obsessions ne dit rien de son humour, ni de sa faculté à jongler entre les harmonies, encore moins de son talent, tout simplement.” – Olivier Lamm pour…

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A Musique Concrète Landmark Closes Its Doors

A Musique Concrète Landmark Closes Its Doors

Assemblages in Pierre Henry’s home studio (all photos by the author for Hyperallergic)

PARIS — Isabelle Warnier, the widow of famed musique concrète (“concrete music”) composer Pierre Henry, revealed in an interview with Olivier Lamm for the October 30 edition of Libération, the fate of the Henry home studio at 32 Rue de Toul. Until recently, Warnier recounts, the walls were still covered with…

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[Conférence] Paris Electronic Week

Animation d’une table ronde réunissant Patrice Bardot, Jean-Yves Leloup, Smaël Bouaici et Olivier Lamm.

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