{"id":35922,"date":"2015-03-17T22:29:07","date_gmt":"2015-03-17T20:29:07","guid":{"rendered":"http:\/\/modisti.tk\/15\/?p=35922"},"modified":"2015-12-31T16:48:27","modified_gmt":"2015-12-31T14:48:27","slug":"rodolphe-alexis-stephane-rives-winds-doors-poplars","status":"publish","type":"post","link":"https:\/\/modisti.com\/15\/rodolphe-alexis-stephane-rives-winds-doors-poplars\/","title":{"rendered":"Rodolphe Alexis | St\u00e9phane Rives : Winds Doors Poplars"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/modisti.tk\/15\/wp-content\/uploads\/2015\/03\/Rodolphe-Alexis-St\u00e9phane-Rives-Winds-Doors-Poplars.jpg\" alt=\"Rodolphe Alexis | St\u00e9phane Rives : Winds Doors Poplars\" width=\"500\" height=\"438\" class=\"alignnone size-full wp-image-35923\" srcset=\"https:\/\/modisti.com\/15\/wp-content\/uploads\/2015\/03\/Rodolphe-Alexis-St\u00e9phane-Rives-Winds-Doors-Poplars.jpg 500w, https:\/\/modisti.com\/15\/wp-content\/uploads\/2015\/03\/Rodolphe-Alexis-St\u00e9phane-Rives-Winds-Doors-Poplars-300x263.jpg 300w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/p>\n<p><b>W<\/b>ind Doors Poplars is an experimental composition project initiated by Rodolphe Alexis. It brings together materials ruled by different natures and approaches.<br \/>\n<b>F<\/b>irst, the preexisting &#8220;recorded sounds&#8221;: field recordings collected over a year and set as a frame for composition.<br \/>\n<b>T<\/b>hen the &#8220;given sounds&#8221;: a minimalist improvised instrumental gesture by Stephane Rives, bearing his distinctive solo signature. This material was recorded as a &#8220;Reminicence\u201d, with absolutely no connection to the above-mentioned sonic framework.<br \/>\n<b>T<\/b>he compositional stage was an attempt to reinstate our elementary listening process towards both sets of sounds, in a broad perspective that questions the very act of listening and the mechanism of improvisation.<br \/>\n<b>T<\/b>his \u00a0is not a &#8220;musical&#8221; project in the classical sense, in which we would have sought to skillfully and effectively bring together separate textures. Each element exists independently, within its own register and raw power. This new syntax can, indeed, generate a listening shift towards a new territory.<br \/>\n&#8211; Stephane Rives | Rodolphe Alexis<\/p>\n<p>Saxophone on all tracks was recorded at Tunefork Studios, Beyrouth.<\/p>\n<p>Soprano saxophone : Stephane Rives<br \/>\nField recordings &amp; editing : Rodolphe Alexis<\/p>\n<p>Graphic Layout : R.A<\/p>\n<p>Promo clip<br \/>\n<iframe loading=\"lazy\" width=\"300\" height=\"150\" seamless=\"\" src=\"http:\/\/bandcamp.com\/EmbeddedPlayer\/album=441997481\/size=small\/bgcol=ffffff\/linkcol=0687f5\/track=3006662616\/transparent=true\/\"><\/iframe><\/p>\n<p>Audio CD, 6 panels digipak<br \/>\n40 minutes+<br \/>\nRelease date: April 2014<br \/>\n12 Euros + shipping\u00a0<a href=\"mailto:goh.leekwang@gmail.com\" target=\"_blank\">order\u00a0<\/a><\/p>\n<p>I Warehouse Doors<br \/>\nField recordings from l\u2019Usine, artistic residency centre in Tourneufeuille, France, 2012<br \/>\nII Autorail<br \/>\nField recordings from the line Gy\u00f6r-Pannonhalma, Hungary, 2012<br \/>\nIII The Poet House<br \/>\nField recordings from La casa del Poeta, Trasmoz, Spain, 2010<br \/>\nIV Solid Steel Sculpture<br \/>\nField recordings from l\u2019Usine, Tourneufeuille, France, 2012<br \/>\nV Poplars<br \/>\nField recordings around Pannonhalma\u2019s arboretum, Hungary, 2012<\/p>\n<p><b><span style=\"text-decoration: underline;\">Related resources:<\/span><\/b><br \/>\n<b>Geographically connected<\/b><br \/>\nBertrand Gauguet &#8220;<a href=\"http:\/\/herbalinternational.blogspot.com\/2014\/11\/1405-bertrand-gauguet-shiro.html\" target=\"_blank\">Shiro<\/a>&#8221;<br \/>\nEric La Casa | C\u00e9dric Peyronnet &#8220;<a href=\"http:\/\/herbalinternational.blogspot.com\/2013\/10\/1304-2-eric-la-casa-cedric-peyronnet.html\" target=\"_blank\">Zones Portuaires<\/a>&#8221;<br \/>\nBattus | Marchetti | Petit &#8220;<a href=\"http:\/\/herbalinternational.blogspot.com\/2012\/04\/1201-bathus-marchetti-petit-la-vie-dans.html\" target=\"_blank\">La Vie Dans Les Bois<\/a>&#8221;<br \/>\nPascal Battus &#8220;<a href=\"http:\/\/herbalinternational.blogspot.com\/2011\/06\/1102-2-pascal-battus-simbol.html\" target=\"_blank\">Simbol \/ L&#8217;Unique Trait D&#8217; Pinceau<\/a>&#8221;<br \/>\nEric Cordier | Seijiro Murayama &#8220;<a href=\"http:\/\/herbalinternational.blogspot.com\/2010\/01\/1004-eric-cordier-seijiro-murayama-nuit.html\" target=\"_blank\">Nuit<\/a>&#8221;<br \/>\nEric La Casa &#8220;<a href=\"http:\/\/herbalinternational.blogspot.com\/2010\/03\/1005-2-pascal-battus-simbol.html\" target=\"_blank\">W2 [1998-2008]<\/a>&#8221;<br \/>\nJean-Luc Guionnet &#8220;<a href=\"http:\/\/herbalinternational.blogspot.com\/2009\/02\/pm-goh-lee-kwang-olaf-hochberg-live.html\" target=\"_blank\">Non Organic Bias<\/a>&#8221;<br \/>\nEric La Casa | C\u00e9dric Peyronnet &#8220;<a href=\"http:\/\/herbalinternational.blogspot.com\/2009\/01\/beequeen-time-waits-for-no-one-review.html\" target=\"_blank\">La Creuse<\/a>&#8221;<br \/>\nEric Cordier &#8220;<a href=\"http:\/\/herbalinternational.blogspot.com\/2008\/10\/tim-blechmann-replugged.html\" target=\"_blank\">Osorezan<\/a>&#8221;<\/p>\n<p><b>Musically connected<\/b><br \/>\nM.u.r.m.e.r. &#8220;<a href=\"http:\/\/herbalinternational.blogspot.com\/2012\/09\/1202-murmer-frame-works-1-4.html\" target=\"_blank\">Framework 1 &#8211; 4<\/a>&#8221;<br \/>\nLasse-Marc Riek &#8220;<a href=\"http:\/\/herbalinternational.blogspot.com\/2009\/04\/blog-post.html\" target=\"_blank\">Harbour<\/a>&#8221;<\/p>\n<p><b><span style=\"text-decoration: underline;\">Word(s):<\/span><\/b><br \/>\n<b>Vital Weekly<\/b><br \/>\nField recordist Rodolphe Alexis already had some releases, and here he works with Stephane Rives, the soprano saxophone player. They work strictly separated from each other; the two have no connection in a studio. At least that&#8217;s what I understand. The two have been sticking their musical pieces together quite randomly. It works together quite well, I think. On the one hand these field recordings, all described on the cover, recorded between 2010 and 2012 in France, Hungary and Spain and which have a fine texture. The rumblings of gates, wind, railway lines and such like work great with the saxophone playing of Rives. In &#8216;Autorail&#8217; it&#8217;s very lengthy, very noisy almost in a sine wave like manner, and sometimes almost like being entirely absent in &#8216;Poplars&#8217;. Perhaps only in &#8216;The Poets House&#8217;, we hear the saxophone more dominantly than the field recordings. This could a hit and miss release, but I think in these five pieces it works wonderfully well. The whole John Cage\/random approach wasn&#8217;t also convincing to me, but obviously there is a possibility I am wrong. This might be such a case.<br \/>\n&#8211; Frans De Waard &#8211;<\/p>\n<p><b>Revue &amp; Corrigee\u00a0<\/b><br \/>\nUn projet initi\u00e9 par Rodolphe ALEXIS autour de field recordings effectu\u00e9s durant une ann\u00e9e, et collect\u00e9s afin de devenir un projet qu\u2019ils d\u00e9finissent eux-m\u00eames comme syntaxique. Afin de mobiliser l\u2019\u00e9coute. Cinq pi\u00e8ces, quatre lieux en France, Hongrie et Espagne. Des lieux industriels (une usine fran\u00e7aise), m\u00e9caniques (\u00ab Autorail \u00bb, ligne de chemin de fer hongroise), la maison du po\u00e8te (\u00ab La casa del Poeta \u00bb, en Espagne), et la for\u00eat hongroise. Plusieurs portes d\u2019entr\u00e9es (allusion au titre \u00ab Warehouse Doors \u00bb) \u00e0 l\u2019univers des deux compositeurs. \u00c7a crisse, \u00e7a rebondit le m\u00e9tallique, \u00e7a bourdonne m\u00eame. Une prise de son superbe o\u00f9 vient se poser le saxophone de St\u00e9phane RIVES. Dans la retenue du souffle court. Une \u00e9lectroacoustique fluide circulaire. O\u00f9 chaque son a sa propre place dans une coordination sonore remarquable. Cette premi\u00e8re pi\u00e8ce nous dresse donc le tableau des ces 4 pastilles sonores agr\u00e9ables. \u00c7a y est, on prend le train, on y est. On serait surtout dans une musique de film. Le saxophone vient imiter le signal sonore annon\u00e7ant le d\u00e9part du train, dans une confusion intrigante au point de vue du timbre bien sur. Les essieux circulent comme les sons aigus du saxophone. Un travail tr\u00e8s int\u00e9ressant sur ces mim\u00e9tismes sonores entre le m\u00e9canique fix\u00e9 et le souffle soprano de St\u00e9phane. Les prises de sons me font penser \u00e0 Bernhard G\u00fcnter (d\u2019ailleurs dans les remerciements du livret) et Jean Fran\u00e7ois Laporte. Ou encore Dave Philipps avec cette prise en for\u00eat hongroise, dans une interpr\u00e9tation presque traditionnelle de percussions aux timbres indiens. Juste apr\u00e8s la respiration venteuse de la maison du po\u00e8te en Espagne. Si j\u2019ai \u00e9t\u00e9 largement enthousiasm\u00e9 par le disque de Nick Hennies (Work, Quakebasket records), ce disque me touche tout autant, m\u00eame si dans un registre diff\u00e9rent. Encore que&#8230;<br \/>\n&#8211; Cyrille Lano\u00eb &#8211;<\/p>\n<p>&nbsp;<\/p>\n<p>http:\/\/herbalinternational.blogspot.com<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Wind Doors Poplars is an experimental composition project initiated by Rodolphe Alexis. It brings together materials ruled by different natures and approaches. First, the preexisting<\/p>\n","protected":false},"author":521,"featured_media":35923,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[122],"tags":[],"class_list":["post-35922","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-releases"],"_links":{"self":[{"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/posts\/35922","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/users\/521"}],"replies":[{"embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/comments?post=35922"}],"version-history":[{"count":0,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/posts\/35922\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/media\/35923"}],"wp:attachment":[{"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/media?parent=35922"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/categories?post=35922"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/tags?post=35922"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}