"Music is the cup that holds the wine of silence. Sound is that cup, but empty. Noise is that cup, but broken.”

Robert Fripp


11/12/2013

Early Kraftwerk


An amazing excerpt of a (very) early concert of Kraftwerk in 1970.



thanks to Stephan for info

& another archive from 1971 here : ******


10/12/2013

Pure speculation














"Pure speculation" is a new LP composed by correspondance in between Alastair Galbraith, David Watson & Jean Jacques Palix.
It started in 2009 with sound material exchanged in between Alastair and Palix which generated short pieces, then joined by David Watson' bagpipes and finally mixed by Palix.
As a "limited edition" of 300 copies, this one one-sided LP , explorating drones' ambiances and melodies, is released by La Station Radar.

****
Alastair Galbraith : Voice, bells, guitars, casio.
JJ Palix a.k.a. Amiel Balester : Noises, radiators, windmill sounds, electric keyboard, computer.
David Watson : Highland bagpipes.
Recorded and composed in Dunedin (Nz) , Paris (Fr), New York (Usa).
Mixed by Jean Jacques Palix.
Mastered by Thimothy Stollenwerk.
Photography by Alastair Galbraith.


**** 

"Pure Speculation is a record by three people who live in Paris (France), New York (New York) and Taieri Mouth (New Zealand). They have all met each other, but have never all been in the same place together. This single-sided LP now exists physically, yet the music on it lives up to its rather grandiose name – and does not actually exist in the real world. Watson is an improviser known for his bag-piping, Galbraith an instrument builder and song-writer known for his long-form sound works using little-understood acoustic phenomena and for his very short songs, while Palix is a radiophonic composer and sound designer who composes balletic operas for aerobatic teams. All these things are true but all sound like Munchausen’s wildest lies.

There is no point attempting to describe music that has been composed in three separate parts in the mind of such accomplished fabulists, and then realized as a totality via a form of long-distance ouija-board manipulation. It is a highly-fictional salad of bells, gongs, drones and tones which will stick in your mind long after you have heard it. No one planned it, at least two of the musicians were ignorant of its existence for most of its lifetime, and only a perennial over-reacher such as myself would attempt to justify it in prose. When I first heard Pure Speculation, I thought someone had spiked my drink. Then I realized that the name should be taken perfectly literally. So do your ears a favour and indulge in this rarified form of speculation, it’s unlike much else you’ll hear until the next time you’re going under for major surgery – only this auditory hallucination is one you will remember once you regain consciousness. Drink up – here’s to speculation!"

Bruce Russell - september 2013

***
"One of my favorite thing about Alastair Galbraith’s records is the dichotomy between “noise” and “song” that permeates his discography. Galbraith has always been adept at creating lurching drone-y soundscapes that somehow manage to give way to moments of melodic bliss. Like many of the best noise rockers, Galbraith’s music creates a world where form, melody, and harmony all rely on/emerge from noise/drone. On Galbraith’s collaborative work Pure Speculation with Jean Jacques Palix and David Watson, the composer utilizes his collaborators to create a sprawling 22-minute work that merges several disparate soundworlds into a coherent whole while continuing to explore the dichotomy between noise and melody. This is articulated early in the track, when Palix creates a gloriously rustling palette of sounds that Galbraith uses as the instrumental foundation for a song before giving way to a massive drone anchored by Watson’s signature bagpipe playing. The ebb and flow between each section of this work too is handled masterfully. When the white noise of the piece’s opening field recordings return, it provides the first obvious sign that the trio imperceptibly structured the piece so that certain formal tendencies reoccur and develop into different themes."
Tiny Mix Tape - October 2013.

****
"Stunning three way collaboration that does violence to any notion of ‘collaboration’, with the songs of Alastair Galbraith bisected and book-ended by bagpipe drones, damaged guitar downs and occult Industrial settings: all three artists recorded their contribution separately before knitting the whole deal together into a delirious side-long setting that moves from what sounds like The Albert Ayler Orchestra plays the A Handful Of Dust songbook into occult regions of scrape and drone that could almost be Nurse With Wound before giving way to one of Galbraith’s most magical and heartbreaking songs, with that forlorn edge-of-the-world sound supported by all sorts of drizzy occult spectra. David Watson’s bagpipe work is particularly psychedelic, rising from Faust-scale nod-out rhythms and deep bass tectonics to sound like an orchestra of berserkers marching through the fog while touching on the fantasy scenario of Ayler’s unmade bagpipe orchestra album for Shandar. Jean Jacques Palix specialises in balletic radiophonics and sound design so I’m guessing he’s responsible for the hallucinatory sound works, with slow tectonic eruptions accompanied by distant Morse melodies and the kind of sleight of hand of a Peter Christopherson using noises, radiators, windmill sounds, electric keyboard and computer. This is a stunning set; imagine Rien or Outside The Dream Syndicate as the kind of Industrial/Orchestral context for brokedown NZ singer-songwriter-isms and you’re close to the dazzling reality-warping potential of this singularly potent disc. Edition of only 300 copies, silkscreened sleeves, very highly recommended!"
David Keenan - Volcanic Tongue - november 2013

****
"Constructed by three musicians who live in different parts of the globe and have never been physically present in the same place at the same time, “Pure Speculation” is as much a sound- art installation as a piece of music, each person bringing a different compositional strand to the project creating a 22 minute track that is powerful, emotional and inspiring. Experimental, droning and rich with imagination the track features, electronic sounds (Palix), bells, guitars, voice (Galbraith) and Highland Bagpipes (Watson) each player adding new layers and textures with the Bagpipes having the most impact mainly because it is not a sound that you hear very often in this context, their plaintive drone filling the piece with sound, with Watson skilled enough to be silent when needed, giving the bells and electronics a chance to add scrapes, rattles and chimes to the music. Constantly changing in tone, pace and mood,the music is never still,never dull rewarding the adventurous listener as it seems different every time, the way you hear it dependant on your mood and circumstance as much as the actual composition. Highly recommended, this is my personal favourite out of three excellent releases from a label of high quality."  
Simon Lewis - Terrascop Mag - January 2014



"In a sad indictment of some of the bollocks that passes for music these days I’ve just hurled the last three records off the stereo and out of the window (I wish). I’m only sticking with this as I’m a fan of Alastair Galbraith and once the bagpipe has done its thing it gets pretty interesting. Yup, the one long 22 minute piece opens with a bagpipe drone (who needs that?) before a kind of rubbery beat takes charge and Galbraith whispers his distinctive voice atop.
The track is one long improvised piece by the three composers who all live in different parts of earth. It goes through several moods on its way to completion, a nice organic ambient section follows the vocal bit with bouncy shards of synth being layered one upon the other until it all breaks down to rumbles of thunder and a squeaky gate. A highly atmospheric piece which veers from enjoyable sections to lengthy sonic explorations."Norman Records - November 2013

and another comment

to listen (excerpt)

to order 

more about Alastair Galbraith

more about David Watson

& **** 

07/12/2013

More Radio Nova' archives

"Bonjour bijou"
a Radio Nova's jingle created by Frédérique Leroux circa 1982



& "Qu'est-ce qu'elle a ma gueule?" (with the voice of the famous "Mouna")
another jingle created by Eve Couturier circa 1984

05/12/2013

Tombeaux

http://beyond-the-coda.blogspot.fr/2011/11/paul-metzger.html

Comme toujours, un concert de Paul Metzger nous laisse dans un état de stupéfaction et de bonheur intense. Ses improvisations sur banjo modifié (23 cordes), témoins d'une large culture musicale et d'une technicité sans nom, nous empêchent toute autre écoute pendant plusieurs heures.
Ici, un extrait d'un concert donné à Charleroi en Belgique, trois jours après celui qu'il a donné à Paris aux Nautes.

Amazing!



A signaler la sortie de son nouveau disque "Tombeaux" chez Nero's Neptune, dont l'une des trois pièces est une adaptation d'une pièce de Debussy.


                          et aussi à écouter


02/12/2013

Vibrato



After the re-issued (in CD) of the unavoidable "Cocaïne blues" LP of Cyril Lefebvre originaly issued in 1978, it's time for the "Vibrato" record of Cyril with his Ensemble Moderne in 1979 :  a pure 70s pataphysical and humorous band, and an appearance of the vituoso Harry Hagoussian.
This CD contains some bonus tracks, including amazing live recording with Lol Coxhill, Mike Cooper and Steve Beresford, as well a famous version of "Besame mucho" with Joseph Racaille.

With a 16 pages booklet with rare pictures and a biography by Dominique Grimaud.


    picture : P.Riou - 1977 - unknown place


More infos at "Les Zut-o-pistes"
here

Thanks to Dominique Grimaud & Marcelle Galinari.


"La Paloma" in duo with Harry Hougassian

28/11/2013

Orders


An excerpt of the performance "Indicatif"
by Eve Couturier (text & voice) and Jean Jacques Palix (music),
in the exhibition "Un nouveau festival / La clairière" at Centre Pompidou
Paris - february 2013


25/11/2013

Menilmontant


Le très étonnant film expérimental du méconnu cinéaste Dimitri Kirsanoff  tourné en 1925 à Paris dans le quartier de Ménilmontant.
Né à Riga, sa famille arrive à Paris en 1923, et il pratique le cinéma amateur dans la ville. Le film nous montre le quartier de Ménilmontant tel qu'il était à l'époque.
Film muet, il a été mis en musique par le violoniste Paul Mercer.


Ce film a été publié par Kino Video dans un double DVD (Zone 1) avec plus de 6 heures de grands classiques du cinéma expérimental.
 

    la gare de Ménilmontant





19/11/2013

Revisiting Mr JB

http://www.rafaelgray.biz/index.php?/ongoing/3-graces/
    "Laetitia" - Rafael Gray - circa 1994

Charles Dreyfus, french performer well known in Fluxus and poetry areas, and art's historian,
& Rafel Gray, french painter and film-maker *
were performing a well-known song of Mr JB at Tapage Club - Paris in the late 90s.
A real pataphysical and unforgetable version!




    "Voilà, vois-là, entre le son, sort le sens" Charles Dreyfus - 2011
Voilà, Vois-là, entre le son, sort le sens Charles Dreyfus - See more at: http://syndicatpotentiel.free.fr/yacs/articles/view.php/619#sthash.NTdjdFtD.dpuf

Voilà, Vois-là, entre le son, sort le sens Charles Dreyfus - See more at: http://syndicatpotentiel.free.fr/yacs/articles/view.php/619#sthash.NTdjdFtD.dpuf
http://www.lespressesdureel.com/ouvrage.php?id=2414
     "demain, deux mètres" - Charles Dreyfus - circa 2000


18/11/2013

20 Hz


Exploring the world beyond the human experience and questioning the existence, a geo-magnetic storm occurring in the Earth’s upper atmosphere, with rumbles caused by solar wind, captured at 20 Hertz frequency.
A project by UK artists Ruth Jarman & Joe Gerhardt, commissioned by "The Invisible Fields" exhibition at Arts Santa Monica, Barcelona, 2011/2012


13/11/2013

Tim Wilson et le sillon

 
"Composition für Tim Wilson II" de KP Brehmer (1986, encre indienne et tempera)

L'histoire de Tim Wilson qui savait lire les disques vinyls en les regardant...
reconnaitre les oeuvres musicales en observant les sillons....
Et celle de Arthur Lintgen, précurseur en la matière.

à lire chez nos amis de Studio Walter

http://www.vinyls-collection.com/forum-consult.php?disc=374




11/11/2013

The bigger the noise

The bigger the welcome and the native warriors "put it all" in the dance of welcome
to Sir William Letts, K.B.E. South Africa: lot of percussions! as well dancers.

http://www.britishpathe.com/video/the-bigger-the-noise-the-bigger-the-welcome/query/BIGGER+NOISE+BIGGER

this 1929's movie is silent

courtesy of British Pathé

10/11/2013

Conflux #9


At "Société des curiosités" (Paris) the composer and cello player Ha-Yang Kim (NYC) & Stefan Poetzsch (Berlin), violin player, performed yesterday night two amazing musical drifts with intensity and harmony, sharing their own pleasure with the audience for a good time of listening pleasure.


Born in Seoul, Korea, Ha-Yang Kim live in United States and started as professional in the Atlanta Symphony Orchestra before to play, as a soloist, experimental and improvised music as well Balinese music. She collaborated with artists as Cecil Taylor, John Zorn, Christian Wolff, Alvin Lucier and many others and is part of the duo Oddapetite with the percussionist Nathan Davis.
I recommand her CD on Tzadik label.


Stefan Poetzsch studied classical violin, viola as well piano when, in the mid 70s, he listened to a solo concert of the violinist Zbignew Seifert (Poland) and immediately it changed his music interests: free, jazz, improvisation, experimental.

excerpt - 9 november 2013 -

05/11/2013

Neither


"Neither" is the only opera of Morton Feldman, on a Samuel Beckett's libretto.
As kind of dark existentialist lyrical poem, this work was composed for soprano and orchestra in 1977, despite Beckett, for their first meeting in 1976,  told to Feldman he hated opera, as well Feldman answered he rarely used any words in his music! In fact Feldman began to compose music before he received the text.

"I said to him, "I don't blame you!" Then he said to me, "I don't like my words being set to music," and I said, "I'm in complete agreement. In fact it's very seldom that I've used words. I've written a lot of pieces with voice, and they're wordless." Then he looked at me again and said, "But what do you want?" And I said, "I have no idea!" 
Morton Feldman

later...
"In 1985 Beckett suggested Feldman as the composer for a new version of "Words and Music" being produced for American radio. Putting aside his other work, Feldman completed the score, following it with a long piece dedicated to his friend, "For Samuel Beckett", in 1986. " - in  Neither words and music

"Neither" was commisonned and created by the Roma Opera in May 1977.

- a review titled "Beckett as librettist" by Howard Skempton here
- a chronicle (11 december 1978 - page 201) by Tom Johnson in "The voice of new music"


The first 10 minutes of this piece by the Radio Sinfonie Orchestra of Frankfurt conducted by Zoltan Pesko, and the beautiful british soprano Sarah Leonard.

28/10/2013

Perfect day

A minimal version of this famous song of Lou Reed who flied away yesterday,
by our friend Otis...

  originally posted in february 2012

27/10/2013

Tarek Atoui ' I/E 2013

 
Tarek Atoui  with Uriel Barthélémi
at FIAC - Paris -October 26, 2013 at 7 pm  - Place du Carrousel du Louvre
I/E, 2013, Performance (excerpt)

22/10/2013

Ronald Shannon Jackson

    picture @ 1989 - Karl-Heinz Becholz

RIP Ronald Shannon Jackson , one of the most powerfull drummer i never listened to.
After he played with Ornette Coleman, he created the band "The Decoding Society" mixing free, jazz and funk,
as well has been member of the famous quartet "Last Exit".


21/10/2013

Radio Drame

 
100 hours of music to listen for free at "Radio Drame", online by Jean Jacques Birgé, one of the former of the famous "Un Drame Musical Instantané" with Bernard Vitet (who flied away this last summer) and Françis Gorgé. This french collective band initiating in the late 70 the idea of "ciné-concert", was created with the idea to illustrate silent movies, creating new instruments, using radio and cinema sound sources, and hybridating rock, jazz, contemporary and speech music.
They created their own record label GRRR and published around 20 records under their name.
 

"Radio Drame" with lot of musicians as Vincent Segal, Antonin Tri-Hoang, Yuku Oshima, Eve Risser, Yves Robert, Philippe Deschepper, Alexandra Grimal, Edward Perraud, Sylvain Kassap, Aki Onda, Thuston Moore, Yoshihiro Hanno, Nicolas Clauss, Ravi Shardja, Sacha Gattino, Brigitte Lyregaard, Dominique Meens, and of course, Bernard Vitet, Françis Gorgé & Birgé themselves.


18/10/2013

El silencio


Prix Jean Vigo en 2007, le très beau film court métrage "El silencio" de F.J.Ossang est illustré par la musique de Throbing Gristle.
A regarder définitivement.




J.F. Ossang, cinéaste, créateur de revue, éditeur
et poète proche de ceux qui utilisent le cut-up, comme Claude Pélieu en France.
Il publie "De la destruction pure" en 1977 et chante au sein du groupe punk-industriel MKB.


03/10/2013

The worried ones - 64


"The worried ones" is the new opus of the Swedish artist  Leif Elggren & the French one  Jean Philippe Antoine

"The Worried Song" – The Worried Ones’ anthem – is a cover of "It takes a worried man" - a well-known American country & western song.
"The North is protected" is read by Leif Elggren, w/Jean-Philippe Antoine on Minimoog.
"Razor, boats & automobiles" begins with Leif Elggren playing amplified haircutters. It segues into a mix of two compositions by Jean-Philippe Antoine : "Transports en commun" and Squirrel Island Water Music".


Performed and recorded live at "64" in Paris in 2011, it is now release on Firework Edition Records


THE WORRIED ONES - LIVE AT LE 64
From the always mysterious surroundings of Firework Edition Records we have here The Worried Ones, a duo (one-off?) of Jean-Philippe Antoine and Leif Elggren. They named themselves after the well-known (their words, not mine) American country & western song 'It Takes A Worried Man' and that song opens the CD. It's sung, not rather well, with the addition of rhythm machine. Then Elggren reads the text 'The North Is Protected' which is followed by 'Razor, Boats & Automobiles' which sees Elggren playing 'processed and amplified haircutters'. It's not clear what Antoine is doing here - maybe he got his head shaved? According to the cover 'it (being the former track - fdw) segues into a mix of two compositions by Jean-Philippe Antoine: 'Transports En Commun' and 'Squirrel Island Water Music'. So, in all, four pieces on this CD, except that the final piece is a re-run of the first piece, but then a bit different. So, it's about the two pieces in the middle. Elggren's spoken word piece has a feedback like sound in the background, but the voice is quite loud; maybe this sort of spoken word thing is not really my cup of tea. However the other piece, 'Razor, Boats & Automobiles', is one that I quite enjoyed. It has an excellent raw drone quality, which is something we find more in the work of Elggren (solo). It's music generated from some sort of action which you can hear, but it also stands by itself quite good. It fades over in the other two pieces at the same time, which has a totally different character altogether, vaguely, dreamy and remotely sounding; highly processed field recordings and bird twitter. An excellent piece of music. Conclusion: another fine, yet highly mysterious release. (FdW)

published by "Vital Weekly" - dec 2013

Coffret avec CD + 7 cartes + carré de feutre
Edition limitée : 200 exemplaires numérotés

excerpts here 

to order







more Leif Elggren here !!!

30/09/2013

Braun Tube Jazz Band


The japanese musician Ei Wada plays cathodic old Braun TVs (controlled by PC) as a big PAD to generate sounds and rythms. The installation called "Braun Tube Jazz Band" evocate the NamJune Paik 's manipulation with TVs.
Ei Wada is as well part of the "Open reel ensemble"
Amazing!

28/09/2013

25/09/2013

Composer


"Cache ce que tu composes dans ce que tu entends.
Couvre ce que tu entends.

Place quelque chose à côté de ce que tu entends.
Place quelque chose loin en dehors de ce que tu entends.
Soutiens ce que tu entends.
Prolonge pendant longtemps un évènement que tu entends.

Transforme un évènement jusqu'à le rendre méconnaissable.
Transforme un évènement que tu entends dans celui que tu as composé précédemment.
Compose ce que tu attends comme prochain évènement.
Compose souvent, mais écoute parfois aussi pendant longtemps ce qui a déjà été composé, sans plus composer.
Mélange toutes les instructions.
Accélère toujours davantage le flux de ton intuition."
Karlheinz Stockhausen -  circa 1969
traduction T. et H. Pousseur
in "Hymnen" LP' comments - Deutsche Grammophon 139 421/422

Hymnen region II


21/09/2013

Mr Noisy

A short documentary around Bruce Russell who talks about his work and own philosophy.
The New Zealand experimental musician founded the band "The Dead C" with Michael Morley.
After establishing the labels "Xpressway" in the mid-eighties, then "Corpus Hermeticum"
in the nineties, he published an excellent book around the experimental sound scene in New Zealand :
"Erewhon Calling: experimental sound in New Zealand" - Audio Foundation/CRM 2012

****

15/09/2013

Glass harmonium


Alastair Galbraith is a musician located in Dunedin, New Zealand.
He started in the early 80s with the band "The Rip" and collaborated with numerous musicians as Peter Jefferies, Matt de Gennaro (for long wires drone experimentation, listen for "Cry" CD released by "Emperor Jones") and Bruce Russell for the free noise band "A Handfull of Dust".
Despite of building recently a pipe-gas organ, he also build a homemade glass harmonium, and did perform it last march in Port Chalmers. 





and long wires

14/09/2013

Guitar duo

 
A guitar duo in between the improvisators Jean François Pauvros & Makoto Kawabata,
main activist of the community Acid Mothers Temple,
in Paris at "le Générateur", well-known place in Paris for performances' festival FRASQ.


“Music, for me, is neither something that I create, nor a form of self-expression. All kinds of sounds exist everywhere around us, and my performances solely consist of picking up these sounds, like a radio tuner, and playing them so that people can hear them. However, maybe because my reception is somewhat off, I am unable to perfectly reproduce these sounds. That is why I spend my days rehearsing." Makoto Kawabata

excerpt of the concert, Paris, 13th of september 2013

11/09/2013

Leif Elggren


Leif Elggren (born 1950) is a Swedish artist who lives and works in Stockholm.

Active since the late 1970s, Leif Elggren has become one of the most constantly surprising conceptual artists to work in the combined worlds of audio and visual as well he is a great body performer.
Here performing last May 25 in Swedenborg Chapel with the artist  Carl Michael von Hausswolff.

waiting for his next opus "The worried ones" , recorded live at "64" (Paris) with Jean Philippe Antoine
to be release late september

09/09/2013

L'interprète


A Paris, à la galerie Charlot, je ne peux que vous recommander d'aller écouter et voir la très belle pièce
d' Eric Vernhes intitulée "L'interprète".
Dispositif sonore, séquences musiales de piano, images des deux films (1924 & 1935) adaptés du roman de Maurice Renard "Les mains d'Orlac", hommage à Martin Arnold...

une occasion également de découvrir d'autres oeuvres de cet artiste qui manipule électronique, vidéo, interactivité, sons et matériaux bruts avec justesse et poésie.
 

exposition Eric Vernhes jusqu'au 12 octobre 2013 - 47 rue Charlot  75003

aussi à lire un billet de Jean Jacques Birgé sur son blog "Drame"


06/09/2013

Skrikodrome


Le Skrikodrome, un nouveau mobilier urbain...
créé par notre ami Olivier Nourisson

co-créateur également avec Danos de "jeune fille orrible"

Le travail d'Olivier Nourisson est littéral, il nous réunit pour que nous improvisions cette réunion. Le 29 août à la Générale en Manufacture (Sèvres), Nourisson profitait du vernissage de l'expo maya.rouvelle pour inaugurer dans la cour son Skrikodrome, mobilier urbain. Une cabine gris béton de 300 x 100 x 100, poignée de porte comme une roue de coffre-fort, sur le toit un haut-parleur trompe dressé vers le ciel. L'intérieur est capitonné de mousse à picot ( grise elle aussi), face à nous un micro serti d'un grand disque d'argent. Il faut entrer. Dés l'ouverture de la porte, le microphone amplifie chaque son produit rendant la boîte hypersensible, tout vibre et grésille. Refermer la porte derrière vous et cela cesse. Vous êtes seul maintenant, totalement isolé, protégé, les bruits extérieurs ne vous parviennent plus, l'amplification a disparu, vous êtes bien. Si vous avez eu une explication vous savez que le Skrikodrome est un défouloir urbain, que vous êtes censé y crier. Ne vous gênez pas, criez!... ou pas. 
Certains ont chanté, ont récité, certains y entrant à plusieurs ont discuté. Très vite le Skrikodrome devient un diffuseur urbain que l'intimité de la cabine rend prolixe et foisonnant. On reste autour, on attend son tour, on y retourne, on ouvre la porte pour s'adresser "directement" à ceux du dehors qui écoutent, attendent. Le/les locuteur/s se projette/nt dans la multitude, disparaissant de soi pour n'être que voix. De chaque côté de la porte, on oublie. Quand il ressort, celui qui diffusait depuis la boîte, qui n'était que sons (au début était le verbe), acquière un corps, réintègre son corps, il s'incarne (une sorte de Jésus de Sabbat) et nous revient.
Nous revient ? Pourtant quand quelqu'un ressort d'une cabine (douche, confessionnal, photomaton, isoloir) il garde son secret, ce qui s'est passé sans nous ne saurait être divulgué que par l'aveu ou la confidence. C'est tout un contraire qui se fait ici. Le moindre son produit dans la cabine du Skrikodrome est diffusé à l'extérieur à un volume élevé (nous y reviendrons), tout s'expose, se livre, la vie de la cache est amplifiée, elle n'est pas volée, sournoisement dévoilée, elle est offerte. Plus qu'une exposition de soi ou un théâtre immédiat, il y a un don de soi, un don absurde et gratuit, un don simple, une mise à nu d'enfant ("t'u nu", dit-elle à ses parents en arrivant dans la forêt).
 

Cependant Il y a toujours dans le travail d'Olivier Nourisson un excès un outrage un conflit un ding. Le don via le Skrikodrome ne se fait pas discrètement. Nous l'avons dit l'amplification est importante, le volume est élevé. Le Skrikodrome est prévu pour crier et avoir son cri amplifié, une amplification maximum et si les visiteurs de ce 29 août à la générale se sont immédiatement réappropriés, ont immédiatement détourné (alléluia! criaient les païens) l'objet et sa fonction, le volume élevé de la diffusion est resté le même, personne n'a eu envie de le modifier. Ce qui est diffusé prend une épaisseur singulière bombardé qu'il est par le volume, quand l'émetteur isolé dans la cabine (même s'il pousse un cri fort et long) est dans un rapport d'intimité et alors qu'il s'active dans le secret de sa chambre, ce qui est délivré dérange, prend la place de, coupe la parole, s'impose… ou se fond. Tout prend fonction de prière de discours et de déjà passé. Reste (entre autres, certainement) le secret de la divulgation d'un secret: que se passe-t-il donc dans cette chambre qu'on le transmette instantanément à nous tous ? Entrez…
Frédéric Danos

"Olivier Nourisson est le Diogène de l'art contemporain, le Nietzsche de la performance, le Oury du bricolage..."

 

31/08/2013

Still smiling


The recent amazing opus "Still smiling", unique collaboration between the italian composer Teho Teardo and the leader of Einstürzende Neubauten, Blixa Bargeld. Using string quartet (featuring The Balanescu Quartet and cello player Martina Bertoni), guitars and electronic, the piece contains 12 songs including a cover of The Tiger Lilies's "alone with the moon".

to listen to at   //***//