LYDIA LUNCH & PHILIPPE PETIT: in Comfort EP (Comfortzone - cz007) 
12“ Picture Vinyl        
www.comfortzonemusic.com 

With the new release  of  "in Comfort"  the duet of Lydia Lunch and Philippe Petit move out of 
the dark Psycho-Ambience of their previous "Twist of Fate"  and into a more intimate 
atmosphere. Using orchestral strings, vanguard soundscapes and collected field recordings 
to conjure up a dense, cinematic world, the sinister, yet inviting "in Comfort" mixes acoustic 
instrumentation with digital filtering, swaying and unfolding amid the psycho-film-noir syntax 
of a Lunchian universe.  

Lydia Lunch: vocals 
Philippe Petit: processed acoustics + electronics 
James Johnston: harmonica 
Fred Lonberg-Holm:cello  
Manuel Zurria: Flutes  
Perceval Bellone: tibetan bowls-sanza 


Very impressive. Love your take on Lydia!

oouh I love you Lydia, l'ambiance sonore est réussie Philippe ++

Weird Spring Etude

Lydia Lunch & Philippe Petit: BLACK SPRING

Debris-

Transmission

From the album "Spontaneous Dimensions" released on Sublime Retreat label:

https://sublimeretreat.bandcamp.com/album/spontaneous-dimensions

Obake Trigger

This is a collection of trajectories in the phase space of an expanded Grackler patch. Destiny+ Entanglement Space and Czochralski Cells makes appearances, and a THC Meta integrates a Rungler-style patch sequencing a  Mod->Carrier->Filter subtractive voice. Carrier frequency, FM coeffeicient, and filter cutoff are all fed from different DAC streams receiving a combination of clock divisions and shift register bit outputs.

The form is reminiscent of Takemitsu's approach whereby the piece exists as a superposition of various voices/timbres/motifs which are stratified and recombined variously throughout, and therefore serves as a tour of trajectories in the phase space that is the patch.

Thanks for listening!

Phase Space

Exploring spatial and timbral relations in this one.

A1.1 - Sobriety Anxiety

Daisy seed

Put a coin into the rusty machine
Maybe you can catch lost radio signals from ancient times roaming through the ether

haunted pachinko

From the recorded sounds proposed, I wanted to re-design the rural landscape of Viseu, to shape an heterogeneous polyphony.
The flow of the water fountain in front of the church, the birdsong, and the clanking of ceramic scattered on the road, are confused in this sound texture. 
Seething boiler shells, screeching machines and tractors, cracking of granite cut by diamond disks, merge with the popping of tin sheets of experimental games.
The image tries to reflect some of these sound sources in a polymorph design.

Biography:
Elsa Justel (Argentine-France)holds a PhD in Aesthetics, Science and Technology of the Arts at the University of Paris, She currently works as an independent composer and video artist, having received commissions from the French government and different European production studies.

She has developed a pedagogical and research activity at the Universities of Marne La Vallée (France) and Pompeu Fabra (Spain) as well as in various conservatories and music schools in France, Holland, Germany, Argentina and Spain.

She received numerous composition awards such as : Prix Ton Bruynèl, Netherlands (2005), International electroacoustic competition of Bourges, France (1989/2002), Prix Phonurgia-Radiomix, France (2001), 5° International competition on Radiophonic music (La Muse en Circuit-WDR, between others. Her music has been recorded by Diffusion i Média, Canada and several compilations in EU, Canada, France, Argentine, Spain.

http://www.fundestellos.org/Bio.htm

Elsa Justel: Estampes de Viseu

abstract beats, electronic, clicks&cuts, glitch, downtempo, vocals

Rf_PL58 (in my tears)

I like to be introduced as a "MUSICAL TRAVEL-AGENT".
ONSTAGE I'm mostly playing an Easel K (Buchla Modular Synth) and The Pipe (from SOMA Lab) which allows mouth-synthesis... I also manipulate unique vinyls with my sounds/musics, assaulting turntables to take advantage of the vinyl material to fondle released sounds, raking the needle across the record's grooves, rubbing their stylus on paper, cardboard, metal to process unusual noises and textures. I have a physical relation to my recordings and envision my live sets like performances. 
Gesture is also a very important part of my compositional process... While composing I am also relying on the use of real instruments such as Cymbalom, Pianos, Guitar and Percs that I play like a kid discovering a new toy, improvising and attaching great importance to gesture and stressing dynamics. My moves aren’t consensual, not cozying up potential listeners. A Punky approach even if throughout the past years I have been following courses of Composition + Electroacoustic Music at the Conservatory, specializing in Modular Synthesis. 
Pushing further my research in bringing together the Human and its Machine into a tapestry of sound which creates a deep sound assemblage of exotic Musiques Concrètes which guarantees to grow on you with repeated listens, slowly revealing its detailed richness…

Lydia Lunch & Philippe Petit: BLACK SPRING

philippepetit

Recent comments

kialiaski

NKS International

tt-vox

Collage King

Related tracks