DS163 - Will Guthrie & Jean-Luc Guionnet - '1.11.21 - Part 2'

Méryll Ampe "W7E" CD
MAR060
Release Date: November 4th, 2022

A multitude of processes, techniques, and forms unfold and unfurl within the work of Méryll Ampe,
an intermedia artist from Paris working through sound, sculpture, and installation using a wide assortment
of materials. What is immediately striking about Ampe’s work is the vibrant, non-linear approach to
electro-acoustic composition.
Here on the debut for Misanthropic Agenda, Ampe liberally reconfigures / deconstructs / genetically mutates
all sources: hydrophone recordings of vibrations through skin, analog synths, tape machinations,
sequencing programmed through algorithmic variability, and plenty of digital processing.
As Ampe describes it, the music on W7E is "a research with an experimental dimension, guided by notions that
systematically translate a form of ambivalence, between inside/outside, micro/macro. These intentions are
vectors of the dynamics, reliefs, depths and rhythm. My training as a visual artist also leads me to go through
mental images (such as a steep landscape, a boiling organism, an organic matter) which will then find a
sound form, states that I would describe as syncope, sound effluvia, abrasive arrhythmias. I look for a form of
plasticity in the sound medium, and that this energy become a living matter."
This multi-dimensional overlay through composition telescopes in and out of the body (not necessarily always
a human body, it should be noted), through a connectivity with technology that can influence psychological states
of being. The work addresses liminality, transitory slippages, and quantum theories of a particle being the two
separate places at the same time. If that can occur at the atomic level, why not through sound?
W7E stands as a dynamic, polydactyl album reflective of the aesthetics (if not concepts) of Keith Fullerton Whitman,
Francisco Meirino, and Bernard Parmegiani.
- Jim Haynes

links:
https://misanthropicagenda.bigcartel.com
https://misanthropicagenda.bandcamp.com
https://meryllampe.com/

Méryll Ampe "Close To"

Le diable dégoûtant - Le magicien

Arkanar - Lo Morrel dos Fados

release on 19 May 2023 : www.wabi-sabi-tapes.bandcamp.com/
@user-264705302

"I started recording "Surface" after finding an old picture of me.I had forgotten that particular period of my life.
When I looked at that picture, time stopped, I was catapulted backwards in slow-motion flashback, as if I was lost between two parallel times.
Then I tried to rebuild this specific moment with the tracks of this album."

Daniele Veronese - Surface 01

"Magnet Blues" presents Zhu Wenbo and Zhu Songjie’s unique and utterly bizarre take on American blues, as if filtered through layered variations of darkness. Throughout the recording, we hear barely audible vocals, minimalist, smart, and subtle guitar work, and the folkish atmosphere of what sounds like distant train activity and dying radios. Instrumentation is notable here: Songjie uses the peculiar Casio EG-5 electric guitar, with a built-in cassette deck, while also playing harmonica. Wenbo plays a Fisher-Price toy cassette player, sings, and also plays harmonica. Throughout bursts of noise and rustling midrange timbres, Zhu and Zhu navigate an understated, focused, and dreamlike realm of song and texture.

NTR078 - Zhu Wenbo - Zhu Songjie - Magnet Blues - "See That My Grave Is Kept Clean"

everyone has gone

Schultz et Èlg - Field Recordés - 2015

American avant-electronic musician and essayist Bret Schneider holds no institutional allegiance to one artistic medium. His background encompasses a wide range of work experiences and reveals a man who is connected to the world around him in complex, alienated ways. His thoughts on music and philosophy are intertwined into a billowing exposition. But when exploring the dark recesses of his more aural works, there is an inherent flexibility. Phasing percussive elements and frayed droning lines all lead to a perpetually shifting feeling for an aural uncanny. As fractured as his music can be, there is a dim spark of rumination that threads through his synthetic machinations.

On his latest release, “Xilinx,” Schneider taps into a primordial electronic noise—the kind that rests just on your periphery, unwinding itself to reveal myriad sordid circuits and disjointed projections. These tracks maintain a wired mania, expressing an unsettling undercurrent of ragged repetition and warbling drones. There’s an unexpected elasticity to Schneider’s cabled rhythms, and they often shift across several temporal lines before turning inward, struggling to illuminate an intimate dissonance or imagine a multi-chambered core. Displaying a raw and unusually concise knowledge of how these sounds might fit together, “Xilinx” is part zoetrope, part post-industrial dreamscape. It is an inquiry into the idea of internal movement, a contorted experiment in musical patterning, and an experiment in self-replication.

Xilinx

Bret Schneider - VaVE1

imma be working on a less messy version when i feel like it featuring @xiaoquanxiaoquanxiaoquan

could be us but i;m emotionally unavailable

A foretaste of the upcoming Album, winter 2021 (-OUS Records).
_______
Mastering by VFBM 
_______
Immersed in an amniotic atmosphere, we are invited to bathe in the atemporality of the world before birth.

Against a liquid sound background, horizontal sounds intervene that cross space at full speed, stretching time in their course. The speed with which they intervene has the effect of an arrow shot in the direction of a distant future, which brings us back to a linear, horizontal, narrative, historical time, that is to say, to the ordinary world perceived as a successive sequence of events.

The transparency and weightlessness of crystalline sounds act like seraphically elements that connect the fantastic and earthly worlds. At the same time, anecdotal sounds that remind us of specific moments in our lives cross our mind -- liquid, metallic, soft, subtle sounds -- and dense drones mingle to create an experience of their own, each one embedding itself in the personal experience of the listener.

From the beginning we were immersed in this atemporal amniotic atmosphere and then there was the birth, the irruption into the world, history began. We plunged into time to look for the origin, to deepen the story, to understand.

Buy Digital Track

Ne parle pas de secrets

Houston, Texas based experimental noise and sound art label, created in 1998 by Gerritt Wittmer.

Méryll Ampe "Close To"

Misanthropic Agenda

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