Get the full album here: https://mayeulirlinger.bandcamp.com/album/panorama-du-micro-monde 

Panorama du micro-monde comes from a book by Louis Jacques Laporte published in 1949. It concerns above all images presented as modern techniques of micro-photography. We see multiple black and white photographies of cells, insect bacteria and minerals.
Mayeul Irlinger was inspired by this micro-world to represent his audio version in electro-acoustic form. A poetic way to evoke the Micro-world, hyper alive, teeming with life in dynamic and continuous movement.
The pieces come from live recordings, no editing has been done apart from cutting the parts. the sound sources come from field recordings recorded on cassettes, several contact-microphones which amplify mechanical toys, music box mechanisms; two hydrophones immersed in the heart of two Tibetan bowls are used to add textures to the most guttural sounds.
This work gives rise to intimate performances where the listener is invited to dive into this microscopic jungle.
credits
released June 7, 2024

Recorded live at "La Maison" (Rabastens, south of
France) on the fourth of May 2023.
Edition and mastering @ Studio De l'Arrière Monde By Mayeul Irlinger.
Graphics and videos: M.Iringer.

Panorama du micro monde (002)

The album "Sète" is the result of a three-day residency hosted by the gallery: Latelier (Sète).

cassette vailable @ https://mascarponediscos.bandcamp.com/album/s-te

The initial goal was to experiment with a lo-fi multicast system with 8 cassette recorders and tape loops within the gallery. Eventually the time of experimentation within the gallery turned into a stroll through the city. I took a digital recorder and drifted away, letting myself be carried away by chance encounters with places and people. it was very windy and the sound recordings were quite difficult to produce. So I decided to soak up an atmosphere and restore my impressions, playing with anachronisms and clichés of an island city by the sea: a superficial and touristy vision.
Human encounters were easy , the life stories of the people I met were rather deep and interesting, just too personal in my opinion to be integrated into this creation.

The device consists of using 8 tape recorders and 8 tapeloops on which I pre-recorded minimalist FM synthesizer layers. Then, I added sound recordings of the lapping water of the salt pans and city atmospheres taken from the top of Mont St Clair where the sound of the wind, birdsong and distant noises of the city.

The last piece is an improvisation of Alto flute from Vincent Moulier whom I met in the street and who invited me to drink coffee at his house. (thank you, Vincent for agreeing to use this extract).

In the etymological sense Sète comes from “cetacean”, so I chose to represent an animal of this species for the visual of the project.

Le Vent, Les Chalutiers, La Villa (from the Album "Sète")

Split with ĹĬSSüE :https://soundcloud.com/lissue

”18 alarm clocks” was initially an aborted sound installation idea… I wanted to create a jungle atmosphere by collecting hundreds of alarm clocks and arranging them in an immersive space… only my entry into the world of contemporary art was delayed by a singular social determinism and deeply rooted limiting beliefs, fortunately I did not stop at this single aspect of things and I still chose to record these 18 alarm clocks in the quiet of my house in the middle of the night with two omnidirectional microphones placed at the heart of the mechanisms, and I was able to capture this sound magic of desynchronized ticking.  
https://mayeulirlinger.bandcamp.com/album/sonic-ready-mades

18 Alarm clocks

A side From the cassette split with XEROXHEAD
(only available from hand to hand)


..."I used to be a turntable DJ and always wanted to record something with the Hiss we usually hear at the end of the record when we've fallen asleep and that sound plays perpetually, ....
Well it's done. Using three turntables and a cassette deck player with a AI voice recorded on cassette, passing through a large ping pong delay telling kinda scientific words about the creation of earth".
credits
released January 28, 2025
recorded an mastered by Mayeul Irlinger

Xeroxhead track : soundcloud.com/xeroxheadsw/xeroxhead-magnetic-blow 

Three turntables and a microphone (split tape with Xeroxhead)

https://mayeulirlinger.bandcamp.com/album/live

Mayeul Irlinger's music revolves around a desire to create textural, organic, and conceptual dimensions. He notably explores the idea of ​​other planes of existence—particularly the astral world, the world of the dead, and the world of memory—those invisible spaces that profoundly influence human psychology.
In this live performance, Mayeul seeks to make the waves of the afterlife tangible. To achieve this, he uses almost exclusively acoustic sources: contact microphones, analog cassette tapes, field recordings, aquatic sounds captured by hydrophones, and other elements from nature. Everything is fused together using a unique delay-looper-pitcher, a central tool for spatializing and altering sound.

In this approach, electromagnetic interference, hiss, and other parasitic noises are not erased. On the contrary, they are deliberately preserved as traces of the electrical and electronic world in which we live. These sounds, often perceived as undesirable, then become essential markers of the distinction and/or permeability of planes.

Ｙｏｍｉ ｎｏ ｋｕｎｉ

Shaped by several years spent in India during his adolescence, and influenced by Asian esoteric cultures, Mayeul Irlinger develops a dreamlike universe where the boundaries between the material and spirit planes become porous. He evokes the astral world, the planes of death, but also the vital forces of nature—telluric energies.

In one section of the live performance, Japan, due to its deep connection to the spirit world through Shinto culture, occupies a special place. Elements of traditional instruments recorded on cassette coexist with controlled feedback, digital robotic voices, and string fretting, weaving a soundscape that is both ancient and futuristic.

Ｐｒｏｏｆ Ｏｆ Ｌｉｆｅ

In this piece, the emphasis is placed on the telluric aspect of these dimensions: it aims to illustrate the spirits of nature, the gurgling of living things, and more diffuse energies such as those of water or wind. Voices appear—these are the vocalizations of artist Delphine Dora, recorded on "loop cassettes" played simultaneously, generating an ethereal polyphony. These voices recall the human, but in a form closer to the spirit than to its earthly density, like echoes of a vibrant memory.

"After a man's death, his organism dissolves, the water and earth become his corpse, but the soul flies away with its wind and fire." The souls of the Japanese—when they die—remain eternally in Japan in the realm of the dead governed by O-Kuni-Nushi. This realm is not located in a particular place in the visible world, but in a deep and mysterious place that cannot be seen. People's actions can be perceived from the realm of the dead […] they [the souls of the dead] become kami, differing in their degree of excellence, virtue, and strength according to the individual."
Hirata Atsutane

Proof of life (feat. Delphine dora)

recorded on year 2019 at S.A.M.
artist: iplanen tap
Music and lyrics: Mayeul Irlinger
Trumpet: Majid Berdjouh

still on my mind

IPLANEN TAP: still on my mind

Mayeul Irlinger develops a musical practice based on improvisation. Since 2021, he has been exploring new formats through experimental, ambient, atmospheric, and cinematic devices, sharing the results in an online journal launched on Bandcamp in 2024. He works primarily with atypical concrete and electronic sounds, derived from contact microphones, magnetic tapes, or raw instruments that he makes himself. His approach, essentially plastic and poetic, seeks to make invisible materials vibrate, playing on the textures, dimensions, and narrative potential of sound.

Mayeul Irlinger développe une pratique musicale fondée sur l’improvisation. Depuis 2021, il explore de nouveaux formats à travers des dispositifs expérimentaux, ambient, atmosphériques et cinématographiques, dont il partage les résultats dans un journal en ligne sur Bandcamp 
lancé en 2024. Il travaille principalement avec des sons concrets et électroniques atypiques, issus de micros contacts, bandes magnétiques ou instruments bruts qu’il fabrique lui-même. Sa démarche, essentiellement plastique et poétique, cherche à faire vibrer des matières invisibles, en jouant sur les textures, les dimensions et le potentiel narratif du son.

Mayeul Irlinger

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