DIATRIBES & ABDUL MOIMEME complaintes de marée basse

After the trio with Phonotopy, but recorded a couple of month earlier, Diatribes proposes with Abdul Moimême a new electroacoustique oriented album, where the instrumentation distinction is lost to the benefit of a sounds ensemble strongly linked by skeazing ropes and under permanent tension. Some metalico-organics imporvisations develloping under harbour influence, superpostion of poetic evocations like an high-tech nostalgia.

DIATRIBES:

Diatribes, a strongly libertarian ensemble, began its existence in a Geneva basement in Winter 2004. Adapting the improvised and experimental music languages of today, the duo is highly reactive, dynamic, percussive and/or textured. Initialy a trio, diatribes became a polymorphous formation, accuratly incomplete, extending each time its spectrum with guest musicians, from freejazz to electroacoustic improv, from loud sound wall to intimistic acoustic details, crossing the road of Barry Guy, Keith Rowe, Jason Kahn, Jacques Demierre, Christian Weber, Ernesto Rodriguez, Tomas Korber, Jean Bord�, Mick Beck, etc, travelling through europe to create new entities, with Adbul Moim�me in Portugal, Hannah Marshall in England, Rafal Mazur in Poland or HKM+ in Germany.

ABDUL MOIMEME:
Abdul Moimême is an active member of the Portuguese improvised music scene, playing regularly with the “Variable Geometry Orchestra” and “Suspensão”, two groups led by violin player Ernesto Rodrigues. He is also member of the Granular collective.
In 1999 he started writing jazz critique in various Portuguese publications including “Flirt”, “All Jazz”, and Jazz.pt magazines, as well as “Publico” newspaper. In 2006 he created “Freemusic”, a blog exclusively dedicated to the promotion of Portuguese improvised music.
In 2009 he published “Nekhephthu” [Creative Sources CS-102], a solo prepared electric guitar CD

abdul moimême: two prepared guitars, metalic objects, springs, cymbals, metronome
d’incise: laptop, objects, various instruments, snare drums, bow, cymbals, gramophone
cyril bondi: drums, percussions, bow, cymbals, objects, small instruments

1. s’amarrer mp3
2. crustacés mp3
3. complainte de marée basse mp3
4. voile et vapeur mp3
5. entre les haut-fonds mp3
6. pavillon noir mp3
7. naufrage mp3

infos txt
cover jpg out & jpg in

Download the complete album in .zip: click here.
(47min08 / 320kbps mp3 / 124Mo)

recorded in Lisbon, august 28 & 29, 2009.
mixed by d’incise.
masterised by Wolfgang Rüfenacht.
font design by Sonia/.

Edited as 500cd, 18x14cm print in thin sleeve, it can be ordered through our online distro, Mitenand, or directly with the following paypal button. [15chf/10euros/14usd, worldwide shipping]

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DIATRIBES & PHONOTOPY partielle d’averse

DIATRIBES:
Diatribes, a strongly libertarian ensemble, began its existence in a Geneva basement in Winter 2004. Adapting the improvised and experimental music languages of today, the duo is highly reactive, dynamic, percussive and/or textured. Initialy a trio, diatribes became a polymorphous formation, accuratly incomplete, extending each time its spectrum with guest musicians, from freejazz to electroacoustic improv, from loud sound wall to intimistic acoustic details, crossing the road of Barry Guy, Keith Rowe, Jason Kahn, Jacques Demierre, Christian Weber, Ernesto Rodriguez, Tomas Korber, Jean Bordé, Mick Beck, etc, travelling through europe to create new entities, with Adbul Moimême in Portugal, Hannah Marshall in England, Rafal Mazur in Poland or HKM+ in Germany.

PHONOTOPY:
Phonotopy aka Yann Leguay: both improbable sonic experimentations and self-cons-production label offers a conceptual approach to recording media. Diversion of items, conceptual feedback, tautology, nonsense, concretion and contradiction are the main acoustic ingredients.

cyril bondi: drums, percussions
d’incise: laptop, objects
phonotopy: tennis cythar, electric racket

Edited as 100 mini-cdrs in hand-made digisleeve.
it can be ordered through our online distro, Mitenand, or directly with the following paypal button. [10chf/7euros/9usd, worldwide shipping]

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KARST . toujours trainer des formes étranges

After almost five years of existance, the Insubordinations netlabel starts a new serie, in cd format.
And it is KARST that inaugurates it with nine tracks where whole objetcs and percussions panoply supports, coats or even put in trouble voice and texts into an unique alloy of sound poetry, automatic/random reading/writing, free improvisation and (electro)acoustique mass.

KARST is a free improvisation and (sound) poerty quartet; intermingling objects and instruments, creating an architecture of percussions, squeaks, frictions, unreal impulses, instinctive mathematic sounds in constant reorganization.
KARST is a landscape; carved by corrosion, with sharp, underground cavities where thousands of roads offer themselves to the adventurous listener.

abstral compost: voix
d’incise / luc mueller / cyril bondi:
objets, percussions, etc

1. tomber du ciel des formes étranges mp3
2. postpoeme synaptique D mp3
3. 1656 mp3
4. pyrite soufre or coeur mp3
5. dans le coin-coin de la piépiéce mp3
6. je laverie mp3
7. la vierge mp3
8. K mp3
9. toujours traîner du rouge derrière soi mp3

infos txt

enregistré les 17-18.08.09 au Studio du Funiculaire, Lausanne. mixé par d’incise. masterisé par Wolfgang Rufenacht. sérigraphié à l’Atelier Obscur.
avec le soutien du Département des affaires Culturelles de la Ville de Genève

Edited as 500cd, it can be ordered through our online distro,Mitenand, or directly with the following paypal button. [15chf/10euros/14usd, worldwide shipping]

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Rafal Mazur / Keir Neuringer . improwizje

Rafal Mazur’s involvement with music began in his youth with violoncello studies in Krakow. He switched to bass guitar in the late 1980′s. Since 2000 he has played an acoustic bass guitar built to his own specifications by luthier Jerzy Wysocki. He has developed an advanced and individual approach to his instrument, and to improvisation in general, in which sonority, extended technique and gesture combine effortlessly in performance. He has taken an important role in Kraków to support young artists and improvised music. A founder of the ImproArt studio of improvisation, he has performed jazz and improvised music in clubs and festivals across Poland and Europe, and in China, South Korea and Israel. In recent years he has collaborated with Lisa Ullen, Frederic Blondy, Charlotta Hug, Raymond Strid, Keir Neuringer, Zsolt Sores and Attila Dóra and others. His current focus is the trio Ensemble 56. He is an organizer of the Laboratory of Intuition, a series of spontaneous art presentations in Kraków. Mazur’s main field of interest and activity is collective and solo free/spontaneous improvisation. In his practice as an improvising musician and on his way to mastery/artistry he studys Chinese philosophy (Jagiellonian University). He regards Taoism as a strong base for the enrichment of the improviser’s attitude, and to this end he practices the Taoist’s martial art TaiJi Quan Chen. For Mazur, following the masters of Chinese philosophy and martial arts is crucial in the development of a state of mind prepared for the unexpected situations an improviser encounters in the act of collective free improvisation.

Keir Neuringer has cultivated a personal and intensely physical approach to solo saxophone improvisation that honors, builds upon, and eschews diverse music-making traditions. Vehemently critical of the destructive behavior of industrial civilization, in his work (as a composer, performer, bandleader, writer, interdisciplinary artist and curator) he seeks to bring audiences into a state of emotional and intellectual curiosity that meets the conditions for meaningful dialogue with and transformation of the culture at large. He has collaborated with Rafal Mazur since 1999 and works with a wide and undefined network of inspiring musicians, including turntablist DJ Sniff and the contemporary music group Ensemble Klang.

Keir Neuringer: alto saxophone
Rafal Mazur: acoustic bass guitar

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PARSEC3

Parsec3 is a free improvisation trio which draws its colours extensively in various current musical languages, from the densities and dynamics of free jazz, to the noise vague, but also with some microtonal elements, in order to try a synthesis, but also a creation rooted in our fast changing and unpredictable times.
This trio is composed of experienced musicians who like to take crossed-paths and to share to the public their quest of the unknown and surprise.

d’incise:
Born in Geneva in 1983, d’incise performs behind its laptop in every corner of Europe, from Portugal to Scotland, working with personalities of great calibre in the improvised music community. Uncontrollable noise maker, engages battles without compromise with objects of every kind, mistreating them through digital elements.
Loves to share and spread its albums and creations on the web, he’s a member of the Audioactivity Collective and founder of Improvised music Insubordinations Netlabel. He is member of Diatribes (with cyril bondi) and Karst (with cyril bondi, luc mueller and abstral compost).

Christian Graf:
Born in Geneva in 1957, musician and composer, takes part in numerous active projects on the Swiss improvised scene. Guitarist of great experience and captivating stage presence, is constantly in seek of musical dialogue with the musicians with whom he interacts on stage, but also with the audience which, following Graf’s credo, constitutes a fundamental part of the artistic execution.
Regularly active with and founding member of the historic collective/Bigband “Fanfareduloup Orchestra”, takes part to numerous activities and arrangements / compositions for theater, modern ballet and cinema. Works for projects, recordings or concerts, with great personalities such as Riccardo Del Fra, Erik Truffaz, Daniel Humair, Urs Blöchlinger, Glenn Ferris, Mathieu Michel, Pierre-François Massy, Grégoire Maret, Marcel Papaux, Monty Alexander, Léon Francioli, etc.

Filippo Provenzale:
Born in Minusio, Switzerland in 1971, is mainly self taught on the drums, but not only: the decisive encounters with Elvin Jones and Ron Savage (Berklee College of Music) and Leonzio Cherubini (Conservatory of Montreux) have shaped his style and unmistakable color. After some experiences with big band, modal Jazz, and post-bop formations, he’s been now concentrating on his natural approach to improvised music for many years, on multidirectional rythms, avant-garde forms, unexplored and creatively free musical territories. Works among others currently with Machinegun Trio with Fred Berney on bass and John Menoud on saxophones.
He’s blessed by the chance to play in fall 2009 with Avant-garde Freejazz master Charles Gayle with Pierre-Francois Massy on double-bass.

christian graf: guitare
d’incise: laptop & objects
filippo provenzale: drums
*
(53 min 07 / 320kbps mp3+cover / 128Mo)

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RELENTLESS . metal workshop

Following a collaboration in the multidisciplinary improvisation-collective In Sit-U in 2003, the two saxophone players Artur Vidal and Sébastien Branche decided to examine together the different relations that could be found between the way they play music and the other forms of expressions involving instant-composition.

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.

Sébastien Branche: saxophones & objects
Artur Vidal: saxophones & objects

Recorded in July 09, during a residency on soundscape at CESTA (www.cesta.cz), in a metal workshop, Cerní Remeslníci (Tábor, Czech Republic), while two workers Ladislav svárec Procházka and Karel bruska Sychra, are at work as usual. The piece that comes from it is a 20 minutes testimony of our presence there.
We would like to thank Hilary Binder, Christopher Rankin, Georges Cremaschi, Ladislav svárec Procházka and Karel bruska Sychra.

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KARST . Samuel D

KARST is a free improvisation and (sound) poerty quartet; intermingling objects and instruments, creating an architecture of percussions, squeaks, frictions, unreal impulses, instinctive mathematic sounds in constant reorganization.
KARST is a landscape; carved by corrosion, with sharp, underground cavities where thousands of roads offer themselves to the adventurous listener.

Edited as 100 cdrs.
See the pictures down the page.
The cdr can be ordered through our online distro, Mitenand, via paypal.

abstral compost: voix
d’incise / luc mueller / cyril bondi:
étendages à linge, objets, percussions, etc

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BBLUNK : ‘O’bcal

bBlunk , the founding duo of the collective XoNdZf, is composed of pianist DoM DuboisTaine and drummer tiri Carreras.
The musicians met one evening, during an improvised music jam session organised at the Fabrica’son in Malakoff by Benjamin Duboc in 2007.
Their musical and human complicity was immediately apparent. Previously they had each participated in many musical experiences, from rock/pop to classical music and from jazz to contemporary music. Improvisation, the pleasure of experimenting with sound, the refusal of any prejudice and of any predefined school or style brought them together. As tiri says, “with DoM, I feel I’m playing the music I always dreamed of: totally free and in perpetual renewal.”
That was the starting point of a common labour in which both protagonists explore the possibilities of their instruments and of their dialogue. During sessions they talk and listen attentively in order to produce coherent and varied compositions. In this way they create small pieces, which can be erratic or dense, based on sound effects or melodious, energetic or restrained. Each one has its own unique form and universe.

‘O’bcal, bBlunk’s first album available online, offers a selection of recordings made at the “Bocal” in 2009. Around that central duet, the various groupings within the XoNdZf share a common taste for free improvisation, experimental research, and creation, always exploring their own path.
Sylvain Guérineau brings his lyrical passion to thebBrrAx trio, whose sincerity and generosity combine in an energetic formula tending towards free music.
The music of the eRraTz trio is impossible to classify but its formula is nonetheless rather classical, with the surprising and subtle Jean Bordé on double bass.
In the zVeep trio, with Vee Reduron playing guitar, the natural sonorities of the drums, the electric sonorities of the guitar and the electronic sonorities of the keyboards complete each other and melt into a powerful playful maelstrom.
bBlunk irrigates all those proposals and is in turn inspired by their feedback.

DoM DuboisTaine: piano
Tiri Carreras: drums

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ENSEMBLE RUE DU NORD : live at st-gervais

The Ensemble Rue du Nord’s music is shimmering, noisy, subtle, nervous, free. Each musician is involved entirely in the sound, the concentration and the listening, thus taking part in collective construction of a new sound universe. The marriage between acoustic and electronic instruments offers a very rich pallet of timbres and gives to the ensemble its unique identity.

Far from the Bregovic like Balkan music stereotypes, the Ensemble Rue du Nord last project presents for the first time in Switzerland some of the most active and promising musicians of the Balkans emerging experimental scene. Since 2007, the ERN intensively collaborated with these musicians, doing concerts in Mostar, Sarajevo, Belgrade, Sofia, Skopje and Pristina within the framework of the “Swiss-Balkan Creative Music” project.

The aim of the Swiss-Balkan Creative Music Project is to developp new links between swiss and balkan musicians in the field of contemporary improvised music.The working sessions will give the musicians the possibility to explore new and fresh practices in electro-acoustic improvised music. The music is made of sonic architectures, colours and textures and moves between pure sound and abstract noise complexity.

The project is realised in 3 phases : April 2007, November 2007 and spring 2008. For the first and second phase, the Ensemble Rue du Nord is travelling and meeting different local musicians. The third phase will permit to have several concerts in different cities and mix the balkan musicians in the spirit of the « Company Weeks » by Derek Bailey.

collective free improvisation:
“the encounter between swiss and balkan improvisors, and between acoustic and electronic”

Benoît Moreau: clarinet
Laurent Bruttin: bass clarinet
Jonas Kocher: accordion
Miran Zrimsek: cello
Dragos Tara: double bass
John Menoud: guitar, electronics
Svetlana Maras: piano
Robert Roza: no-input electronics
Lukatoyboy: toys, sampler, electronics
David Tabachnik: sound

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POTLATCH : Live at Fábrica

There is an English term that is becoming increasingly common when we talk about non-conformist and transgressive music: “leftfield”. The significance is plural, but the meanings converge to the same idea – literally, it means “coming from nothing”, in an abbreviation of the expression “out of left field”, but it is also taken as a play of words between “field” (territory) and “left” (in allusion to the politic left), becoming something like “coming from the left”. The first uses of the word referred to electronic dance music that had an experimental nature, as the one played by the extinct duo Leftfield, but soon the references were amplified to the more abstract and exploratory tendencies of non-erudite electronic music, and then, for all the proposals, even the acoustic and electro-acoustic ones, that don’t stick to gender nor style or that put it into question. More recently, we can find it in cinema, video, theatre and dance styles that are not in keeping with the dominant aesthetics.

The fact is that the word “leftfield” achieves special pertinence when it refers to improvised music. To all purposes, it is created – at least apparently, because we have to reckon on the personal references of each musician (Cage use to say that «improvising is to play what you know») – from the scratch, in other words, in the very moment of its public performance, in addition to the fact that it has left and extreme-left connotations since its origins in the context of the social and cultural movements of the 1960s (with special relevance for the ones with a libertarian stamp). The percussionist Lê Quan Ninh is peremptory regarding this element: «Between the present artistic practices, there is one in which the anarchist principles are evident, the free improvisation.»

If the musical language in which people use to improvise until the middle of last century – jazz music – lived the revolution of creative spontaneity and liberty during the free jazz years of Black Power (without ever disconnecting from the composition structures of the tradition from where it came from), in the old continent they wanted to go further and formulate a new approach labelled as free music. This one was represented by the egalitarian programmes of Scratch Orchestra, Spontaneous Music Ensemble, AMM and Musica Electronica Viva (MEV). About this last ones, Alvin Curran, one of its founders, remembers the following: «At that time, we believed music was not property of an individual or author, but it belonged to the collective, and that music is an universal human right, in the sense that everybody play if they just want to. Curiously, these believes are again in the middle of an ethic and legal debate regarding the definition of what is music, it’s authorship and the use of it by the people over the internet. We use to be characterized by “shocking” (even for us) absence of authority and leadership and we use to apply the principle that everybody could produce sounds in some way, in an act of spontaneous musical creation. This attitude of involving the audience in the concerts – a radical assault to the sacred cows of bourgeois’ culture – mean the suicide of the group as a closed entity, but gave us the possibility to achieve the most dangerous and unstable experimental limits. One of the main objectives was the creation of a tribal energy, with all and every means, challenging death, asserting life, searching ecstasy, in an idiosyncratic mixture, naked and without the mediation of anarchism, communalism and transcendentalism.»

MEV attitude went until where it was possible or impossible and not everything they did with non-musicians seems to us, nowadays, interesting, especially because we listen/observe as outsiders – with a necessarily different perspective. Maybe Elvin Jones was right when he stated that «there is no liberty without any kind of self-control and self-discipline». Remembering his collaborations with John Coltrane: «Even if he gave the impression of liberty, what he played was based on lots reflection and discipline.» Maybe Ron Carter had this liberty, when he pronounced: «we are able to be free as much as we want to, but we need to have a “background” with which we can relate to, putting in practice that same liberty – other way, we are relegated to a corner».

Maybe, it will repeat. The fact is that Potlatch octet in this live record is placed between free jazz and free music. When we guess the legacy of Ornette Coleman in the sonority and in the non-hierarchization of instrumental roles, it comes out, without warning, situations of total and abstract deconstructionism, with electrical (Guilherme Leal’s guitar) and electronic (Nuno Lima’s devices) interferences; a great high density percussion base, now and then turned to beat or to texture’s developments (Luís Desirat’s drums and Monsieur Trinité’s objects); and a solid, even when discreet and on duty to the group, harmonic elaboration, granted permanently by the piano (Filipe de Sousa) and very often by the double-bass (Pedro Roxo) which is not limited exclusively to rhythmic accompaniment. Two different approaches to improvisation are, then, constantly intertwined, one associated to the afro-American legacy, and the other to a less codified European stamp. On the “scene’s mouth” we can find the saxophones (Jorge Lampreia on sax soprano, here and there also playing the flute, and José Lencastre on sax alto), major responsible for the connotations with what most listeners perceives as “jazz”. The constant in and out of different formats and the scratch in the cracks between two contiguous worlds is what delights on this project, which plays with alignments and ruptures, reviving through it self-questioning attitude the “leftfield” premises.

In his essay “Improvised Music After 1950: Afrological and Eurological Perspectives”, professor and trombonist George Lewis refers how jazz is to free improvisation what he designates as the “epistemological other”, adopting the terminology of social scientists Margaret Somer’s and Gloria Gibson’s. Using the understanding of this essential AACM figure, Potlatch’s jazz will emerge as a reference pillar of a contraposition work. To be more specific, Lewis points out that jazz «served to animate many projects in the formation and exploration of a particularly Eurological improvisative sensibility», even when the music distances itself from that idiom. It is precisely the case of this group placed on the left of the musical left that was the “new thing”, which in these days does not mean to take up arms and blow up bombs.

Rui Eduardo Paes (Music critic, essayist, editor of the magazine Jazz.pt)
English translation by Sandra Pires

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HARGREAVES/NOYES/DUPLANT : Malachi

phil hargreaves: sax
lee noyes: drums, percussions
bruno duplant: contrebasse

Phil Hargreaves was born in the 1950’s in the North of England, and then grew up in the Midlands. The Punk Explosion of 1976 opened his eyes to the transformative power of music, and planted the seed that the idea is more important than the technique avaible to realise it. Resident in Liverpool since 1980, his main instrument is now the saxophone. He also composes, produces and manipulates sound from that base, both live and via internet.

Lee Noyes, born 1977. Active in New Zeland Noise since mid-1990’s; musical adventures in a bubble. Became fascinated by the world of jazz through friendship with eccentric retired drummer whilst spending most musical time composing concrete muisc on the Tascam. Late 90’s ditched electronics and amplification to explore the dirct relation between flesh and metal, riding wood and skin, ceaslessly rejecting all experiments in search of the “new”. Until coming full circle and finding freedom in “folk”; “folk” being free; freedom what the improvising musician seeks. That and dialogue. Sometimes, working in isolation, the dialogue takes form as a chainletter. Bubbles are bursting and music is made all over.

Bruno Duplant was born just after the 1968 french events – a clue ?- He jumps very late into the musical adventure, moreover as an autodidact… but that needn’t matter, he tackled the guitar, the double-bass, the banjo… and never gets tired of discovering and clearing his own fields.

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Edited as 50 cdrs with found book+stencil covers.
The cdr can be ordered through our online distro,Mitenand, via paypal

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LE CAR DE THON Nos meilleurs Stockhausen + vernissage

The good thing about Stockhausen is that he did it all. Not only was he further ahead than anyone else, he was also better than anyone else. Aus den Sieben Tagen is a big classic, yet rarely performed. “Classical” musicians despise it because a huge part involves improvisation, and improvisers do not consider it because it is “signed” music. What a regrettable mistake do all these people make. It is precisely during these few days when Stockhausen composed this collection, that he had placed the highest faith into musicians, and, through a metonymic extend, into humanity. At this peak point, the last piece of the book states “Play, you do not need me anymore, everything you will do from now on will be right and good.” Yet, the mistake will not be undone as “classical musicians” are too anxious to be abandoned by the composer, and improvisers cannot bear interference in their musical ideas.

Aus den Sieben Tagen is a collection of pieces to be improvised after the very concise and apparently metaphysical instructions of the Master. But far from delivering us a strange joke or an esoteric manifesto, Stockhausen explores in fifteen pieces the main questions of composition, improvisation, art, its transmission and its origin, the status of the artist, his way of life and thought, the stage, etc.

This CD presents our favourite versions of these pieces, which we have been playing on a regular basis for the past two years. Most of the recording took place during a concert where we performed the whole collection in April 2008 (from 2:30pm to 00:30pm) at the théâtre du Grütli in Geneva. The last track was recorded in the Lapin Vert (Lausanne), a year earlier, in a slightly different casting, during a concert, in which pieces were chosen (intuitively) by the audience.

Le Car de Thon : In August 2006 a new music ensemble was born in Geneva, Switzerland: the Car de Thon. But why should one build up a new ensemble when (too) many of them already exist? First of all because the Car de Thon mixes the qualities of many different ensembles, qualities of which the most significant is precisely the mixing itself. Secondly the Car de Thon has a very specific approach to art in general, and to the people receiving it in particular: the audience. This short article will try to give a quick outline of the Car de Thon’s main interests and ideas, and demonstrate how it has the nerves to call itself an “all audiences ensemble” when we only play so-called contemporary and experimental music and performing arts, which are for some reason believed to be elitist.

(see the Car de Thon’s Philosophy.)

Yannick Barman: trompette
Brice Catherin: violoncelle et électronique
Vincent Daoud: saxophone (1-2-3)
Jean Keraudren: spatialisation et effets (1-2-3)
Christian Magnusson: trompette
Benoît Moreau: clarinette
Luc Müller: percussions
Cyril Regamey: percussions
Jocelyne Rudasigwa: contrebasse
Samira El Ghata: flûte à bec (4)
Yuji Noguchi: clarinette (4)
Sara Oswald: violoncelle (4)
Jean Rochat: percussions (4)

pieces from “Aus den Sieben Tagen”

by Karlheinz Stockhausen.

cover drawing by Andreas Kuendig.

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MACHINEGUN : Three Wisemen in a Straightjacket

 [insubcdr06]

MachineGun extends his sound through different landscapes, which come from their own paths of energy.
In a way, this band keep concentrate his inner rage to express and blow-up a sonic anger.
They spell certain subversive ideas – which we can find in their sound – like Chaos is the Eros side of our lives, and Order is in fact death.

Edited as 150 cdrs & color printed hand-made digipack. See the pictures down the page.
The cdr can be ordered through our new online distro,Mitenand, via paypal.

John Menoud: Alto & Baryton Saxophones
Frédéric Berney: Bass
Filippo Provenzale: Drums

1. my gun’s empty mp3
2. rebel without a cause mp3
3. sharp nerves mp3
4. Grace got a brand new machine mp3
5. loneliness mp3
6. dial K for Kelly mp3
7. sea shell mp3

hq cover (for D.I.Y cdr) jpg
infos txt

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DIATRIBES+JACQUES DEMIERRE+JOHANN BOURQUENEZ piano(s)

[insubcdr05]

“free improvisation / free jazz”
torsion & distorsion, cavalcade minérale, métal rouge révolte, résonances du corps prêt à rompre.
torsion & distortion, mineral cavalcade, revolt red metal, ready to break body resonances.

Edited as 30 “delux” cdrs with hand-made, 3 colors, screenprinted cover & 70 “normal” cdrs in hand-made digipack. See the pictures down the page.
if you would like to get copy. please drop us an email

cyril bondi: drums, percussions
d’incise: laptop, objects
jacques demierre: grand piano
johann bourquenez: grand piano (on 1 & 5)

1. tornade mp3
2. chants évadés mp3
3. et puis partir mp3
4. presque mourir mp3
5. sous l’écorce mp3

hq cover (for D.I.Y cdr) jpg
infos txt

Download the complete album in .rar: click here.
(31 min 46 / VBR mp3+cover / 69 Mo)

1-5 recorded at AMR, Geneva, ch, 16.05.08
2-3-4 recorded at 2:21, Lausanne, ch, 26.09.08

(for PC, downlaod 7zip to open .rar archives click here)
(for MAC, downlaod UnRarX to open .rar archives click here)

DIATRIBES:
Diatribes,a strongly libertarian ensemble, began its existence in a Geneva basement in Winter 2004. Their idea was to mix distinct various types and approach of the sounds, in order to develop a malleable musical mass. The instruments merge into the electronics treatments in a primary dance, where construction and deconstruction coexist, and envy and disgust unite. There are no limits in teh way of playing, where rhythms, melodies and noise meet sporadically, merging into each other until they are almost forgotten. Free jazz in its approach, acoustic and electronic in its execution, the trio is capable of exploring the minute like the intense.
Initialy a trio with Gaël Riondel on saxophone, diatribes became a polymorphous fromation, extending its spectrum with guest musicians such as the guitarist Christian Graf, the electroacoustician Nicolas Sordet, the pianists Jacques Demierre and Johann Bourquenez, the bassist Dragos Tara or the saxophonist Piero SK..

JACQUES DEMIERRE:
Jacques Demierre (1954), pianist, performer and composer, his musical and sound work develops itself in various directions : improvised music, contemporary music, sound poetry, sound installation. His compositions and sound realisations are concerned with the activity of listening and with sound space. He collaborates with many improvising musicians – Barre Philips, Urs Leimgruber, Thomas Lehn, Martial Solal, Radu Malfatti, Joëlle Léandre, Axel Dörner, Fritz hauser, Sainkho Namtchylak, Urs Blöchlinger, Irene Schweizer, Hans Koch, Isabelle Duthoit, Brandon Labelle, Jason Kahn, Butch Morris, Carlos Zingaro, Gunter Müller, Jaap Blonk, Barry Guy, Lucas Niggli, Sylvie Courvoisier, Hann Bennink, Rhodri Davis, Martin Schütz, Paul Lovens, Dorothea Schürch, Phil Minton, … He regularly plays solo piano concerts, and works with Vincent Barras in the field of performance and language art. “Jacques Demierre’s work exceeds the first degree articulation between music and poetry. Solo improvisation at the piano, work on the music of language and in the language: no need of confrontation. Each medium recognizes, assumes, reflects its limits and finds in this reflexion the instrument of its going beyond.” (Ph.L.)

JOHANN BOURQUENEZ:
johann bourquenez plays piano

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GIANNI LENOCI & HOCUS_POCUS IMPROVISERS ORCHESTRA : ephemera

GIANNI LENOCI & HOCUS_POCUS IMPROVISERS ORCHESTRA : ephemeral#2

insub28

Gianni Lenoci, piano, composition, conduction

Stefano Luigi Mangia, voice

Carla Genchi, voice

Miriam Neglia, voice

Vito Galante, trumpet

Pamela Catucci, trumpet

Antonio Lo Re, trumpet

Carlo Mascolo, trombone,dijeridoo

Antonio Furio, tuba

Andrea Campanella,clarinet

Francesco Massaro, sax

Antonangelo Giudice, sax

Federico Dammacco, sax,flute

Stefania Ladisa, violin

Adolfo La Volpe, guitar, electronics

Giovanni Volpe,guitar

Giuspeppe Pascucci, guitar

Leo Binetti, synth

Govinda Gari, piano

Angelo Urso, double bass

Pasquale Gadaleta, double bass

Ananda Gari, drums

Giovanni Angelini, drums

Giacomo Mongelli, drums&percussions

Alessio Giuliani, percussions

Ephemeral #2:

Gianni Lenoci followed the usual way he use from last three years: just small notated fragments as starting point to jump into improvisation. These small notated fragments are a kind of ” prolific material”. They can be used in several ways: combination, permutation, inversion and so forth, in the same way a sculptor manipulate his materials. Gianni showed to musicians the general gist of the composition and through the process of rehearsal and human relationship the group went to a kind of “structure” with sections, musical figures and gestures, signals and orchestration.

“squeeze what you have ’til last and then go to the other corner.” (Mal Waldron)

Hocus_Pocus Improvisers Orchestra:

The Hocus_Pocus Improvisers Orchestra explores the relationships between improvisation and musical writing in its various forms, including the use of graphic scores, traditional&alternative notations, game pieces and conduction. The ensemble plays music from the more radical fringes of the contemporary repertoire (Cage, Maderna,Bussotti, Stockhausen, Ferrari among others), as well as compositions by Gianni Lenoci,totally improvised music and free jazz.

Gianni Lenoci:

Piano Diploma at St. Cecilia” Conservatory in Rome, Electronic Music Composition Diploma at “N. Piccinni” Conservatory in Bari. Improvised music studies with Mal Waldron and Paul Bley. Award by Centre Acanthes in Paris (France).

He is performer and composer (both acoustical and electronic) of notaded and improvised music. He played with: Massimo Urbani, Steve Lacy, Joelle Leandre, Steve Grossman, Harold Land, Bob Mover, Enrico Rava, Glenn Ferris,Eugenio Colombo, Giancarlo Schiaffini, Don Moye, Han Bennink, Antonello Salis, Carlo Actis Dato, David Gross, Paul Lovens, Sakis Papadimitriou, Georgia Sylleou, Jean-Jacques Avenel, John Betsch,Markus Stockhausen,Steve Potts, Carlos Zingaro, John Tchicai. Further more he give performances with poets,dancers and multimedia artists.

From 1988 He is teaching PERFORMANCE, IMPROVISATION & COMPOSITION in jazz and contemporary music classes at “Nino Rota” Conservatory in Monopoli (Italy). He performed extensively in clubs, concert hall and festivals in Italy, France, England, Romania, Hungaria, Albania, Argentina, USA, Turkey,Canada,Greece, and recorded for:Splasc(h), Modern Times, ASC, LEO,SENTEMO,AFK, VM-ADA, DAME (Ambiance Magnetiques), Vel Net, Soul Note. He is ERASMUS visiting professor at Bucharest University, Corfu University and Royal Northern College of Manchester. At current time his main focus is on improvisation and on interpretation of Johann Sebastian Bach and Morton Feldman music.

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EVE RISSER & RAFAL MAZUR lan vital

EVE RISSER & RAFAL : MAZUR lan vital

[insubcdr04]

Edited as 50 3”cdr with hand-made cover.

See the pictures down the page.

if you would like to get copy. please drop us an email

.

Eve Risser: Grand Piano

Rafal Mazur: Acoustic Bass Guitar

1. lan vital mp3

Eve Risser has her musical roots in chamber music as a flutist and pianist. While residing in Alsace, France, she merged in to the contemporary and jazz/improvised music world.

Eves multifaceted musical creativity has been heard in various settings, festivals and groups throughout Europe, USA and Japan. She has had the opportunity to play with interesting improvisers in a broad range of contexts, such as in theatre, dance, poetry, children, solo performances, contemporary and live soundtracks to films. Eve’s actual musical researches are based on the exploration of paradoxal piano sounds, on the experimentation of the different delays existing between the improviser and the sound finality, and how all these techniques are scribed in a musical meaning.

Currently Eves musical life is based out of Paris where she is involved in organizing contemporary and improvised music live performances and a festival.

Eve has had the possibility to play with great musicians such as Joel Grip, Yuko Oshima, Caroline Kraabel, Nina de Heney, Michael Zerang, David Stackens, Christine Senhaoui, Sofia Jernberg, Shelly Blake, Charlie Haden, Tim Murphy, Niklas Barn, Adolfo Kaplan, Yan Marezs, Anete Schluenz, Joris Rhl, Seiko Fukushima, John Berndt, Michael Formanek, Gary Thomas, Jaap Blonk, Katt Hernandez, Ron Anderson, Devin Grey, John Hollenbeck, Theo Bleckman, Susan Alcorn, Armand Angster to name a few.

Rafal Mazur, Graduate of State Secondary School of Music in Krakow, in the cello class of Krzysztof Okon. Fascinated with jazz and bass guitar, he studied privately with a KraKow bass player Marek Janicki. At present Rafal Mazur plays acoustic bass guitars custom built to his own specifications by guitar maker Jerzy Wysocki. He has developed an advanced and individual approach to his instrumentand to improvisation in generalin which sonority, extended technic and gesture combine effortlessly in performance. Mazurs uncompromising musical standards are matched by the sophistication of his wit and demeanor on- and offstage.

He has taken an important role in Krakw to support young artists and improvised art and has performed jazz and improvised music in clubs and festivals across Poland and in much of Europe (recently in China) . He is a founder of Improvising Artists – an informal association grouping musicians – improvisers, who promote and create improvised music. Rafal Mazur focuses on cooperation with Keir Neuringer, project PROCESS_Laboratory of Intuition and Ensemble 56 Hunagrain-Polish contemporary jazz band. He is an organizer of Meeting of Improvisers the annual international multidisciplinary modern event.He also studying philosophy at the Jagielonian University and practise Tai Ji.

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MAZUR & DYMNY : Extension

MAZUR & DYMNY : Extension

[insub27]

Rafal Mazur: acoustic bass guitare

Michal Dymny: electric guitare

1. Extension

Recorded 15th of May 2008, in concert,

at CSW “Solvay” – Krakow,

by Piotr Zyla.

Rafal Mazur, Graduate of State Secondary School of Music in Krakow, in the cello class of Krzysztof Okon. Fascinated with jazz and bass guitar, he studied privately with a KraKow bass player Marek Janicki. At present Rafal Mazur plays acoustic bass guitars custom built to his own specifications by guitar maker Jerzy Wysocki. He has developed an advanced and individual approach to his instrumentand to improvisation in generalin which sonority, extended technic and gesture combine effortlessly in performance. Mazurs uncompromising musical standards are matched by the sophistication of his wit and demeanor on- and offstage.

He has taken an important role in Krakw to support young artists and improvised art and has performed jazz and improvised music in clubs and festivals across Poland and in much of Europe (recently in China) . He is a founder of Improvising Artists – an informal association grouping musicians – improvisers, who promote and create improvised music. Rafal Mazur focuses on cooperation with Keir Neuringer, project PROCESS_Laboratory of Intuition and Ensemble 56 Hunagrain-Polish contemporary jazz band. He is an organizer of Meeting of Improvisers the annual international multidisciplinary modern event.He also studying philosophy at the Jagielonian University and practise Tai Ji.

Michal Dymny was born in Cracow in 1985. He was studying piano and percussion in Primary and Secondary State School of Music in Krakow, but his main musical activity is focused on electric guitar. As a guitarist he has developed an individual style full of sonority and preparations that come into being during improvisation. From 2005 he takes part in lots of events that are dedicated to free improvised music and contemporary art. At presence he is a member of PROCESS_Laboratory of Intuition, which is a band/institution (founded by Rafal Mazur) concentrated practically and theoretically on aspects of collective free improvisation and intuitive music. He participates in projects organized by Improvising Artists group.

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PHAT – La Grande Peste

PHAT – La Grande Peste

[insub26]

PHAT is an ENERGIC Free-Jazz/Free-Rock/Noise “power trio” founded in october 2006. It reinvents and re adapts the mixture of the styles with an extreme joy for the most curious and fondest ears of delicacies about “out-of-limits” sound experiments.

Fabien Duscombs: drums, percussions

Marc Perrenoud: bass & electric doublebass

Heddy Boubaker: alto & bass saxophones

Entre le tton et la bire

La grande peste de 1348

La fte des blattes

The great purgatory of dead sdffg stars

Eh !

Ah !

1.2.4.5.6 recorded in Hameau des Joffres, 17-18.11.2007

3 recorded live at TXUS, Toulouse, 18.01.2008

record and mastering by Heddy Boubaker

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Mazur & Dymny : Extension

Mazur & Dymny : Extension

[insub27]

“bass/guitare contemporary jazz duet”

Rafal Mazur: acoustic bass guitare

Michal Dymny: electric guitare

flots et vagues, dferlement de notes, extension du langage et navigation intrieure.

floods and waves, surge of notes, extension of the language and internal navigation.

33 min 10 / VBRmp3+cover / 56Mo

Rafal Mazur, Graduate of State Secondary School of Music in Krakow, in the cello class of Krzysztof Okon. Fascinated with jazz and bass guitar, he studied privately with a KraKow bass player Marek Janicki. At present Rafal Mazur plays acoustic bass guitars custom built to his own specifications by guitar maker Jerzy Wysocki. He has developed an advanced and individual approach to his instrumentand to improvisation in generalin which sonority, extended technic and gesture combine effortlessly in performance. Mazurs uncompromising musical standards are matched by the sophistication of his wit and demeanor on- and offstage.

He has taken an important role in Krakw to support young artists and improvised art and has performed jazz and improvised music in clubs and festivals across Poland and in much of Europe (recently in China) . He is a founder of Improvising Artists – an informal association grouping musicians – improvisers, who promote and create improvised music. Rafal Mazur focuses on cooperation with Keir Neuringer, project PROCESS_Laboratory of Intuition and Ensemble 56 Hunagrain-Polish contemporary jazz band. He is an organizer of Meeting of Improvisers the annual international multidisciplinary modern event.He also studying philosophy at the Jagielonian University and practise Tai Ji.

Michal Dymny was born in Cracow in 1985. He was studying piano and percussion in Primary and Secondary State School of Music in Krakow, but his main musical activity is focused on electric guitar. As a guitarist he has developed an individual style full of sonority and preparations that come into being during improvisation. From 2005 he takes part in lots of events that are dedicated to free improvised music and contemporary art. At presence he is a member of PROCESS_Laboratory of Intuition, which is a band/institution (founded by Rafal Mazur) concentrated practically and theoretically on aspects of collective free improvisation and intuitive music. He participates in projects organized by Improvising Artists group.

Rafal Mazur, diplme de l’Ecole Nationnal Secondaire de Musique de Cracovie, classe de Violoncelle de Krzysztof Okon. fascin par le jazz et la guitare basse, il tudie avec Marek Janicki, un bassiste de Cracovie. A l’heure actuelle Rafal Mazur joue d’une guitare basse acoustique ue spcialement conue pour lui par le luthier Jerzy Wysocki. Il a dvelopp une approche propre et pousse de son instrument – et de l’improvisation d’une manire gnrale – o technique tendue et geste se combine sans effort lors de la performance. La position sans compromis de Mazur s’associe son esprit sophistiqu sur, et hors, de la scne.

Il joue un rle important dans la scne de Cracovie, soutenant les jeunes musiciens et les arts improviss. Il s’est produit dans de nombreux clubs et festivals Polonais, Europen, et rcement en Chine. Il est le fondateur d’Improvising Artists, une association informelle de musiciens promouvant et pratiquant la musique improvise. Rafal Mazur se concentre sur sa collaboration avec de Keir Neuringer, sur le projet PROCESS_Laboratory of Intuition et l’Ensemble 56 , un ensemble de jazz contemporain hongro-polonais. Il organise les Meeting of Improvisers, vnements annuelles multidisciplinaires. Il tudie galement la philosophie l’universit Jagielonian et pratique le tai-chi.

Michal Dymny est n Cracovie en 1985. Il a tudi le piano et la percussion l’Ecole Nationnal Primaire et Secondaire de Musique de Cracovie, mais son activit musicale principale est focalise sur la guitare lectrique. Sur cet instrument il dvelopp un style personnel plein de sonorits et de prparations s’intgrant l’improvisation. Depuis 2005, il prends part de nombreux vnements ddis la musique improvise et l’art contemporain. Il est membre de PROCESS_Laboratory of Intuition, groupe fond par Rafal Mazur qui se concentre sur la pratique et la thorie des aspects de l’improvisation libre collective et la musique intuitive. Il participe aussi au projets de l’Improvising Artists.

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PHAT : La Grande Peste

PHAT : La Grande Peste

[insub26]

“powerfull freejazz trio”

Fabien Duscombs: drums, percussions

Marc Perrenoud: bass & electric doublebass

Heddy Boubaker: alto & bass saxophones

Riot. Riot. Riot. Freedom should not be asken for, It sould be taken, now and without doubt.

Rvolte. Rvolte. Rvolte. La liberte ne se demande pas, elle se prend, maintenant et sans aucun doute.

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DIATRIBES : instant daprs

DIATRIBES with DRAGOS TARA and PIERO SK :’instant d’aprs

insubcdr03/moremars06

DIATRIBES:

Diatribes, a strongly libertarian ensemeble, began its existence in a Geneva basement in Winter 2004. Their idea was to mix three distinct types of sound (electronic, wind and percussion), in order to develop a malleable musical mass. The saxophone and drums merge into each other in a primary dance, where construction and deconstruction coexist, and envy and disgust unite. There are no limits to their sound, where rhythms, melodies and noise meet sporadically, merging into each other until they are almost forgotten. Free jazz in its approach, acoustic and electronic in its execution, the trio is capable of exploring the minute like the intense. Their relationship with the public is intimate and profound. Dreams and fears become noise and silence…

Initialy a trio with Gal Riondel on saxophone, diatribes became a polymorphous fromation, extending its spectrum to other musicians such as the guitarist Christian Graf, the electroacoustician Nicolas Sordet, the pianists Jacques Demierre and Johann Bourquenez,

DRAGOS TARA:

Dragos Tara was born in 1976 in Bucarest, but has lived in Switzerland since the age of 5. He studied double bass at the conseratory in Montreux and Lausanne, From to 2002 to 2007, he studied composition and electroacoustics at the conservatory in Geneva.

After discovering many different musics (rock, jazz, classical, balkan music) he he is now active in many groups of improvised music : Hibiki (Laurent Bruttin, cl./CH, Kim Myhr., gt/ Norw.), a duo with Sbastien Roux (FR/electronic.), l’Ensemble Silence (live music for silent movies), KikU*2 4tet.

Dragos has realized different projects: Performance for musiciens, dancers et electronics in the former jails of Vevey (2005) ; Jeu : duel musical pour double-quartet (2004), solo concerts and a doublebass quartet.

He has also written music for various ensembles: Ensemble Vortex, compagnie CH.AU, llorkestra, Bolouris 5tet, Ostermundigen symphonic Orchestra .

PIERO SK:

Piero SK is a personage born approximately 10 years ago, on a table of writing. He is an autodidact and work in theatre, writing and music. He collaborated in particular with Monsieur Jean, Nol Akchot, Saadet Trkz, Jacques Demierre, Jacques Roman, Wilbert de Joode, Obak, AbSTRAL compost, la Gale, Vernacular, Jeudi, Rue du Nord. Its biography is variable, its room is populated by shadows.

This limited cd-r edition is released in collaboration with MOREMARS cdr-label from Greece. Please visit their website for order and distro details.

Cyril Bondi: drums, percussions

d’incise: laptop, objects, live treatments

Dragos Tara: doublebass (on 1.3.5.7)

Piero SK: soprano saxophone (on 2.4.6)

1. entorse aux oublis mp3

2. le givre mp3

3. le mauvaise oeil mp3

4. la dmocratie reste un systme bourgeois mp3

5. monte aux enfers mp3

6. migrations mp3

7. les gosses mp3

1.3.5.7 recorded at l’Obl, Lausanne, ch, 12.03.08

2.4.6 recorded at le Shark, Geneva, ch, 03.04.08

mastering by Gerbem

thanks to the Zoo/L’Usine for the mics.

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JOEL GRIP + CHRISTIAN MUNTHE + TATSUYA NAKATANI So It Goes (

JOEL GRIP + CHRISTIAN MUNTHE + TATSUYA NAKATANI So It Goes (Live at Geiger)

[insub25]

Joel Grip: double bass, etc.

Christian Munthe: acoustic guitar

Tatsuya Nakatani: drums & percussion, etc.

Live recordings by Keith Talent at Club Geiger,

Brewhouse, Gothenburg, December 7, 2007.

1. Tralfamadorian tempus mp3

2. Poo-tii-viit ? mp3

The following three people meet this evening. They arrange familiar and not so familiar objects. Two of them sit down while one remain standing. They play, and go for a meal. So it goes:

Joel Grip: swedish bassplayer, festival organiser, label producer, etc. Moving about in the improvised / experimental / creative music field he tours worldwide and has worked with, a.o., Eve Risser, Yoshida Tatsuya, Joe McPhee, Mats Gustafsson, Sam Rivers and Michael Zerang.

Christian Munthe: swedish free improviser concentrating on the sonar possibilities offered by an acoustic guitar. Since the 1980′s he has performed/recorded solo as well as with Gnter Christmann, Anders Dahl, Mats Gustafsson, Paul Lovens, Phil Minton, Christine Sehnaoui, Roger Turner, a.o.

Tatsuya Nakatani: contemporary percussionist, originally from Osaka, Japan. He performs creative music around the world, and has created a totally unique sound which defies category or genre. He utilizes the drum set, bowed gongs, cymbals, singing bowls and metal objects.

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ANDRE VIDA

ANDRE VIDA

I dont know whats wrong with me, my computer eyes or my internet knees

[insub24]

“sax solo”

*

un autre enregistrement o

mots et sons tendent se confondre.

cris et notes comme un mme corps

fait de puissance et de punk.

*

another record where

words and sound tend to merge,

screams and notes like a same body

made of power and punk.

*

Andre Vida : tenor saxophone and poetics

*

48 min 14 / 256Kbps mp3+cover / 94Mo

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KARST ft ABSTRAL COMPOST

KARST ft ABSTRAL COMPOST

[insub23/objx01]

*free improvisation+sound poetry*

dlicate frnsie.

posie sonore.

posie des sons.

impacts des mots.

discour des impacts.

delicate frenzy.

sound poetry.

poetry of the sounds.

impacts of the words.

discour of the impacts.

Cyril Bondi : drums, percussions, objects

d’incise : objects, anti-percussions, a little bit of laptop yet

Abstral Compost : voice, texts, loops

KARST:

KARST is a free improvisation duo; intermingling objects and instruments, creating an architecture of percussions, squeaks, frictions, unreal impulses, instinctive mathematic sounds in constant reorganization.

KARST is the will of two musicians that have played together for a long time; finding themselves face-to-face, without barriers but also without dodging eachother, in a situation where every gesture, even negligible, is to be assumed in its entirety.

KARST is a landscape; carved by corrosion, with sharp, underground cavities where thousands of roads offer themselves to the adventurous listener.

ABSTRAL COMPOST:

blockdroppitchtalehugsandsigns_

homemademusicshinedivine

rhymenumbersplaintimesublime_

increasethesizeandriseaspine

a maybe so kind of weird rapper postpoet yet lyricist

AbSTRAL compost has no letterbox nor directions or waves

sometimes everywhere and nowhere at the same time

he hides and seeks the crooked pathways of angles and squares

charmed by a typewriter

he writes the hole of worlds crossing the shitty trends of civilian hands

beyond the langage of hippy sands

along the seas of lucky pants waiting for lights to turn off speach

to bleach the word and die in silence

his stomach leaks some words

he watches the people eat

a little hungry beside the wind

his prose is alive

full of noise and artefacts that replace sense by sound

because sound does make sense

his impulsive writing

like a synaptical mecanism that explores word associations and neurones and maybe brains

like a kind of automatism that mentally forgets the meaning of why and how

like a random meeting of letters and words

like a rubber band around time and space

like the feeling of already seen yet not heard

like the corners of a room that doesn’t know how to stand

like everything else that looks like rocks that breathe fresh air and sleeveless tops

like the thin line between life and death

sometimes fragile

unstable

useless

but curious

so what

we all lean over the sun every morning when it rains

and sometimes the sky cries planes and fingernail lanes

and sometimes things do change

Download

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EKYU #1

EKYU #1

[insub22]

EKYU is a quartet who likes to integrate, deviate or transmute contempory musical languages. Through these distintly personal interpretations emerge multidimensional musical conversations.

The musicians who form part of this quartet are established improvisers and composers, who easily modify or redefine the borders between written and improvised music, simply seizing the musical instant.

Christophe Berthet : sax alto

Cyril Bondi : batterie, percussions

Christian Graf : guitare, loops

Raphal Ortis : basse

Enregistr et mix par Sam Albert, 16 aot 2007

1. In situ (Berthet) mp3

2. Poursuite (Berthet) mp3

3. 305 (Graf) mp3

4. Sind sie M quarante-huit? (Graf) mp3

EKYU webpage

contact: ekyu[[at]]edogm[[dot]]net

Download: http://modisti.com/ccount/click.php?id=1129

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