Music for speakers. Concert : ‘Lab_sin’ & ‘Aposiopèse’. Field recordings, improv, electronics.
25.02.2015 Event @ DelachargeMarc Baron + Thomas Tilly + Yvan Etienne
Opening @ 19:30 pm. 6 euros.
Info / booking: +(32)0 26 082 212 / email@example.com
Delacharge : Théodore Verhaegenstratt, 152. 1060, Sint-Gillis / Saint Gilles. Brussels. Be.
Tram 81/83 to : Bethleem. Metro “Porte de Hal / Hallepoort”
Where : map.
There are sounds that he gathers, those that he makes up, there is all that he settles before with protocols and that he deploys.
And above all, there is what comes here to ears, sometimes by accident, when the material is worked on in the studio, by the tape itself, by the microphone.
in the beginning, The form that it takes (broadcasting, performance, record) depends essentialy on the music itself. When it makes sense, the context or the space of the broadcast can determine the facts.
The complexity of qualities, their assembling is the core of this music ; seized between a semblance of realism and the desire for the gratest vagueness.
A search for a tension.
Photograph : © Alice Cuvelier. (2009).
Review of “Hidden tapes” – (Cd Potlacth. 2014.) – By The Watchful ear :
Baron’s music is often unusual, mysterious and exciting. With this new release for the increasingly fine Potlatch label however it also feels highly personal and even emotional.
Previously a saxophonist, Baron has ceased to play that instrument for a few years now, and this new disc seems to consist of electroacoustic constructions made primarily from old tapes, presumably from Baron’s private collection. Notes at the Potlatch website tell us that grabs from movies and classical or liturgical music are also churned into the mix. There are five tracks, mostly titled with dates, perhaps linking back to when the tapes used here were first recorded, but as with much of this album, and Baron’s work in general, so much is left for us to guess at. The five pieces essentially exist as streams of thick, heavy abstraction- spluttering, noisy outbursts, blurry, almost mechanical smears and all kinds of electronic, or electroacoustic distraction, often at relatively high volume. These however fracture often, sometimes slipping into silence, but also often letting what we must assume to be the original content of the tapes to peer through the clouds of noise. So we hear bits of conversation, music, chatter, and a load more besides suddenly surfacing, and often disappearing even more abruptly.
(… ) One of the best things I have heard in quite a long time and completely essential.+ More : www.thewatchfulear.com/?p=8984
Field recordings : Musician whose principle instrument is a microphone. For twelve years he has been composing, inventing sound art installations and teaching. His work has been presented in more than 15 countries. Tilly finds inspiration in different environmental analysis protocols and how they have impact on the notion of listening.
Review of ‘Script geometry’ / (Album. 2Lp+Cd) 2014 – By 5 against 4 :
Cage’s inclusion of natural sounds as musical entities finds a resonance in Script Geometry, the striking new double album from French sound artist Thomas Tilly, out now on the Aposiopèse label. Tilly’s starting point is a collection of field recordings made over the course of a month spent in the tropical rainforest of French Guiana. He describes how he “listened to and captured the sound environment with an emphasis on animal communications, those which are perceptible to the human ear, but also the inaudible that exist in the ultrasonic spectrum”. These recordings are presented in two ways, the first of which is overtly hands-off, Tilly allowing them to speak for themselves in a raw state, without editing or mixing. But far more impressive are the several pieces Tilly composes using these recordings, mixing & layering them into awesome vistas of sound. Sometimes (as in the opening track, ‘At night, mass’) this appears at first hearing to result in cacophony, but gradually one realises there’s a huge sense of perspective, enabling listening at different ‘depths’, so to speak. Another composition, ‘Crossroads, phasing’, challenges the instinct (for both recordist & listener) to move on from a seemingly unchanging sound, but persistence is rewarded, as the soundworld is constantly in flux; furthermore, this track powerfully conveys the heat of Tilly’s environment, practically conjuring up humidity. An engrossing album, it’s crowned with a one-hour untouched ‘reference recording’ that opens a large-scale window on the epic panorama of the rainforest. Aposiopèse have spared nothing in presentation: Script Geometry is available as a sumptuous double-vinyl set (cut by none other than Rashad Becker) with the reference recording on an accompanying CD; for the turntabley-challenged, there’s a lossless digital edition also available.
Thomas Tilly will perform “Script geometry”at Delacharge. +info
Yvan Etienne is artist/activist engaged in research in the field of sound art. (specific site installations, concerts,). As a musician/, He composes and plays pieces using electronic, phonography, analog synthesizers and the hurdy-gurdy. Its sound-art research questions the perception and physicality of sound spaces. Also independant curator & editor of the collection “oh cet echo” at Presses du Réel, he’s concerned with the diffusion of sound & intermedia practices since 1994. Founder of the sound workshop at HEAR/Mulhousei, Art school of Mulhou and co-manager of SONIC, master of sound research.
Review of ”Feu” (Album. Cd) 2014 – By Neural (Italy) :
Yvan Etienne is active as a sound experimenter interested in issues surrounding site-specific audio installations and as a composer proposing weighty reflections on perception and the physicality of sounds in space. Etienne has not been lacking for collaborative work in recent years, undertaking projects and performance with the likes of Phill Niblock, Yann Gourdon, Richard Glover, Brice Jeannin, Patrice Grente, Julien Ottavi, Robert Poss, Paul Panhuysen, Marie and Verry Joachim Montessuis, to name a few, as well as acting as curator and director of the Ohcetecho aux Presses Du Réel collection. For the three tracks of his first solo album Etienne manipulates various field recordings, a Serge modular synthesizer and a hurdy-gurdy (whether ancient or modern is not known). The result is a sound simultaneously fluffy yet stinging, replete with ambient noise, drones and sparse sequences that feel grainy and menacing, hovering somewhere between organic and inorganic. The impressive scores are very dense and layered, building to a crescendo that is harmonious and addictive, despite the fixity of the narration. Strongly iterative, immersive and resonant, the work reflects a keen sense of spatiality and dynamics. The listening is pleasant but never too conciliatory, favoring moods that are rather spacey and sidereal, infused with vintage synths, tools made popular in the mid-seventies by artists such as Frank Zappa, Jon Hassell, Sonic Boom, Richie Hawtin and Vince Clarke that have now achieved “cult” status among fans of modular analogue gear.