Composed improvisation, in three acts, around the magnificence of the Man, its origins and its exponential perception.
KHEOSTATIC is an improvised play with a total duration of about three hours trying in an encyclopaedic way to make a sound transcription of several elements which constitute the human reality, in its language, intellectuality and action. In this third and final act is completed the cycle initiated in Universal Transfusion. Abyssal Force is the color of Love number twelve, and power itself in the maximum material and metaphysical expansion. The three parts of KHEOSTATIC were live recorded at La Société de Curiosités, Paris.
KHEOSTATIC - Joséphine Muller & Ian Linter
Improvisation composée, en trois actes, autour de la magnificence de l'Homme, ses origines et sa perception exponentielle.
KHEOSTATIC est une pièce improvisée d’une durée totale de près de trois heures cherchant de façon encyclopédique à effectuer une transcription sonore de plusieurs éléments qui constituent la réalité humaine, dans son langage, intellectualité et action. Dans ce troisième et dernier acte, est achevé le cycle débuté avec Universal Transfusion. Abyssal Force est la couleur de l'Amour numéro douze, et puissance dans l'expansion matérielle et métaphysique maximale. Les trois parties de KHEOSTATIC ont été enregistrées en direct à La Société de Curiosités, Paris.
KHEOSTATIC - Joséphine Muller & Ian Linter
Improvisação composta, em três actos, em torno da magnificência do Homem, suas origens e sua percepção exponencial.
KHEOSTATIC é uma peça improvisada com duração total de quase três horas, na qual se procura de forma enciclopédica efectuar uma transcrição sonora de vários elementos que constituem a realidade humana, na sua linguagem, intelectualidade e acção. Neste terceiro e último acto conclui-se o ciclo de expanção sonora iniciada em Universal Transfusion. Abyssal Force é a cor do Amor número doze, e potência em si mesma na máxima expanção material e metafísica. As três partes de Kheostatic foram gravadas ao vivo na Société de Curiosités, Paris.
Kheostatic part 3 - Abyssal Force
Length: 55 minutes 52 seconds
Composed improvisation, in three acts, around the magnificence of the Man, its origins and its exponential perception.
KHEOSTATIC is an improvised play with a total duration of about three hours trying in an encyclopaedic way to make a sound transcription of several elements which constitute the human reality, in its language, intellectuality and action. In this second part the sound degeneration completes a cycle semi-controlled by electronic fragments with a double precision: the chaos does not exist, the chaos is Human. The three KHEOSTATIC‘s parts will be live recorded at La Société de Curiosités, Paris.
KHEOSTATIC - Joséphine Muller & Ian Linter
Improvisation composée, en trois actes, autour de la magnificence de l'Homme, ses origines et sa perception exponentielle.
KHEOSTATIC est une pièce improvisée d’une durée totale de près de trois heures cherchant de façon encyclopédique à effectuer une transcription sonore de plusieurs éléments qui constituent la réalité humaine, dans son langage, intellectualité et action. Dans cette seconde partie la dégénération sonore complète un cycle semi-contrôlé par des éclats électroniques de double précision : le chaos n’existe pas, le chaos est Humain. Les trois parties de KHEOSTATIC seront enregistrées en direct à La Société de Curiosités, Paris.
KHEOSTATIC - Joséphine Muller & Ian Linter
Improvisação composta, em três actos, em torno da magnificência do Homem, suas origens e sua percepção exponencial.
KHEOSTATIC é uma peça improvisada com duração total de cerca de três horas, na qual se procura de forma enciclopédica efectuar uma transcrição sonora de vários elementos que constituem a realidade humana, na sua linguagem, intelectualidade e acção. Nesta segunda parte a degeneração sonora completa um ciclo caótico semi-controlado por estilhaços electrónicos e de precisão dupla: o caos não existe, o caos é Humano. As três partes de KHEOSTATIC serão gravadas ao vivo na Société de Curiosités, Paris.
Kheostatic part 2 - Human Khaos
Length: 51 minutes 4 seconds
Composed improvisation, in three acts, around the magnificence of the Man, its origins and its exponential perception.
KHEOSTATIC is an improvised play with a total duration of about three hours trying in an encyclopaedic way to make a sound transcription of several elements which constitute the human reality, in its language, intellectuality and action. In the first part, now published, the human perception was condensed in sound signs of the avant-garde, concrete and electroacoustic, through the recourse to an immediate and proto-metaphysical language, in narrow correlation with the possible conceptuality of the matter and its relations with the spirit. The three KHEOSTATIC‘s parts will be live recorded at La Société de Curiosités, Paris.
KHEOSTATIC - Joséphine Muller & Ian Linter
Improvisation composée, en trois actes, autour de la magnificence de l'Homme, ses origines et sa perception exponentielle.
KHEOSTATIC est une pièce improvisée d’une durée totale de près de trois heures cherchant de façon encyclopédique à effectuer une transcription sonore de plusieurs éléments qui constituent la réalité humaine, dans son langage, intellectualité et action. Dans la première partie, maintenant publiée, la perception humaine a été condensée en signes sonores de l’avant-garde, concret et électro-acoustique, à travers le recours à un langage immédiat et proto-métaphysique, en corrélation étroite avec la conceptualité possible de la matière et ses relations avec l’esprit. Les trois parties de KHEOSTATIC seront enregistrées en direct à La Société de Curiosités, Paris.
KHEOSTATIC - Joséphine Muller & Ian Linter
Improvisação composta, em três actos, em torno da magnificência do Homem, suas origens e sua percepção exponencial.
KHEOSTATIC é uma peça improvisada com duração total de cerca de três horas, na qual se procura de forma enciclopédica efectuar uma transcrição sonora de vários elementos que constituem a realidade humana, na sua linguagem, intelectualidade e acção. Na primeira parte, que agora é publicada, a percepção humana foi condensada em signos sonoros do avant-garde, concreto e electroacustico, através do recurso a uma linguagem imediatista e proto-metafísica, em correlação estreita com a conceptualidade possível da matéria e suas relações com o espírito. As três partes de KHEOSTATIC serão gravadas ao vivo na Société de Curiosités, Paris.
Larsp ’s musical background started with classical music at the Conservatoire where he learnt the cello. In 2002. His first project under the name of PUPPET LE CURE, sounds like hard-techno vs. melodic orchestra, and an EP was signed by independent label CWK in 2002.
His solo project under LARSP was launched in 2005. It follows a radically different approach
from Puppet le curé. Larsp has moved away from techno to shift from experimental ambient
to melancholic breakcore. The project is based on the atmospheres rather than dance floor,
half-way between darkly oppressing sounds and slow rhythmic destructuring.
After almost twenty years of sound construction under such names as OLoF NiNe, ACT9, La Main Traumatique, Massacre Divino, Airf’Auga, etc, Ian Linter records the first album in his own name. Immediatism & electronics in synthetic moisture and mass-organic cadencies. All tracks, as usual, were recorded directly to hard-drive, minidisc, or cassette and expresses real time manipulation of diverse sound sources; no throughout-time creation, no multi-track composition.
Le Mal D’Archive is a project at the turn of independent electronic and sound design that sees its distinctive feature in the intersection between two apparently irreconcilable worlds such as experimental music on the one hand and the “chanson” for the more harmonious and Matrix melodic heritage of Italian music on the other.
Pharadigmatic elements of Bapttisti (first of all, a master of music degree in commercial attention to the universe of sound and harmony), as well as Fabrizio DeAndré, Leo Ferré, George Brassens, Massimo Volume, and many others is mentioned as tutelar figures, fragmented and dissolved into a homogenous sound magma and inscrutable, but not for this lack of balance as large moments of pleasantness. The structures of cyclic ballads of popular music, once cut, destructured, with the ring out and “work” become sound fragment, bearer of spaces and places strong connotations. These capsules image-time tools that Le mal d’archive disclaim spatially, in many molds.
“‘Histoires de Plage’ is like a gem set between two monoliths, as a thing that becomes the first sweet, then strong, then languid and desperate, the various forms of memory, which in this project become malleable sound field.”
dnasnow/mouseup are Zan Hoffman and Rinus van Alebeek.
dnasnow/mouseup started in Barcelona through a chance meeting between Rinus van Alebeek and Zan Hoffman at the LEM-festival 2000, where the latter performed. I (= Rinus van Alebeek) was working on my book. Later on in the still fresh century the novel got censored for several political reasons. While this censorship marked the end of my official status as a writer, the encounter with Zan opened up a complete new era in my career.
I soon found out that Zan was one of the key figures in the cassette culture, and had collaborative works with more then 200 sound artists worldwide. The encounter during some sessions in a worn down roof apartment in the very heart of Barcelona resulted in the formation of a duo called dnasnow/mouseup. Our collaboration continued in Valencia, some weeks later, where we did an illegal concert in one of the cones of the Calatrava-complex. Recordings from those days came together in dnasnow/mouseup 1 – 6 which were compiled by Zan.
In the summer and autumn of the year 2001 I stayed for three months in Zan’s hometown in Louisville, Kentucky. The outcome of that visit were twelve more releases by dnasnow/mouseup, of which 7 is the first. Listening back to it, several stages in my life come to mind. The spoken word passages bear immediate links to places and persons, very dear to me, and completely unknown to those who read these lines.
But another thing occurred to me. Besides the amazing variety of sounds, and the drive behind it, I once again was struck by the uncomplicated communication between Zan and me. But 7 might also contain information for future sonic archaeologists. It was in 2001, more or less seven years ago, that the US was struck by a so-called terrorist attack. While politicians and media talked about “a world that never would be the same again” we worked on recordings and site specific performances. In 7 one could recognize the aftermath of this attack, and a visionary audio portrait of a country in transition.
I, for one, to describe 7 prefer the epic stillness of a land after the flood. Little and bigger objects slowly float by on their way to grand rapids. The roofs of houses stand praying in the mirrorlike waters. Each little thing is animated, speaks with a different voice. The big rains, the roaring of the invading waters have gone, but if you listen close enough, they are there. Of course each one of you might hear a different story. Ours is from long ago.
“We are the curators of the Natural History Museum of Sound. We will look for, involve and invite hometapers and homelabelers alike to take possesion of the rooms of the Museum. We will create sounds from nowhere, and turn the alphabet inside out, to finally find the words with those holes in them. We will find music you would not dare to call music.”
Leo Alves Vieira is a Brazilian composer, Born in February 13th, 1978. Composer of many soundtrack pieces, for theatrical and movie plays since 1994, Leo Alves Vieira has been writing for many other instrument formations in the ‘academic’ scene since 2001. His debut as a composer was at the XV Biennial of Brazilian Contemporary Music, 2003, with the piece “Estilhaços-Constante Volta ao Indeterminado” (2002) for acoustic and electronic instruments, played by OFELEX. His debut album “Sounds of the Orange Coloured Forest” was released in september 2006 by Pralaya Records, from Brooklyn/NY.
“Try to create what you think, and what you think you think.”
Après plusieurs expériences dans le domaine de la musique improvisée et minimaliste, Joséphine Müller s’embarque maintenant dans un projet de construction sonore à partir de l’univers électroacoustique, toujours en improvisation. L’idée est de réunir dans une pièce les sons concrets manipulés et une incarnation possible du “swing” jazziste. Pour cela, elle compte avec la collaboration de son compagnon sonore depuis plusieurs années Ian L., qui se dédie à la simple improvisation sur des objets ordinaires et guitare. La Main Traumatique représente l’Automne de Fleuret.
“De jour en jour le besoin s’impose d’avantage. Il ne se prête plus guère à une considération détachée.
Le caractère fonctionnel de l’art sans aucune action modificatrice sur la situation. C’est une tendance évidente: le système clos et son immense fécondité.
La stylistique appliquée n’est pas l’observation du réel.
La main ankylosée par l’immuable contrainte.
La main traumatique.”
The Death Sound started as a project between Alex and Matt in late summer of 2007. The canonical “birthday” of The Death Sound is August 24th, the first of three days of the Roman Mundus Patet, upon which the gate to the underworld was opened that the spirits of the sanctified dead might commune, dine, and celebrate with the living.
In trust, The Death Sound has its origins as far back as the late 90s and early 00s, when Matt was recording minimalist electronic and IDM as the Bitter Poets, and Alex was aware of Matt’s programming work (indeed, they even attended college together), but realization of TDS would be not come until late spring of 2007. The idea behind TDS was initially to bring a retro-Industrial sound to Arkansas, but it soon become clear that TDS wasn’t retro, would never be retro, and would be better off doing something new and their own.
“This collection serves to show where TDS has come over the last year, bringing you our earliest recordings and the show that marked our first anniversary, and perhaps to show where we may be going in the future.”
Slutimids!! is Naal Stayn’s (anab L, trendy store, KZSE, lipstandärd, perplexions, tattooed intestine, while coldblue…) side project, created in autumn 2005. It’s a lab to experiment strange concrete shapes and squeak things without any Post Punk pression or Cold Wave stereotypes. An approach of Anti Wave to reach further steps on each new album.
“I just remember the album was a serious joke. A joke because originally I wanted to criticize the stereotypes of “french cold wave” (”grey” being the cliché of cold wave). But it was then a serious project as art surrounded the joke to create & experiment my own anti-formula. Slap bass is generally “cool” or quite “fun” music. My will was to make sad and chill the “funk” technique for instance. The title was a deconstruction about the “grey” stereotype in cold wave. I tried to use and deform the cold aesthetic to find my own, thanks to a mix of toy synthesizers and chill basses.”
Naal Stayn
This release is also available (CDr format) at SELF sufficient records.
