1.1 bassdrum, feedbacks [various vibrating/harmonic states of a drumskin],Â “what’s wrong with a cowboy in Hamburg ?” (in “Der Amerikanische Freund”, Wim Wenders, 1977). 1.2 vinyls, nails, plastic box, pick-up parasits and feedback [from moving mono to static stereo, orginally composed for a performance with Violetta Perra],Â “splinters floe” might be a poor translation. 2.1 many concerts recordings in various large spaces [amplification of the "silent parts"],Â I shall here thank all the friends and musicians one can ear fragments on this piece. 2.2 feedbacks, open piano, magnetic glitches, pre-amps, laptop and house noises,“c’est ces choses lÃ que nous enterrons” (from a french translation of “O Esplendor de Portugal”, Antonion Lobo Natunes, 1997, or perhaps from “A Ordem Natural das Coisas”, 1992, not quite sure now), something like “it is these things that we bury”.
When it gets boring it becomes interesting. (How far can one go with a very simple idea ?) Is there a point in time where the boredom mutate to something else ? (Not physchedelia, just new mechanisms). Mettre deux choses en regard. (The most so-called non-expressive is it still expressive somehow?) (I’m listen Sun Ra while writting this…”so the nothing and the air and the water and the fire are really the same — upon different degrees”). I love this state of almost nothing happening, but in constant way, just like it looks almost immobile but not, like the continental drifting, (things take shapes “upon different degrees”). Is all of this an allegorie of myself ? (it sounds damn romantic then). “Of course it won’t work. So what?” (from the english subtitles for “Angst essen Seele auf”, Rainer Werner Fassbinder, 1974).
D’incise (1983), electroacoustic musician, doing both composed and improvised works, from so called electronica to musique concrÃ¨te, drone, EAI and post-reducionnism influences. He focuses mainly on generation and manipulation of acoustic sound sources and objects, loves feedbacks and digital glitches as well. He tends to extract the most tiny details of the elements, appreciates slowness and obsessive explorations of simple processes. He coordinates the Insubordinations netlabel, dedicated to improvised musics, and was actively inside the Audioactivity collective and netlabel, does graphic design and works sometime on sound installations. Deeply influenced by the free culture thinking he loves to share and spread its albums and creations on the web.
CC by.nc.sa 2012
Swiss-based Peter Laurent (d’incise) offers four lengthy works on this double-disc set, centered around drones and the audible elevation of small sounds. These range from vibrating drum skins to the amplification of “quiet parts” from past concerts (an idea I rather like). This latter is my favorite piece here, yielding a varied rnge of not-overtly-related sounds and textures that possess a veryÂ fullÂ feeling, elements jostling around in space, buffeting each other, sliding past one another, chaotic but of a whole. In the notes tot he release, he writes, “When it gets boring it becomes interesting” and d’incise abuts that subjective divide now and then. All the tracks are listenable though at times, my attention wandered,which is perhaps fine. I’m guessing that they’d function quite well as traditional (that is, Eno-oriented) ambient music in the sense of subtly causing one to think differently. Hard to say. Listening to the final piece, assembled from “feedbacks, open piano, magnetic glitches, pre-amps, laptop and house noises”, one realizes that there’s a hell of a lot occurring beneath the apparently simple hum though attempting to focus on it, like looking directly at a faint star in the night sky, often causes the cohesion to disappear. Very interesting work, especially the second disc. Worth checking out for those inclined in this direction.
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