Back on Lüüd Discs for his first EP, Bwi-Bwi signs four tracks with rich and varied influences that plunge us into the atmosphere of his universe. Canto Soulèu.
Pre-order : https://luuddiscs.bandcamp.com/album/l-d006-bwi-bwi-canto-soul-u-ep

Distributed By – Chat Noir Distribution
Manufactured By – Kuroneko Phonogram Manufacture
Mastered By – Mangabey
Artwork By – Cassiopée

LÜÜD006 — Bwi​-​Bwi - Canto Soulèu EP

Cosmic Shieeeet - MAÂT invite Thomas Becka (Décembre 2023)

Taken from the album 'What You Hear (Is What You Hear)' released as 2LP, CD and Download

Thomas Brinkmann 'Agent Orange' (EMEGO 204)

Son d'introduction à la pièce de théâtre Royaumes.
Première représentation le 15 septembre 2018 à Paris au théâtre La Croisée des Chemins.

Sous la pression de la guerre, quatre soeurs se retrouvent enfermées chez elles. C'est dans l'attente d'un frère, Abel, parti au combat, qu'elles nourrissent des rêves d'espoirs teintés de mélancolie. Dans cette pièce chorale où se mêlent les voix, les souvenirs et des possibilités d'avenir chacune se demande à sa manière comment réapprendre la liberté.

Royaumes

LIVE Electromagnetic Coils & Modular system 25 01 2019

Joe Colley "Melody Of Failure" from:

MAR053  Joe Colley "Psychic Stress Soundtracks" 2xLP 

https://misanthropicagenda.bigcartel.com/product/joe-colley-psychic-stress-soundtracks-2xlp

https://youtu.be/UyOh6d-XiAY

Psychic Stress Soundtracks

Joe Colley "Melody of Failure"

⊱ relax, sit back and deep dive into the eerie electronic world of t16c ⊰

@t16c is a duo formed by underground Slovak musicians. Two friends, Peter Kudlička (@16colours / @ega) and Andrej Nechaj (@tatratank) have been making music for over 20 years. t16c is a natural result of their unceasing commitment to diverse sonics.

We are happy to premiere their second meditative track "Ostsee" from upcoming EP *"re"* releasing 29-02-2020 on Bratislava-based label LOM - @zvukolom

Post-apocalyptic space exploration, transmitted over lo-fi radio signal back to the Earth. Grid-less, yet pulsating culmination of eerie field recordings, samples, and electronics. Alluring melancholic glimpses of an unclear future.

[Swine Premiere] t16c - "Ostsee"

Dans la série "Aux confins d'une forêt (presque) confinée”, voici le dernier ouï : "Bufo bufo”, issu d'une empreinte sonore relevée vendredi 24 avril par Madlen Herrström (pour le dessin) et moi-même (pour le son) en la forêt de Fontevraud (attestation de sortie obligatoire en poche bien sûr !). Quand les tirs du Camp militaire de Fontevraud cessent de trouer l'atmosphère, nos tympans (et nos coteaux de tuffeau...), quand les aéronefs sont cloués au tarmac et les automobiles au garage, on peut se dire que le confinement a  quelque chose de bon ! Quelques commentaires reçus : Magnifique ! (Christian Zanesi), Extra (François Delalande), Bravo pour votre création musicale, très distrayante et riche d'enseignement. On se prend à rêver d'un monde ralenti où les animaux auraient droit de cité davantage qu'aujourd'hui (Frédéric Potet), Les batraciens m’ont pris dans leur danse. Quelle folie ! (Adrien Privat), Quel concert dans la forêt ! Je me demande comment tu as pu tracer tes sonographies, Madlen, sans trop rire et en sachant où donner du crayon tant les sons se multiplient et se superposent. Vers la 7ème minute, j’ai tout à coup « vu » une foule acclamant les mariés grenouilles et jetant une pluie de riz, image à laquelle s’est aussi vite substituée celle des spermatozoïdes de crapauds fulgurant dans le sous-bois ! Et puis, à la 9ème minute, le grand silence épuisé qui précède la Création (Francette Delaleu)...

Bufo Bufo

ABADIR - Drip

Keeping the ever-present influence of the sea in focus, Poirier projects himself to a fantasised coastline, imagining a landscape in flux, continuously reconfigured by the movement of water and those that inhabit its space...

A1. Thalassocratie
A2. Longe-côte
A3. Trace palmaire
A4. Le bématiste
A5. Sablage

B1. Hotel Nota
B2. Pénombre
B3. Du rocher
B4. Ekphrasis
B5. Raccordement
B6. Balayage 

Mastered by Stephan Mathieu at Schwebung Mastering.
Release date: August 2020

@romeopoirier

Roméo Poirier - Hotel Nota (sferic 0tel) [Preview]

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.

Royaumes

Tanguy Clerc

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