from - The New Unusual - by Distractfold Ensemble, released May 2, 2021 ---> https://distractfoldensemble.bandcamp.com/album/the-new-unusual
Performed by Daniel Brew. 
Mixed by Sam Salem. 
Mastered by Richard Scott.

Unspoken - Excerpt

studio Mastering: lorenzotarghetta@gmail.com
Piece for solo guitare played by Carlo Siega
Score available here: https://www.babelscores.com/catalogs/instrumental/8046-de-toucher-de-lignes8046

de toucher de lignes - (2021 solo E-guitar)

Maroussia Gentet, piano 
Live recording: October 17th, 2021
Orléans (FR), Salle de l'Institut

Kemò-Vad

Quatuor Diotima
Live recording: April 1st, 2022
Genève, Festival Archipel

Diaphane

- Singer: Nicholas Isherwood
- Commission : IRCAM-Centre Pompidou
- Computer design produced in the IRCAM-Centre Pompidou Studios
- IRCAM Computer music design : Serge Lemouton, Quentin Nivromont 

This piece is a kind of autoportrait based on one of my poem, which talk about being constantly emigrant in the world.

I composed The Metic Canticle for Nicholas Isherwood. It’s a kind of 4 parts polyphony so three voices are recorded and the solo voice is performing at the concert.

I use virtual choir, a technology developed by Greg Beller at Ircam, for transforming the voices. This technology let me to create a virtual choir from Nicholas Isherwood’s voice. I complete the composition by using some samples of a real choir and the synthetics sounds.

Cantique de métèque for voice and electronics(2021-2022)

"La Disparition" un photo-roman d'après l’œuvre de Georges Perec
extract – instrumental interlude

Cédric Pescia : prepared piano
Julien Mégroz : percussion
Kevin Juillerat : composition and electronics
Robert Torche : sound design

recorded in Casino de Montbenon, Lausanne (CH), 04.07.2020

Kevin Juillerat – "La Disparition" (2019) extract

P'ni nhi  nih' ni-son ni-ses ni-sa fissa fi-ssez fi-sson! Poésie sonore de Gaël Bandelier et Alain Freudiger.

Pièce de poésie podcastique pour deux voix, écrite à quatre mains. Une pièce collage faite d'échos cycliques qui s'entrechoquent, résidus de récits qui se logent dans les interstices poétiques sonores. Un fil de texte déroulant ses sons et ses sens, s'orchestrant dans la tête de qui l’écoute.

Texte et voix: Gaël Bandelier et Alain Freudiger, Mixage: Maxence Léonard, Générique: Filippo Gonteri, Coordination: Flynn Maria Bergmann /septmebre 2022 ©art&fiction, Lausanne, Genève.

Mixtape #4 – ‘nisson

for violin, viola, cello, contrabass, accordion and 2 pianos

NEC – Nouvel Ensemble Contemporain

"musique fluide et foisonnante, heurtée et sauvage ;
cours aux virages abruptes, au débit capricieux ;
flux polychrome (les affluents et les couleurs se rencontrent et se fondent) et stéréophonique (les sons circulent d’un bord à l’autre) ;
processus en creux et en crêtes, plein ou brisé."

recorded in Temple Allemand, La Chaux-de-Fonds (CH) – 15.03.2024

Kevin Juillerat – STREAMS (2023)

I Sing the Body Electric (2020)
by Claudia Jane Scroccaro
Florentin Ginot, double bass
Claudia Jane Scroccaro, live electronics
Arnaud De la Celle, sound engineer
Mikhail Malt, Encadrement Pédagogique

Recorded the 1st of July 2020 in the Grand Salle du Centre Pompidou
Manifeste Festival 2020 - IRCAM, Paris

I sing the body electric (2020) for Double Bass and Electronics - Florentin Ginot

Claudia Jane Scroccaro - Overdrive (2020) 

Ensemble Musikfabrik
Carl Rosman, Bass Clarinet
Ulrich Löffler, Piano
Florentin Ginot, Double Bass

Rie Watanabe, condutor


Recorded live on the 6th of September 2020
Réfectoire des moines - Abbaye de Royaumont 

Lauréat de la Fondation Royaumont
Œuvre écrite dans le cadre de l’Académie Voix Nouvelles 2020

* * * * * * * * * * * * * * * 

Overdrive refers to the fuzzy and growly tone, produced by distortion in audio signal processing, often associated to electric instruments and mostly heard in Blues, Rock and Punk music. In my latest works I’ve been intrigued by bringing to the foreground the physical tension existing between the musician’s body and the body of his/her own instrument, in the act of playing, which is determined by the nature and production of specific sounds, like microtonal oscillations, capable to project the listener in immersive spaces and ever-changing spectra. In Overdrive, the necessity to enhance the energy and sonic (at)tension existing among three musicians confronted with such large instruments, able to produce very low frequencies, determined some extreme sonic and instrumental research together with the members of Musikfabrik, moving some steps forward, by bringing the consequences of this reflection over its limits.