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

Robert Fripp


Radioscapes & Discsection

Radioscapes est un disque qui invite à la découverte des paysages électromagnétiques qui nous entourent. 
Les deux faces du vinyle proposent d'écouter et d'observer deux contextes radio trés différents : le périphérique parisien (face A) et une ferme isolée en Bourgogne (face B). 
Dans chaque lieu, l'ensemble du spectre radio a été méthodiquement enregistré pendant deux semaines puis retranscrit en une seule piste audio. Sur chaque face, une image représentant les niveaux des fréquences captées est imprimée sous le sillon du disque de manière synchronisée avec le son.

Concept : Cécile Beau & Nicolas Montgermont 
Enregistrements & data processing : Nicolas Montgermont 
Mastering : Yann Leguay | Cut : Flo Kaufmann| Pressage : R.A.N.D Muzik 
Production : Artkillart  - décembre 2017


& "DiscSection" by Yann Leguay
AKA 03 - 2009
on Artkillart


& some circles archives



Hans - Joachim Hespos is a german composer, born in 1938, who uses unconventional and extreme techniques to create unusual sounds.

pic:Wolfgang Osterheld, Luxembourg

Hespos' scores very frequently employs graphic notation, verbal instructions, traditional music notation or some combination thereof: it always constitute incitements to action rather than instructions to be executed neutrally. Inspired by Adorno and Artaud, each composition forms itself unfettered during the act of composition. Many of his works involve improvisation and don't need any conductor. 
This radical subjectivity should communicate itself to any audience of Hespos' work, his aim being, to quote Artaud "To reach a point at which things must burst if there would be a new departure/beginning ... to lead the spirit to a frenzy, to a rising of its energies"

"Hans-Joachim Hespos´s music does not quite dely description, but it raises unexpected questions for the perceiver. Incorporating mime, found objects, exotic and esoteric instruments, dress codes, theatre, implements, graphic and text notation, including instructions that are written in his own language themselves. In one sense, the only approach to take is to dive right in, trying to capture the energy required and hone the details along the way. (...)
Many composers set out to "capture forces" in their music, often volatile and energetic and Hespos is no exception: however, his music also embraces the ambiguous and complex border between life and art, sometimes frantic, and always fascinating."
Mic Spencer - 2015 - program note to the celebration of the music oh Hans-Joachim Hespos in the international concert series at University of Leeds, United Kingdom on 4th december 2015

"QUIXX" is a vocal piece composed in 2010
more infos (in german langage) here


No Tongues

No Tongues est un groupe de 4 instrumentistes français dont le projet est une "adaptation-retranscription" instrumentale d'un célèbre triple CD intitulé "Les voix du monde", publié par Harmonia Mundi en 1996.


"Les voix du monde" est une formidable anthologie des expressions vocales à travers le monde, le fruit d'une recherche réalisée dans le cadre de l'UMR 9957 du laboratoire d'ethnomusicologie du CNRS, sous la direction d'Hugo Zemp, Gilles Léothaud, Bernard Lortat-Jacob avec la collaboration du compositeur Jean Schwarz et du musicien et chercheur Trân Quang Hai.

Les différentes pièces du groupe No Tongues  sont de formes variées: parfois avec leur propre version, leur "translation instrumentale", et aussi par superposition des extraits vocaux originaux sur lesquels ils travaillent.
Le résultat est tout à fait probant, et les pièces ainsi composées nous rappellent parfaitement de quel extrait vocal de l'anthologie et de quel endroit du monde sont issues leurs inspirations.

"Les fabuleux duels de grognements des Inuits seront l’occasion de contrechants, plus ou moins imitatifs, plus ou moins divergents, puis de variations tandis que l’enregistrement original disparaîtra du champ sonore. Différents évocations de rites des Iles Salomon ou du Tibet se passeront de leurs modèles sonores, et l’on entendra même une pièce de pure imagination recentrant l’attention de l’auditeur sur la seule abstraction sonore où les quatre musiciens brouillent la dimension mélodique dans le tissu bruitiste et rythmique avec des gestes virtuoses d’un infinie précision, sur des instruments préparés ou non, souvent détournés de leurs usages conventionnels: électronique, jeux de souffle et de clés sur les instruments à vent, avec ou sans bec/embouchure, contrebasse de Ronan Courty ... (où) ...
la caisse est frottée de la paume, cognée du poing, l’archet ne se contente pas de faire hurler les harmoniques ou gronder la saturation des cordes, mais il frotte le cordier et les cordes sont encore soumises au va et vient d’un manche de mailloche glissée entre elles, etc… "
Franck Bergerot - Jazz Magazine - avril 2016


Alan Regardin – trompette et objets
Ronan Courty – contrebasse et objets
Ronan Prual – contrebasse
Matthieu Prual – saxophones et clarinette basse

Leur CD "Les voies du monde" sort en 2018


Sismographie des luttes (2)

Quelques couvertures de "revues de luttes" évoquant la musique et le monde du sonore.
Le fruit de recherches de plusieurs chercheurs et l'objet de l'exposition à ne pas manquer:

"Sismographie des luttes"
vers une histoire globale des revues critiques et culturelles.

Du 10 novembre 2017 au 20 janvier 2018 - 14H30 / 19H30
du mardi au samedi

Galerie Colbert, salle Roberto Longhi -
INHA - Institut national d’histoire de l’art
2 rue Vivienne  ou  6 rue des Petits Champs - 75002 Paris

entrée libre

African Arts - 1968`

  African Arts - 1970

 Amauta (Pérou) - 1928

  Amis du Laos - 1987

 Les cahiers de la Réunion  - 1976

Disco (Argentina) - 1945/1947

 Drum (South Africa) - 1955

 La Lira Chilena (Chili) - 1906

  Megafono (Argentina) - 1931

Mexican Folkways - 1930

Rohani (revue Kurde) - 1945

La voix du Congolais - 1952



Sergey Khismatov


Sergey Khismatov, born 21 February 1983 in St. Petersburg, is a composer gradueted at European University in St. Petersburg.
He participated in workshops and open lectures of composers such as Boris Filanovsky, Pascal Dusapin, Sandeep Bhagwati, Enno Poppe, Helmut Lachenmann.
He composes for voices, instrumental ensemble and experimental electroacoustic experiences, as a quatuor for 4 performers and 4 microphones and a piano.

He also rebuild the famous Arseny Avraamov's "Symphony of industrial horns"  in Athens for Documenta 14.

To listen to his music: his Soundcloud: <<<here>>>

Don't miss "Quasar" for organ and accordion

and this version of "Microphones quartet" live at Paradiso in Amsterdam in 2012



"Interim" is a Stan Brakhage (1933 - 2003)  film, directed in 1952.

Inspired by Italian Neo-Realism and relatively conventional in structure compared to his later works, this first  Brackhage's film suggests a tentative encounter between a teenage boy and girl who meet under the city viaducts.
The young man meets the young woman under a bridge by a railroad. They shelter from the rain and exchange a kiss. The man grows sullen and leaves. The film starts with him and ends with her. 
The music is composed by James Tenney.  


Tomeka Reid


Tomeka Reid  is a Chicago based cellist, composer and educator.
Equally adept in classical and jazz contexts, Tomeka Reid  predominantly finds herself in experimental and improvisatory settings and composes for a wide range of instrumentation, from big band to chamber ensemble. Her music combines her love for groove along with freer concepts.

” (…) I’m loving to perform purely free these days. That used to be such a source of anxiety for me ... to be so naked and create something from nothing in front of people and sometimes with people I’ve never improvised with! (…) Do I solo? Do I become a member of the rhythm section? What can I do to make something happen? (…) I like being pushed and even though I am sometimes stubborn, I like to be forced out of my comfort zone (…) I also enjoy through-composed settings and pieces with structure that include improvisation. It’s nice to know where you’re going sometimes but it’s also really nice to know that if you end up somewhere else that’s ok too! (…)”  
 Tomeka Reid - 2015

A long interview by Troy Collins to read here

"(...) Chicago-based AACM member Tomeka Reid has honed her improvisational skills for the past decade and a half as a sideperson to such luminaries as Anthony Braxton, George Lewis and Roscoe Mitchell, as well as contemporaries like Dee Alexander, Nicole Mitchell and Mike Reed. She also co-leads Hear in Now, a string trio with New York-based violinist Mazz Swift and Italian bassist Silvia Bolognesi. Reid is poised to become one of the preeminent improvising cellists of her generation with the eponymous release of Tomeka Reid Quartet, her first album as a bandleader (...)"
Troy Collins 


in quartet with Mary Halvorson (guitar), Tomas Fujiwara (dms) and Jason Roebke (dble bass),
a tribute to the violin player Billy Bang

& here with the live piece  "Tokens"  at the Hyde Park Jazz Festival in 2015
played by six strings' players and a drummer 


Circles (2)

all these pictures are "astrology digital art" pieces created by David Mrugala
ansd issued from a study of planets and NASA informations.


"Sound of Uranus" is made with code (Processing) based on the recording of the Voyager 1 and 2 spacecraft that passed near different planetary and moon bodies within our solar system. Voyager 1 and 2 were launched in 1977 by NASA.


Syv Cirkler

Else Marie Pade (2 December 1924 – 18 January 2016) was a Danish composer. After classical music studies at the Royal Academy of Music in Copenhagen, her life changed and her mind was turned in 1952 when she listened a Pierre Schaeffer's piece on a radio broadcast.

score of Faust 

"Syv Cirkler" (seven circles) is an electronic sound constellation consisting of layers of sine tones in an age that knew neither the computer nor the sampler.

“My work "7 Circles" was inspired directly by my trip to the World Exhibition in Brussels in 1958 (…) I was sitting in a planetarium and saw their programme, which consisted of various compositions, accompanied by light and movement in the planetarium dome...
There was one composition that completely captured me because it represented the stars, how they walk across the sky and their relation to each other. I remember that feeling that I was being lifted into the room, as if I was part of the movement – afterwards I almost felt a little seasick. It all continued to tumble around in my head for quite some time, and when I got back home, I knew that I would write a piece that would be called 7 Circles“
Else Marie Pade - Life in a Glass Bead Game (2005)

To read: a 2014's conversation between Jacob Kirkegaard and Else Marie Pade here

& to listen to: "Syv Cirkler", claimed as the first danish electronic music in Danemark


Partita for violin


"Partita for violin and orchestra"  was composed by Witold Lutoslawski in 1988.
The first performance took place on January 10, 1990 in Munich. Anne-Sophie Mutter was accompanied by the Munich Philharmonic Orchestra, conducted by Lutosławski himself.

 Witold Lutosławski played the violin till the age of nineteen and continued to perform as a concert pianist after the war (...) 
The Partita is one of the compositions in which Lutosławski attempts a synthesis of his previous strings works, turning to, among other things, the sound gestures from the period before "Funeral Music".  

"I composed Partita for violin and piano in the autumn of 1984 at the request of St Paul Chamber Orchestra for Pinchas Zukerman and Marc Neikrug.
The work consists for five movements. Of these the main movements are the first (allegro guisto), the third (largo) and the fifth (presto). The second and fourth are but short interludes to be played ad libitum. A short ad libitum section also appears before the end of the last movement..." 

Witold Lutoslawski

Yulia Iglinova (vl.)
Horacio Lavandera (pno.)
Spanish Radio and Television Orchestra conducted by Adrian Leaper.
Recorded live in 2007 at the Teatro Monumental, Madrid.

& don't miss the "13 solo strings" conducted by Witold Lutoslawski himself


For Cornelius

"For Cornelius" is a piece composed by Alvin Curran in 1981. It was Curran's first release of fully composed music performed by other people, his earlier LPs containing semi-improvised solo electroacoustic works performed by Curran himself.

It was written shortly after the death of Cornelius Cardew in 1981, the great british composer and political firebrand. Curran has some additional notes about the piece at his website: <<<>>>

"For Cornelius" is performed here by Ursula Oppens.


& about Cornelius Cardew these last months:

"Scratch Cottage and Nature Study Notes", with Carole Finer and Stefan Szczelkun, original "Scratch Orchestra" members, who did activate an intervention, curated by Pierre Bal-Blanc, as part of the last "Documenta 14" in the basement of the Athens conservatory.
It was an experimental framework for exploring the methodologies, technics, and spirit of the "Scratch Orchestra", originaly founded in July 1969 by Cornelius Cardew, growing out of a series of music composition classes held at Morley College London that were attended by avant-garde musicians as well as artists interested in exploring sound. 
This three-day public workshop involving more than 20 students proposed a journey through two important works of the orchestra: Nature Study Notes (1969) and Scratch Cottage (1971)


Sismographie des luttes

"Sismographie des luttes"
vers une histoire globale des revues critiques et culturelles.

Du 10 novembre 2017 au 20 janvier 2018 - 14H30 / 19H30
du mardi au samedi

Galerie Colbert, salle Roberto Longhi -
INHA - Institut national d’histoire de l’art
2, rue Vivienne ou 6 rue des Petits Champs - 75002 Paris

entrée libre


& colloque les 16 et 17 novembre 2017

Commissariat : Zahia Rahmani (INHA)
Assistantes de l'exposition et chargées de la recherche
                         Florence-Duchemin Pelletier (INHA) & Aline Pighin (INHA)
Graphiste : Thierry Crombet - RelativDesign
Composition musicale originale : Jean-Jacques Palix


Une installation vidéo projette une généalogie des revues dans le monde.  
L'image des revues dans le monde de la fin du 18e siècle à nos jours, présente dans une juste articulation avec les contextes historiques et territoriaux, les revues, leurs couvertures, mais aussi des contenus historiques, textes manifestes, portraits…
La revue culturelle est un objet essentiellement moderne. Elle est le lieu de l'expérience scripturale et graphique, mais c’est avant tout un support critique, visuel et littéraire qui fait constamment irruption dans l'accompagnement des luttes que les femmes et les hommes ont mené dans le monde pour leur émancipation.

En ce sens et en raison du recouvrement mondial qu'a été le colonialisme moderne, l'on peut dire que la revue culturelle est par essence, par son hybridité, sa mobilité et son existence précaire, souvent née dans l'urgence et la nécessité, un pur objet de l'expérience coloniale : et ce faisant un laboratoire de la modernité. C'est à l'intérieur de ces espaces contraints et divisés, qu'émerge la revue telle qu'on l'entend : un espace critique et politique en quête d'autonomie. L’histoire des revues et leurs contenus ne cesse de rendre compte de ce long continuum.

La doyenne des revues culturelles de langue française serait peut-être née à Haïti, à Port au Prince, l'Abeille Haytienne en date du 7 juillet 1817. La revue ne cesse de dire une ambition d'indépendance contrariée parce-que faite à la fois nécessairement de voix singulières, d'auteurs volontaires, tentés par des perspectives politiques et culturelles renouvelées.

Présentant plus de mille revues, l'exposition ne prétend pas à l'exhaustivité mais témoigne qu'une recherche collective, multilingue et décentrée, telle qu'elle a été menée à l'INHA, conforte une histoire globale de l'art. Elle permet de réévaluer et surtout faire exister la vie intellectuelle politique, artistique et critique qui s’est exercée au cœur des empires coloniaux.

dossier de presse



The Force of Things


"The force of things" is an opera for objects.

Composed by Ashley Fure, with the complicity of his brother architect, Adam Fure, this piece was first performed in 2016 at the Darmstadt Summer Courses for New Music.

Ashley Fure compose acoustic and electroacoustic music as well she build multimedia installation art. Her work explores the kinetic source of sound, bringing focus to the muscular act of music making and the chaotic behaviors of raw acoustic matter.  

"The force of things" is an immersive work of music theater that wrestles with the animate vitality of matter and the mounting hum of ecological anxiety around us. 
Audience members are invited into a field of sculpted matter circled by a ring of subwoofer speakers projecting subaudible frequencies. Though the sounds they emit are too low for humans to hear, the vibrations these subwoofers push into the air cause disturbances to ripple through the material infrastructure of the piece.  Players slide the flesh of their palms and the surface of objects against these speaker cones while they shake, drawing them into the realm of audibility through touch. Two singers snake side-by-side throughout the space, shouting a warning that sounds like a whisper in a language no one can understand.  


San Francisco

"San Francisco" (1968) is a movie directed by the experimental film-maker Anthony Stern, born in Cambridge, England in 1944.
To be seen as a psychedelic explosion of iconic imagery seen from the perspective of this English director, at the time of Flower Power, anti-Vietnam protest and counterculture.

As Syd Barrett was a friend of Anthony Stern, the soundtrack is an amazing unreleased version of Pink Floyd’s "Interstellar Overdrive" .

"Anthony Stern était l’un des secrets les mieux gardés de la cinématographie anglaise. La Cinémathèque française lui offre sa première rétrospective. Camarade de classe de Syd Barrett et de David Gilmour, assistant de Peter Whitehead, Anthony Stern a réalisé certains des plus beaux poèmes documentaires des années 60 et 70, à la fois sensuels, endiablés et railleurs. Son sens du rythme hors du commun continue de dynamiser ses films récents, montage des rushes tournés en 16mm dans l’Afghanistan de 1971, ou festival de Jazz à Cuba. Aujourd’hui célèbre en tant que maître-verrier, Anthony Stern nous offre aussi des images totalement inédites de Mick Jagger et autres icônes musicales."
in program of a retrospective in 2008  by French Cinemathéque in Paris




"Xas" is a Yannis Xenakis  rare piece for a saxophone quartet, composed and created in 1987 in Lille by the Raschèr Quartett.

The title is an anagram of SAX to create a mirror image. One also might note a play on the name of XenAkiS. This is also the only piece Xenakis wrote for the saxophone.


The composer briefly uses new techniques: some quarter tones and simple multiphonics (almost clarinets' broken sounds) punctuate the piece; on the contrary, most "attack modes" and tone colors are absent or left to the performer's choice.
Over time, one might even consider this piece as the first “serious piece" that was written by a major composer for this type of ensemble.

more infos

Here is a version played in an empty swimming pool by the "Contemporary music class of Bordeaux Conservatory" conducted by Marie-Bernadette Charrier.


Chasing Bone

Chasing Bone est un trio parisien, formé de Panos Anastasiadis (guitare, composition), Giannis Rematas (batterie), tous deux originaires  de Thessalonique en Grèce et de Felix Masson (basse).

"Trio bouillonnant aux envolées frénétiques. Excellent batteur, grande maîtrise du bassiste, et un guitariste zélé qui n'hésite pas à prendre les risques les plus fous pour faire dérailler  la machine". 

Leur premier opus "State of the underdog" sort officiellement vendredi 20 octobre à l'occasion de leur concert au Studio Campus à Paris. Suivra une tournée sud-européenne en France, Espagne, Italie et Grèce.
Un son de guitare et des textures post no-wave, des mélodies tendues en équilibre instable sur trois notes, un groove ample et nerveux, entre punk jazz et avant-rock, ruptures noise et ambient ténébreuse, énergie rythmique et audace harmonique, la musique de Chasing Bone est à la fois savamment structurée et furieusement déjantée... 

Chasing Bone sur Radio Libertaire le 19 octobre 2017 à partir de 22 heures
podcast ici: "Epsilonia" / Unpedigreed music since 1986  

"Mistakes are what make music beautiful and humane. When you write down, compose the music, and then go to the studio, you need the people around you to tell you when to stop. If we do three takes and there is a good one, to avoid the process of searching for perfection...We keep the mistakes because it's honestly what happened at a very specific moment."  Panos Anastasiadis 

Official 2017 european tour:

20 octobre : PARIS (Studio Campus - 20h)
     avec en invités: Lostinthe et Macubert, multi-instrumentistes, plasticiens, membres
     de Psydedelic Trips To Death, groupe phare de la scène rock de Thessalonique.
21 octobre : TARBES (Celtic Pub)
22 octobre : ARGELES-GAZOST (Café du Stade)
24 octobre : MARSEILLE (La Tache)
25 octobre : BARCELONE (La Experimental)
26 octobre : TREVISE (Altroquando)
27 octobre : NAPLES (Il Asilo)
31 octobre : THESSALONIQUE (Ypogeio)
1er novembre : THESSALONIQUE (Coo)