Journey and foray into erosion time.
What are telling the stones hiding in the deep forest?
What are the memories sedimented in the mineral, protected by the moss with its shimmering greens?
With each breath we feel a little more the fresh air of the mist among the trees caress our lungs… what will be the exchange?  What can we offer that is not destruction?


Production : Anne Lepère 
Blaues Rauschen festival in 2021
https://www.blauesrauschen.de/en/forest-sound/

Alveolus

for Plum

FR :

une pièce en trois parties, mêlant synthèse modulaire et phonographies naturalistes.

simulacre, mimétisme, apprivoisement, charme, sortilège, et mystère ont été les principales notions qui en ont guidé la composition.

EN :

a three parts piece, mixing modular synthesis and field recordings.

simulacrum, mimicry, taming, charm, spell, and mystery was the main notions who guided the compostion process.

Deux Renards (2013)

from 'tedium' (noisendo005)
too-loud computer from: oberlin, minneapolis, columbus

thank you: márcio, wendy, mike, douglas+ross, jesse, alison

tedium (excerpt)

IINVU est un projet né d'une commande musicale de Paris Musée et de la Maison de la Musique Contemporaine. Il s'inspire librement des textes d'Antoine Bourdelle.
Nous aurons le plaisir de présenter cette performance à l'occasion de la ré-ouverture du Hall des Plâtres au Musée Bourdelle le 08 Mars 2025.

Le mot INVU est utilisé par le philosophe David Abram. Il peut se traduire par : Je ne vois pas la chose maintenant, mais je pourrais l'aperçevoir dans le cas où les conditions de mon attention change.

Amélie Grould - Percussions
Fanny Meteier - Tuba
Isabel Sörling - Voix
Clément Edouard - Composition, électronique

INVU  - 8 mars au Musée Bourdelle

→ http://shelter-press.org/tomoko-sauvage-musique-hydromantique-sp087/

TOMOKO SAUVAGE 'Musique Hydromantique' (SP087)
SAMPLE MIX

Musique Hydromantique is the second solo album by Tomoko Sauvage archiving many years of her performance-based practice on the waterbowls - the natural synthesizer of her invention, composed with porcelain bowls filled with water and amplified via hydrophones (underwater microphones). While her first album Ombrophilia (released on and/OAR in 2009) was studio-recorded /composed work, «Musique Hydromantique» is about experimentation and improvisation with the environment - acoustics affected by the architecture, temperature, humidity and the human presence. 

For more than ten years, Sauvage has been investigating the sound and visual properties of water in different states, as well as those of ceramics, combined with electronics. Water drops, waves and bubbles are some of the elements she has been playing with to generate the fluid timbre. Since around 2010, hydrophonic feedback has been an obsession for the musician - an acoustic phenomenon that requires fine tuning depending on the amount of water, a subtle volume control and interaction with the acoustic space. 

Calligraphy was recorded in a genuine echo chamber, with about 10 second reverbs, situated in a former textile factory. Like an endless exercise to draw perfect curves and forms floating in the air, the subaquatic feedback frequencies are pitch-bended with the mass of water sculpted by a hand changing its quantity. Fortune Biscuit is about the singing bubbles emitted from the pieces of ‘biscuit’ (porous terra-cotta). Depending on the texture of the surface, each biscuit makes different sound : insect and animal voices in a forest, motors, crying babies changing pitches and rhythms while absorbing the water… Clepsydra (meaning water clock) features Sauvage’s classical technique, a random percussion with dripping water. She tunes the waterbowls by adding and removing water, making flowing glissando, to find the balance point in ever-changing tonalities. 

Just as the flow of water is subject to a number of variables such as temperature and pressure, water clocks mark a time that is shifting and relative. However, slowness dominates throughout the album as a result of favoring the full resonance of the instrument, leading to a path to experiencing timelessness. 

Hydromancy is a method of divination by means of water. Unpredictable bubbles and water ripples become oracles. Evaporation and acoustic space constantly play a chance operation. Through primordial materials and ritualistic yet playful gestures, Musique Hydromantique questions contemporary divination.

All the tracks are live-recorded without electronic effects or editing. They were recorded during the night or very early in the morning and the whole album is to be listened to during that period of a day. 

—
LP edition of 500 copies with reverse board-printed inner and outer sleeve. Digipack CD edition of 1000 copies. Mastered by Rashad Becker at Dubplates and Mastering.

TOMOKO SAUVAGE 'Musique Hydromantique' Sample Mix (SP087)

Kokhlias & Loulan

Olga Kokcharova: field recording - electroacoustic
Antoine Läng: voice - megaphones

from recordings over and underwater in the Lac de Tanay,  Switzerland, August 15 2017, 4 to 6 am.
dedicated to Venus - Venera, from a project commissioned by HUMANKIND RECORDS http://www.humankindrecords.com/
composed by Olga Kokcharova and Antoine Läng
mastering by Gianluca Ruggeri

Our axis of composition/creation are mainly focused on our perception: - how Venus can be perceived from us either as a planet, as a star (seen from Earth) or as a deity; - how sound is affected by environment and how it can be perceived whether through the Earth’s atmosphere or through the thick air of Venus and how the distance between the perception of human voice and electronic instrumentation can be blurred through this atmospheric filtration.

We did not proceed from collecting pure data as none of us two are scientists. We rather worked intuitively, from our human, artistic and literary backgrounds, as people who first know the planet as a bright star easily observed in the sky at dusk and at dawn, or from stories other humans weaved after the same observation, in other words, from different points of vue: poetry, mythology, science and music, human sources and, somehow, interpretations.

Our first move was to draw a connection between Venus and water that happened to be very fertile. Not only because of her birth in the ocean, following the Greek mythology, but also, as a star, from several links made with the activity of fishing that we found in literacy. We chose to follow this lead also because of the composition of Venus atmosphere, thicker and heavier than Earth, probably something in between air and water that might affect the sound on the planet.

Then we decided to make voice and field recordings over and underwater, partly during the time the planet can be observed in Lake Tannay’s sky (Swiss Alps) as a first collection of sounds « from the planet Venus », through means that were accessible from Earth. Additional recordings came later as complements. Most of the sounds are vocal sounds performed and recorded underwater and in the air. We thought the mix of the two sources could sound like something perceived on Venus, through its atmosphere. We also observed that these vocal emissions could be mistaken with synthetic/electronic sounds. Further, we also proceeded starting from the atmosphere of Venus, imagining sounds that would be more appropriate and efficient in such environnement than words and singing - like whales or seals in the ocean - to create a specific Venusian poetry.


Sources:
Poetry: Lo Steddazzu, Cesare Pavese, a poem dedicated to the morning star and a fisherman: http://balbruno.altervista.org/index-1222.html
Mythology: Barnumbir, an aboriginal goddess related to the morning star and fishing
Sound document: Venera / from the first russian probe that collect sound samples from Venus: https://www.youtube.com/watch?v=8jZDW53U8qQ&t=94s

So these are the main inputs; our structure follows the day/night times that we thought could be connected to the variations between underwater and air sound environnements.

VENERA by Kokhlias & Loulan

recorded in 2017 / composed in 2018
François Baschet's sound sculpture - Katsuhara Phone
Originally made for EXPO'70 (1970) - Restored in 2017

Still | Steel (excerpt)

Recorded January 2019 at Pioneer Works and The Kitchen.
Tracks 1-4 recorded by Justin Frye.
Mixed & Mastered by Lea Bertucci.

Special thank you to Pioneer Works and The Kitchen. Side B dedicated to Ellen O'Meara.

AS118 - Amirtha Kidambi & Lea Bertucci "Smoldering, Seething"

YOUR WATER

La Souterraine

Musician, composer, Clément Edouard focuses on the nature of sound, its vibratory field and its perception, its and natural materials, in order to offer a listening experience for all types of both imaginary, physical, internal...

INVU - 8 mars au Musée Bourdelle

Clément Edouard

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