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Bonjour Ben et Otto ! 🙂 You both performed at schiev these past years and in 2020, you’ll perform together. How did that collaboration take form ?

Bonjour Schiev!
We have known each other for a long time now. We met almost 8 years ago taking part of multidisciplinary performances in Brussels. We kept playing and talking since then, exchanging musical and artistic ideas. The duo really popped up 2 years ago when we worked on a personal reinterpretation of Gavin Bryars’s The Sinking of the Titanic, that we had the chance to premiere at les Ateliers Claus. Cafe Oto in London proposed us last summer to release some music on their brand new in house label TARUDOKU. Ben wrote REVERSION, a 3 tracks ep that we arranged and produced together, recording it at studio les ateliers claus. (REVERSION by Ben bertrand & Otto Lindholm – TR066).

You have a similar musical technique – mixing electronic devices with instruments – how are you working together for this performance ?

Let’s say “complementary” more than similar. But indeed, both of us use extended machines or effects to alter the natural sound of our instruments. Live we splitted the roles, each one focusing on one aspect of the music : Otto deals with low soundscapes and drones while Ben focuses on the melodic/harmonic aspects. It allows us to dig deeper on each texture and simultaneously interact. The actual show is a combination of our last ep Reversion and our rework of the bryars’ titanic. In a way, this deep melodic drone music helps us to reach a kind of meditative aspect that facilitates us to face what is currently happening around us.

“A bouquet of music full of mirrors, eyes, statues, secret doors, rooms, and blood.”

Detlef Weinrich, aka Tolouse Low Trax, and French folk singer/ harpist/hurdy-gurdy player Emmanuelle Parrenin are releasing a new collaborative album, called Jours De Greve, via Versatile Records this January.

The duo recorded the LP in Paris with the help of “aura mystic” Gilbert Cohen, French avant-garde saxophone player Quentin Rollet and experimental voice artist Ghédalia Tazartès.

Fusing tribal dub with a “medieval cult sound”, Jours De Greve is well-suited for occult midnight dancing in hay fields under the light of a waxing crescent moon.

Pre-order Jours De Greve here in advance of its 15th January 2021 release, check out the artwork and tracklist below.

  • Toulouse

One type of argument made against “auteur theory,” which posits a film’s director as its “author,” holds that certain non-directorial collaborators contribute just as many — or, as Pauline Kael argued about Citizen Kane, more — of a work of cinema’s defining qualities. Surely a video essayist like Lewis Bond, co-creator with Luiza Liz Bond of Youtube channel The Cinema Cartography, subscribes to auteur theory: just look at the increasingly in-depth analyses he’s created on Stanley KubrickAndrei Tarkovsky, and David Lynch — all, of course, directors. But the recent Cinema Cartography essay “The Cinematography That Changed Cinema” sees him turning away from the figure of the director, exploring instead the auteur-like contributions of those masters of the camera.

Any competent cinematographer can make shots pretty; few can make them truly cinematic. Here we use “cinematic” in the sense that Peter Greenaway would, referring to the vast capabilities of the medium to go beyond photographically illustrating essentially verbal stories — capabilities that, alas, have so far gone mostly unused. It should come as no surprise this essay uses Greenaway’s The Cook, the Thief, His Wife, and Her Lover to establish its perspective on the power of cinematography.

En nuisette ou en mini-jupe, Il expédie ses lives avec les convulsions d’un épileptique sous camisole. Et pour cause, la musique lui revenant moins chère qu’un suivi psychiatrique, Christophe Clébard en fait au surin.

Son procédé ? Extirper les entrailles d’un synthé pour les poncer à ses cordes vocales, le tout dans une synth punk aussi rêche que bancale. Version neuroleptique de Suicide, le rendu zone à la périphérie de la Triple Alliances Internationale de l’Est, au croisement de Noir Boy Georges et de ASS, le versant techno-broyeuse de Ventre de Biche. Autant de blases qui illustrent le renouveau d’un courant que l’on croyait crouler sous le poids de ses poncifs mais qui ressurgit aujourd’hui à l’interstice de la noise, de la no-wave et de la variété française sous méthadone. Du Punk Nouveau en somme, tout droit issu des scènes françaises, italiennes, belges et dont Christophe Clébard incarne sa plus radicale et difforme déclinaison. Un peu sous la forme d’un dépotoir où s’amoncellent pêle-mêle : reverb, schizophrénie, cul, boîte à rythme pétée, amour filial, coupe au bol, Dieu, mort et honte. Honte, comme le nom de sa sortie agencée le 3 septembre 2019 – co-édité par le label genevois Kakakids – 1000 Balles et Les Albums Claus – et SSS, son dernier-né avorté en février dernier. Deux jalons qui marquent probablement les deux dernières escales de sa fuite en avant. Un trip durant lequel il s’est efforcé d’éructer tout ce qu’il a su faire de mieux de sa vie : la foirer.

READ THE WHOLE ARTICLE HERE

 

  • celbard

„Collaborating is the main life force for me.“

Two inspiring harpists have met for our 🔴 Darmstadt On Air podcast #13: Gunnhildur Einarsdóttir is an Icelandic harpist based in Berlin, founding member of Ensemble Adapter and harp tutor of the Darmstadt Summer Course since 2014. She invited harpist and improviser Rhodri Davies, who is a based in Swansea, South Wales. He plays harp, electric harp, live-electronics and builds wind, water, ice, dry ice and fire harp installations. Rhodri has released five solo albums and is also working in different constellations with artists like John Butcher, John Tilbury, Michael Duch and many others.

Gunnhildur and Rhodri both studied with the Welsh harpist Sioned Williams and it was through her that they first heard of each other. The two harpists have both been doing pioneering work in order to invigorate the harp repertoire with new pieces. They also share an artistic approach that is very much based on collaboration and cooperation. Their conversation is about choosing collaborators, about ego and trust, about Rhodri’s collaboration with Eliane Radigue, who wrote the first of her OCCAM pieces for him, about verbal transmission of interpreters‘ knowledge, about the grey area between improvisation and composition, and about diving into a composer’s world and inhabiting in it with one’s own ideas and sounds.

More about Rhodri Davies: http://www.rhodridavies.com
More about Gunnhildur Einarsdóttir: http://ensemble-adapter.de/english/ensemble/gunnhildur-einarsdttir.html

HERE'S THE PODCAST

Darmstadt On Air is also available on SpotifyApple Podcastsand Google Podcasts.

The tenth episode of The Bandwagon, Sabzian’s irregular series of film-related mixes, by Les Ateliers Claus’ artistic director Tommy Denys.

The Bandwagon is an irregular series of film-related mixes, hosted by Sabzian. These shows are brought together under the name “The Bandwagon,” after Vincente Minnelli’s 1953 eponymous masterpiece. The idea is to share journeys through film excerpts, dialogues, scores and songs, each instalment a filmic encounter with sounds, thoughts and worlds.

 

Excerpted from Aksak Maboul’s very first live performance of music from the “Figures” album. Recorded on 21 September 2020 at Les Ateliers Claus by Kiosk Radio, and livestreamed as part of the 'Support Your Local Scene' campaign

JOAO LOBO

Simorgh

 

Les Albums Claus/Shhpuma

2020

Een plaat van João Lobo trekt altijd onze aandacht. Zeker wanneer hij vervoegd wordt door Norberto Lobo en ook nog een verrassing uit zijn mouw schudt in de vorm van Soet Kempeneer, de beloftevolle bassist die in 2019 nog het podium deelde met Ambrose Akinmusire.

Met een energie die doet denken aan Irreversible Entanglements schieten de drie meteen stevig uit de startblokken. En ook in het aanstekelijke Chosta roept de baslijn van Kempeneer herinneringen op aan de hypnotiserende grooves van Luke Stewart. Maar hier houden we op met zinloos name droppenSimorgh, vernoemd naar een feniks uit de Perzische mythologie, moet het uiteraard hebben van de eigenheid van deze inventieve muzikanten die zichzelf telkens opnieuw uitvinden. Rock, punk, free, psych, spiritual... Dit trio kan alle kanten op.

Soms gebeurt dit nog binnen hetzelfde nummer. 71-72 start met een ongelooflijke drive om vervolgens stil te vallen en plaats te ruimen voor een verkenning van distortion, de trillengte van een noot op de bas en stervende cymbalen. Omdat alles werd opgenomen in Les Ateliers Claus voel je op zo’n momenten ook plots de ruimte. Een beetje livegevoel op vinyl, wat wil je dezer dagen nog meer? Een groezelige interpretatie van een Portugese traditional? Die krijg je er op het einde van de plaat zomaar bij.

Caralho, dit is één van de meeslependste half uurtjes van dit najaar!

Jordi De Beule - Read it HERE

João Lobo (d), Norberto Lobo (g), Soet Kempeneer (cb)

 

  • biden

Why did you choose this place? Was this your idea or the idea of Christophe Albertijn, because Westrand is not a recording studio.

The place – Westrand, Dilbeek – has been chosen by Christophe Albertijn, producer of the work and founder of the new label HUIS. One month before the session Christophe told me he was planning a new series in which he would invite musicians to make solo-recordings. For each musician he would choose a different architectural context in which the musician, in his opinion, might fit. I told him I really liked the concept, thought he would call me in a few months or a year. Already a week after he sent me an email with a link to the Westrand building with the question: ‘What would you think about this?’. I said I would give it a try, so we decided to visit the building to explore the possibilities.

Westrand, of course, isn’t a recording studio, it’s an interesting example of brutalist architecture, completely structured out of concrete geometric shapes.

When I have to play a concert or record in a studio, a gallery, concert room or whatever space I don’t know yet, the first thing I do when I enter the space is whistle. It’s a kind of reflex that immediately tells me how tough the job is going to be; in the Westrand building I immediately knew it was going to work! The acoustics of the place are quite unique, the building has a soul! Christophe really made a good choice!

How do you see the relationship between the saxophone and the space where the instrument is recorded?

Both, the saxophone and the Westrand building are conceived out of cold inert materials: the saxophone out of metal – the Westrand building completely out of concrete.

The first impression you get when you enter the building is an almost serene distant coldness, a sense of tough solidity; when you make a sound you hear a cool echo which reminds of a church but sounds much more worldly. On the other hand the atmosphere in the Westrand building isn’t cold, there’s a certain warmth in it as well.

The saxophone isn’t a wooden flute, a clarinet, hobo or fagot – it’s an industrial version of these instruments. It sounds much sharper but can also reach a warmth that didn’t exist before. The Westrand building hasn’t got the warmth of a -let’s say- a wooden temple, it sounds more like a cave, but the acoustics of the spaces as I just said also reflect a hybrid warmness. If you blow the instrument in the ‘right’ way -and this was of course the exercise of the journey- you discover a kind of concrete double bass sound box.

Perhaps the saxophone and the building have this same stoic distance in common. At first sight they give the impression of being cold but a few moments after, when the instrument starts to breath or when you enter the space the soul of both comes to life.

The rough brutalistic character of the building makes a direct appeal: it wakes you up, demands a certain lucidity; it doesn’t make you nervous but makes you aware of yourself walking through the different spaces. Maybe the sound of the saxophone, yet how I hear the instrument, appeals to this same kind of involvement.

READ THE INTERVIEW HERE