Caring about the unexpected, focusing on details, Neve music is built around drifting layers, analog synths, elliptical tape processing, loopers and effects pedals.

Isadora is a 9 tracks full-length album about looping, drifting, shifting, unexpecting, life, moods, memory.

It is out on Rusted Tone Recordings, available as  limited-edition cassette and digital formats : https://rustedtonerecordings.bandcamp.com/album/isadora

04 - Vallées

Stochastic synthesis is a microsound synthesis technique invented by Iannis Xenakis that uses stochastic processes to create and vary waveforms. I composed all the sounds in this piece using my own extensions to Xenakis's stochastic synthesis algorithms that I have been developing for the last 20 years in the programming languages SuperCollider and C. No samples were used.

It Is Happening Again for computer-generated sound

https://delphinedora.bandcamp.com/album/hymnes-apophatiques

hymnes apophatiques

ritournelle scolastique #1

Brajam Com Noxin

for ensemble & electronics 

Paulo Amendoeira (percussion)Paola Aviles (harpe) Amélie Berson (flute) Phoebe Bognár (flute) Félix Lacquement (guitar) María Alejandra Jiménez (violin) Thierry Madiot (trombone) Mireia Pellisa Martín (saxophone) Carlo Sampaolesi (accordion) Adèle Viret (cello) + special thanks to Thomas Nicholson (Cage-clock-conducting)

commissioned by GMEA — Centre National de Création Musicale d'Albi-Tarn & part of the project 'experiences'

recording made at the Athanor, Albi, 06.08.2022
recording/ mixing by Benjamin Maumus, sound engineering at GMEA

for experiencers

L'emprunte d'Encyclie

Michikusa

password: 69Ba16deGRPGoCDpR5AtERwg7ZYxoq

Some church bells in the valley mixed with the cow bells closer in the field.

Sound recorded by a MS setup Schoeps Microphone CCM41&CCM8;
Sound Devices 552 Mixer + Sound Devices 744T Recorder
MS is encoded in STEREO Left-Right
recorded in 2011

more sounds on http://www.felixblume.com

Please comment the sound if you like it !

Church bells far away in the valley, cow bells in the field...

This piece plays with the listener’s sonic expectations of what is familiar by fusing sounds, which a person can easily recognize, with new previously unheard sounds generated by algorithmic processing. By using various sounds and sonic artifacts that are common to the human experience, the work directs the listener to draw upon his inner visual associations with specific sounds and paint a mental soundscape of the acoustic experience. The introduction of other, unfamiliar processed sounds into the composition, invites the listener to break away from this familiar associative chain of acoustic phenomena and push the boundaries of his perception, in the process forming new sonic combinations and auditory experiences.
The musical piece was fully recorded and compiled in the Tonshoom Studio in April 2020. Some sounds were recorded using musical instruments, sound props, and speech; others were synthesized with SuperCollider. The final track was mixed down in Pro Tools and WFSCollider.

03. hybrid by Ivan Yerofeyev

Track from:
Simon Whetham "Forced to Repeat Myself" CD

“When performing with a limited set of resources, through choices in materials to work with and the constraints of being nomadic, there can be a tendency to repeat actions and scenes that 'work', even when improvising and having to respond to each new situation in a unique way.”

One characteristic aspect of the touring experience that is not discussed often enough is the dilemma of repetition. Not repetition as a mechanism of the work itself, but as a tedious consequence of being obligated to perform night after night in quick succession. Generating a completely unique performance for each stop, even with the assistance of improvisation,  is a laborious undertaking that consumes too much time and sanity, while adhering to a rigid set of rules leaves one open to both burnout and diminishing returns. Is there a way to split the difference so that both performer and audience are always engaged to the highest standard?

“I set these constraints on myself. The need to produce something (at least a little) different in each event of a tour was fierce, especially when traveling with other musicians.”

Explicitly within the title itself of his latest CD, Forced To Repeat Myself, UK sound artist and composer Simon Whetham tackles these questions with both a sly wit and sincere inquisitiveness. The tracks, all collected from recordings documenting a 2018 tour, utilize analogous source material and means of execution.  Whetham paid particular attention to the contour and character of each venue when deciding how to best put the pieces together, offering a customization that subverts pure deja vu for a sharp observance of the unfamiliar.

“In each situation objects and materials unique to the space were incorporated into the performance setup and structure, generating sounds or resonating with them. And yet I could hear similar scenes, movements, even spaces. This repetition determined the dynamic of the composition, working with it and against it.”

By the very nature of their disseminating sparseness, the tracks of Forced To Repeat Myself demand from the listener an attentiveness fixed on nuance and variation. The amplified cracks and static of ethereal currents and anonymous electronics infer the works of others who’ve made it their mission to attune our attention toward sounds outside our natural perception, including Christina Kubisch’s electrical walks, Toshimaru Nakamura’s no-input mixer excursions, and Jason Zeh’s experiments with blank tapes and the mechanizations of his cassette players. Whetham’s shaping of the album’s source material to highlight certain exclusivities of each live performance emphasizes how the inherent dynamics of time and chance guide his self-imposed constraints into pathbreaking spectrums. 

“The title references a phrase many of us will have heard in our formative years, ’Why do you force me to repeat myself?’ I have no answer to this question. I never forced anyone to do anything. But with this work, I did.”

One inherent paradox of Forced To Repeat Myself is that each listen naturally manifests a distinct, individual experience. The way sounds are received and processed in one instance to the next each forget their own entryway into transcribing meaning from this abstraction. And Whetham is keenly aware of this as the sounds of Forced To Repeat Myself find consistent, unique ways to perpetuate themselves, ensuring any repetition to be delicately understated.

Forced to Repeat Myself

Forced to repeat Myself

Simon Whetham "08-11"

Félix Blume is a sound artist and sound engineer. 
His work is focused on listening, it invites us to live sonic experiences that enable a different perception of the surrounding. He uses sound as a basic material in sound pieces, videos, actions and installations. His process is often collaborative, working with communities, using public space as the context within which he explores and presents his works. He is interested in myths and their contemporary interpretation, in human dialogues both with inhabited natural and urban contexts, in what voices can tell beyond words.

Church bells far away in the valley, cow bells in the field...

felixblume

Recent comments

Olivier Gailly

Related tracks