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Messages - le youth

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Petite sortie pour l'été su INSUB.


Jonas Kocher: accordion
Gaudenz Badrutt: electronics

Having collaborated for many years now, Badrutt and Kocher play improvised music. Through this practice they explore the relation between the very electronic sounds of the accordion and the instrumental potential of the electronics.
There is no electronic processing of the accordion, more the opposite: the acoustic sounds tend to influence the machine, creating accidents and random behavior of the electronics.
Badrutt and Kocher also take care of the acoustic specificities of the spaces where they play, taking it as a fundamental element of the performance. Through this subtle tuning between the playing and the space, every sound performance becomes site specific.

The concert at Rex was the last of a small tour in the Balkan region. Hours of travelling around on bad roads with old albanian taxis and public buses, fastidious border crossings and concerts in very different venues: a quiet basement in Athens, an old industrial building in a no man’s land area in Tirana, a very small bar in the middle of a fancy bars area in Skopje and the beautiful old cinema REX in Belgrade.
Our music evolved quite a lot during the tour, the context as well as all the people we met and the places we stayed, having definitely an influence on our playing. This recording aims to document our practice in a specific context at a specific time. No concept before playing, no edits or re-composing after. It is just what it is, improvised music.

sur Compost & Height
http://wolfnotes.wordpress.com/2014/05/ ... d-dincise/

1. 8CYM (d’incise, 2013)
2. For percussions perhaps, Or… (night)(James Tenney, 1971)

Johnny Chang: viola, pre-recorded background (also featuring Derek Shirley, double bass)
d’incise: melodica, objects, pre-recorded background

Une série d’interprétation des peintures/partitions graphiques de Lance Austin Olsen

62 min audio FLAC + text/scores

blood and memory #2
crys cole
hardwood floor, radio, snare drum, breath and crickets

craig’s stroke #2
field & domestic recordings

“Three engravings on a space” (after copper plate engravings of Lance Austin Olsen)
Johnny Chang
violin, viola, snare drum, playback/field recordings

blood and memory #32
Mathieu Ruhlmann
shruti box, cymbal, + compressed air
Joda Clément
harmonium + field recordings

if so, so. if not, not. #1
Jamie Drouin
microphones + original painting, voice of Antoine Beuger

Someone entered this field last night.

To hear Lance Austin Olsen tell it, every significant event in his life, every step of the way, has been a process of meeting serendipity with receptiveness. To hear him tell it – and you really should, as Olsen spins the yarn of his life with a robust admixture of blarney, Beckettian suchness stripped of sentimentality, and zen aplomb – Olsen’s half-century of painting, 40 years of zazen, and 15 years of musical practice, are “footprints of my journey.”

Recounting entering the Camberwell School of Arts in London at age 15, Olsen maintains that the choices offered were carpentry or art, and it was his failure to craft a decent dovetail joint that tipped him into the realm of drawing and painting. Recalling his stint working at an art gallery in Victoria, B.C. when in his late 50s, he describes meeting the young gallery employee Jamie Drouin, who showed Olsen his photography. Olsen was so taken with Drouin’s work he helped him get exhibited. In turn, Drouin suggested they start making music as a duo. “John Cage opened the door”, Olsen says, “and we just sauntered through.” Olsen sauntered into a now 14 year musical partnership with Drouin; the pair perform and record together fairly frequently, largely on the label they co-own, Infrequency Editions. One more serendipitous footprint (and we haven’t even gotten to his painting practice); Olsen leaves the U.K., aged 25, and lives awhile in California and Canada, traveling with his wife of many years, his itinerary set as much by fluctuations in the cash-on-hand, as by any overarching design. “I have no idea what I’m going to do,” Olsen says about making music, “I make a sound and it suggests something…I like flowing, being one with what I’m doing.”

Olsen’s footprints, continuing into this, his 71st year (as I write this, Olsen is in California, en route to further collaborations with some fellow musicians), can be seen in the seamlessness of his creative work, music and paintings which interface and loop together in an interesting way – in short, a process of the instrumentation he uses as sound-makers (e.g., amplified copper engraving plates) serving both his audio and visual art.

The maps of his paintings and sound works are created in a hermetic setting, a bare-bones studio that would induce claustrophobia in many. Olsen’s set-up, whether the table of copper plates and broken stuff of his concerts, or his workaday studio, are as no-nonsense as the zafu facing the blank wall. The results – and you are encouraged of course, after spending some time with the painting-scores included here, to investigate the spontaneous generosity that is Olsen’s output to date – is art of wildness and discipline. Olsen’s is a practice of getting the “art director” – his term for the aspect of the artist/musician’s sensibility that creates via the over-controlled gesture (and, in Olsen’s view, produces contrived work) – out of the way, bringing to mind the practice of the hitsuzen.

Hitsuzen is the familiar (think Lucent Technology branding) brush-stroke enso – but some zen practitioners engage in a process of repetitively creating the enso from a state of “no-mind” fluency and flow, the intuitive and confident action of the brush-stroke overriding the art director. “A surface,” goes Olsen’s artist statement, “is endlessly reworked.”

Someone entered the dark woods.

Olsen’s engraving plates make music. Scored music indeed. His paintings also serve as scores. The scores, being the nature of his paintings, offer generous space for the musician to add their own footprints. Olsen might provide a hint – “the deepest black is the deepest silence”, for example.

That’s what you have here, seven works chosen by the participating musicians as a basis for their contributions. As varied as the pieces are, anyone familiar with Olsen’s work might hear some recurrent strains in his friend’s work. crys cole’s piece, close in some ways to territory Olsen explores, is restive, scrabbling, very small events amplified, suggestive of life viewed via microscopy; Jamie Drouin contributes sounds as allusive, near-silent, and resistant to direct apprehension as those found in his many duos with Olsen; Johnny Chang contributes the most active, mini-episodic piece; Mathieu Ruhlmann and Joda Clément’s Blood & Memory #32 offers a beautifully lush and contemplative piece, replete with the plangent and occasionally foregrounded caws of gulls.

d’incise’s track really stands out, its ambiguous throb and thrum suggesting the flow of dark blood, which somehow – tested repeatedly with close listens – most strongly evokes for this listener, Olsen’s overall sensibility. d’incise’s selected canvas, Craig’s Stroke #2, really should be re-viewed upon listening to the piece, making my words even more unnecessary. The Craig’s Stroke series is powerful, comprising 88 works, each representing an eight minute increment of a subtracted life, a decade-long disintegration of consciousness. It evokes Beckett’s masterful prose, whose terminus in his famous trilogy was the unnamable flicker of light cast by the last gasp orison in the silence you don’t know you must go on, I can’t go on, I’ll go on.

Olsen has entered and passed through some dark woods. With each step he has maintained a practice of meeting all things with receptivity, curiosity, and uncontrived artistry. When arthritis gnarled his hands, he developed a technique of clutching multiple brushes loosely, allowing the paint to apply itself sans an art director. When a thief broke into his home in 2010, stealing, among other things, a decade of digital art and sound files, Olsen responded with the composition Thief, a free download available to even the thief who engendered its occasion.

This gift from Drouin and company allows us to view and hear Olsen’s journey, rendered in acrylics, oil, tea and ink, sound and silence, in a dynamic way. I am honoured to contribute my small part. I keep thinking of the composer Antoine Beuger saying “I like to think of scores as confidential letters between friends.”

Gassho, Lance.

Jesse Goin, 2014



On vous parle de la prison
improvised music out of jail


1. 12 juillet 2011
2. Description d’un tableau – Immanuel de Souza
3. C’est Tout Noir (amplification) – d’incise
4. 12 juillet 2011 (2)
5. Parloir – Patricia Bosshard
6. Out Of The House – Laurent Estoppey
7. 12 juillet 2011 (3)
8. Chrysalide – Coralie Lonfat
9. Prélude
10. Res_Traces – Thomas Peter
11. Cassette mix – Sébastien C.
12. Rock
13. Night Odyssey
14. 22 juin 2011
15. Nightmare (untitled) – Gaudenz Badrutt
16. 5 Novembre 2010

Sébastien C. (guitare, voice)
Fabrice (voice, flute)
Fabrice R. (drums, analog synth)
Gaël (guitare)
Sébastien (turntables)
Luthor (beatbox, voice)
Immanuel de Souza (drums, guitare, keyboard)
Benoît Moreau (piano, analog synth)
Fernando (drums)

A l'initiative de Prélude [Pôle de coordination d'actions culturelles en prison], nous avons conduit un atelier de musique libre en prison [Établissements de la plaine de l'Orbe] d'août 2010 à septembre 2011. Ces enregistrements en sont quelques traces.
Nous avons décidé de les rendre publics, c'est une façon de tendre quelques lignes entre le dehors et le dedans, et peut-être une façon de parler à partir d'un endroit exclu, vers un autre endroit exclu. L'atelier [2 x 3 heures par semaine, pour musiciens ou non] s'est focalisé principalement sur une dynamique d'ensemble, un langage d'improvisation renouvelécontinuellement en fonction des participants et des problèmes soulevés par l'expérience collective.
Bien que certaines pistes présentes sur le disque soient relativement arrangées, d'autres sont absolument brutes. Par la suite, nous avons proposé à des artistes en liberté, de transformer, remixer ou créer librement des morceaux à partir d'enregistrements réalisés avec un matériel rudimentaire durant l'année de l'atelier.
Nous avons craint que le résultat ne devienne très hétéroclite, ce qu'il est devenu effectivement, mais cela nous semble, avec le recul, être une qualité de ce disque et représenter de manière signifiante l'ensemble du projet.

Immanuel de Souza & Benoît Moreau




Graphein is a work entirely made of pencils and paper sounds. It was at first conceived for an audio-visual project with Delphine Depres (where she did images only with.. pencils and paper, [link]).

The basic idea was to explore a material and its sonic capabilities. The idea was to dig into the object (in that case pencils) and transform its sonic properties (as a raw material) into a poetic version of it. The basic idea tends to be something extremely basic and understandable and yet the outcome arose as something extremely abstract and disattached from its source.

Compositionally D’Incise built a series of infinite loops or textures to create layers of steadiness or what he calls “sound states”. On the performance level there is no other action than the “next” button option.

According to his words, the system by itself relays on the sense of time and the author’s own perception of boredom. Changes will occur only between the different “sound states” or textures or loops, and the change between them becomes the only possible action for the performer.

This piece is mainly a conceptual work, the poetics of the piece relay on the use of time: how this is relativised by looping what can be heard as textures, and also by the use of just one single element to construct such a disattached from the source acoustic world.

Apart from those considerations, Graphein has certain warmth produced by the low frequencies and the subtle tickling that embellishes the whole work. Beyond the scope of the conceptual background of the work, one can cuddle their ears to that “sound state” and stay there for as long as you wish.

The album comes in two versions. A Stereo one and a 4-channel Version.

(on est de retour !!!)

Relentless Document #102013

Sébastien Branche: Saxophone
Artur Vidal: Saxophone

streaming, mp3, flac 44/24 ou flac 96/24 -> http://insub.org/insub41/

Relentless is an experimental sound creation project based on saxophone. Coming from free improvisation, their current proposals are focused on different practices of sound art. Specificities of the performance space, exploration of their musical instruments and ways to relate with the public are the foundations of their work. For the past few years, they have been looking into the relations between dancing, video and improvised music. Relentless is, in a way, the sound layer that settled through these investigations. Long tones, circular breathing, multiphonics, objects, are some recurring elements always renewed in a dialog between an idiom that settles through practice, and the necessity to improvise to create a music that takes into account each sound and each instant in its composition.

« This album is released almost 3 years after our latest CD. We wondered if we should release it: is it different enough from our previous album, Souffle et mécanique, is it more than just a document for us ,would an outside listener find it interesting, does it question enough our practice, the tension between the “Relentless idiom” and improvisation? Is there a necessity to add yet again a recording to the numerous pile of improvised music released every year?
But at the same time, there are some beautiful sounds, some attempts, maybe still hesitative, to get out of our usual patterns, some new elements even though they’re being used mostly the same way we’re using the old ones. And quite some pleasure to listen to the recording when not thinking about all those issues.
Anyway, we have the possibility to release that session of live music. It is of course a way to make our music and work available to the audience, but beyond that, it is an opportunity to share these issues with you. »

Entraide, amitié et plus si affinité / Re : lisboa
« le: décembre 06, 2013, 00:29:01 am »
(rhaa Lisboa!!!)
Trem Azul, shop/bar concerts freejazz etc
Ze do Bois, dans le barrio alto,des fois des bons concerts
Granular, une asso d'impro etc.
LX factory, c'est branchouille mais y'a des fois des concerts expé dans la librairie

Ware dur / Re : Ampli multicanal
« le: juillet 03, 2013, 18:47:19 pm »
comme solution hybride y'a les amplis 5.1.
(faut just bien verifier qu'il y a les entrées séparées en cinch pour chaque canal)

De viribus electricitatis in motu musculari
une composition électroacoustique (comme on dit) de 15', dispo en  .wav 44/16, chez Reductive Music,

1791, Luigi Galvani
wikipedia drift - title
20 channels - 20 pieces of cardboard moving
mapping of a space - to elaborate a relation between points
stereo - tool of representation
(another possibility)
arbitrary structure
to be kept even if it sounds clumsy
silence - near (proximity)
something alive, an organism
the differences reveal
the electricity breathes
the tones have lost their anchors

(y'a pas de cover alors je mets ça)

Corpusculairmetrique [insubLP01]
Abstral Compost: voix & texte
Cyril Bondi: percussions, objets
d'incise: percussions, objets, feedbacks
Luc Müller: Percussions, objets, micro contact
Vincent Barras: Voix & texte (Face A)

premier LP insub's (en free dl quand même)

Karst réunit trois musiciens/percussionnistes/improvisateurs, jouant de manière fusionnelle, abstraite et électroacoustique, et voix/texte/mot/poésie/son. Ce LP, troisième publication du groupe, se développe autour du thème/mot "corps". Sur la première face, le texte aléatoire d'Abstral Compost est mis en regarde du discours improvisé de Vincent Barras (fascinant personnage, conférencier, historien de la médecine, poète sonore, traducteur de Cage, anthropologue du sonore, etc).
Karst a également monté et présenté en 2012 une pièce de théâtre sonore, "Besoin modeste assiette plate", autour des écrits bruts de Samuel Ernest Daiber.
Cyril Bondi et d'incise se côtoient depuis des années, principalement avec leur duo diatribes. Luc Müller est actif impliqué dans le collectif Lausannois Rue du Nord. Abstral Compost oscille entre poésie sonore et rap sauvage avec le Labrats Bugband.

250 ex, 180gr, pochette sérigraphiée sur carton noir.

Les nouveautés de la musique libre / Heu{s-k}ach - két
« le: décembre 26, 2012, 18:26:08 pm »
Heus{s-k}ach két
d’incise: laptop, objects
Marcel Chagrin: guitare, amp, bass drum


Marcel Chagrin and netaudio superstar D’Incise created an album under the moniker Heu{s-k}ach that will definitely be a momerable exploration into post-rock, jazz, musique concrète and avant-garde. We’re honored to be able to release such an album for free, a testament to Heu{s-k}ach’s generosity. Their ingenuity also tests our sense of fear and exploration as their obvious knack for suspense carries us through the many damp rooms found on the album. A slow, heavy walk through these corridors might dizzy the most adventurous of us but as you go on, the journey reveals itself to be within and the reward is uplifting.
Két certainly takes you to dark places, but peering long enough into its darkness will showcase its true beauty.

Les nouveautés de la musique libre / INSUB META ORCHESTRA archive#2
« le: décembre 09, 2012, 18:12:18 pm »


mp3 & flac http://www.insubordinations.net/releases40.html

Antoine Läng (voice) - Bertrand Gauguet (saxophone) - Brice Catherin (cello) - Bruno Crochet (electronics) - Christian Müller (clarinet) - Christoph Schiller (spinett) - Christophe Berthet (saxophone) - Coralie Lonfat (laptop) - Cyril Bondi (percussions) - d'incise (electronics, objects) - Daniel Tyrrel (guitare) - Dorothea Schürch (voice, saw) - Dragos Tara (doublebass) - Eric Ruffing (electronics) - Gérald Perera (doublebass) - Gérald Zbinden (guitare) - Gregor Vidic (saxophone) - Hans Koch (bassclarinet) - Heike Fiedler (voice) - Jacques Demierre (piano) - Jamasp Jhabvala (violon) - Loïc Grobéty (bass, objects) - Luc Müller (percussions) - Marc Jufer (saxophone) - Marie Schwab (violon) - Otto Von Rhinau (electronics) - Patricia Bosshard (violon) - Regula Gerber (doublebass) - Rodolphe Loubatière (percussions) - Sébastien Branche (saxophone) - Steve Buchanan (saxophone) - Teresa Hackel (flutes) - Thomas Peter (laptop) - Vinz Vonlanthen (guitare) - Wanda Obertova (voiice) - Yann Leguay (electronics)

Si l'Archive#2 est publiée de manière si rapprochée de l'Archive#1 c'est qu'il nous a paru essentiel de signifier par cette sortie l'évolution et le travail accompli par l'orchestre durant sa seconde résidence à la fin de l'été 2012. Celle-ci a en effet permis d'établir une forme beaucoup plus définie pour la direction à la fois esthétique mais aussi stratégique du futur proche de l'IMO. Après avoir expérimenté un vaste éventail de directions, l'IMO a fait le choix de se consacrer à construire une manière spécifique d'improviser en grand groupe, sur la base d' actions collectives, sur certaines sonorités, sur une gestion du volume, etc.
Line 1 est un long drone, où chaque musicien s'intègre selon la capacité de son instrument à tenir une hauteur continue, développant lentement le timbre et le spectre de la masse sonore. Line 2 est une improvisation où l'orchestre explore des suites de matières par blocs de forte cohérence, passant naturellement de certaines densités et couleurs à d'autres.
L'IMO est un grand ensemble d'improvisateurs fondé en septembre 2010. Il rassemble environ 45 musiciens de toute la Suisse et d'ailleurs. Il est issu de la nébuleuse du label et association INSUBORDINATIONS qui édite et diffuse depuis 2006 les formes sinueuses de l'improvisation expérimentale.
L'orchestre cherche à développer l'écoute et le jeu collectif, il expose des microclimats de sonorités, des additions subtiles, à la recherche d'un son unique, généré par une pensée commune, porté par le nombre impressionnant de musicien-nes qui le compose. Avec plus de vingt concerts et deux résidences à son actif, l'IMO a su trouver une voie propre et surprenante.
L'IMO tend vers une pratique où les instruments perdent leurs fonctions - et leurs sons - classiques pour devenir des artefacts sonores abstraits, établissant ainsi un rapport non hiérarchique entre eux.

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