Insubordinations netlabel

Très beaux sons :-)

allez la suite

[insub32]RELENTLESS metal workshop


"in situ free sax drone"
sparks and metal hits melt with drone tones of the sax duo

Sébastien Branche: saxophones & objects
Artur Vidal: saxophones & objects

+download+ the complet album (19 min 03 / 320kbps mp3+cover / 44Mo)
INSUBORDINATIONS netlabel.

Citation :

Recorded in July 09, during a residency on soundscape at CESTA (http://www.cesta.cz), in a metal workshop, Cerní Remeslníci (Tábor, Czech Republic), while two workers Ladislav svárec Procházka and Karel bruska Sychra, are at work as usual. The piece that comes from it is a 20 minutes testimony of our presence there.
Relentless:
Following a collaboration in the multidisciplinary improvisation-collective In Sit-U in 2003, the two saxophone players Artur Vidal and Sébastien Branche decided to examine together the different relations that could be found between the way they play music and the other forms of expressions involving instant-composition.
For the past few years, they have been looking into the relations between dancing, video and improvised music. /Relentless/ is, in a way, the sound layer that settled through these investigations.

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Merci beaucoup, très intéressant
on dirait des sortes de raga à base de hurdy gurdy industriel mutant, ça fait aussi un peu penser à une vidéo que j'avais vue de Fred Frith et la percussionniste Evelyn Glennie...
Il y a une sorte de flux incessant qui prend petit à petit de l'importante et sa liberté, celle d'éventuellement ne plus pouvoir (devoir) s'arrêter, comme une respiration...

très chers, voici la suite, un peu différent de la ligne habituelle....

[insub33]PLAISTOW the crow


:post-jazz:
melodies and returning motifs, written six-handed/introspective/explosive/between free jazz, sturdy groove and lyrical minimalism/The crow is a polymorph and untameable beast.

Johann Bourquenez: piano
Raphaël Ortis: bass
Cyril Bondi: drums

+download+ the complet album (49 min 03 / 320kbps mp3+cover / 120Mo)
INSUBORDINATIONS netlabel.
a cd version is edited by Unit records.
artwork by Thomas Perrodin.

Citation :

PLAISTOW.
One wonders how Plaistow manages to play together. The trio format is certainly a “classic” but the musicians seem to have far opposed interests. The jazz feeling of the drummer contrasts with the metal energy of the bassist and the electro attitude of the piano player. Cyril Bondi (dr) and Raphael Ortis (b) are both Geneva born and have been up and down the local scene with different bands in various styles. Johann Bourquenez has acquired his own experience in different regions of France before moving to Geneva in 2007.
The working method sprang to existence spontaneously. Letting the energies of each flow towards their natural points of conversion. Motifs that came up and stuck rather than rigid composition. Tracks constantly evolving, confronted to their own potential. The name is inspired by the Squarepusher track “Plaistow Flex Out” and eclectic references like “Steve Reich” and “Full CSS” show the will to include genres rather than to oppose them. Not easy things to achieve without loosing yourself. The two ingredients guarantying success were time and talent. Plaistow took of the first and brought on the latter.
Since their first album in 2007 “Los Criminales Reciclados En Conductores De Autobuses”, Plaistow overthrows conventions with energising music and high ambitions. From the start their music is distributed free on the Internet as well as sold in carefully produced physical CDs. The booklets designed by Thomas Perrodin, reflect their inspiration, one shows an comic book hero sprung from the imagination of the musicians. In 2008 Plaistow brings out their 2nd EP “Do You Feel Lucky” and collaborates with the Moroccan rapper Mobydick during a residency in Fès. An EP “Mobystow” is released in spring 2009. The band sound evolves towards yet more originality. This is rewarded with the ZKB-Jazzprice at the Moods in Zurich in June 2009. A 3rd EP “Jack Bambi” comes out and summons things up provisionnaly. Unreleased material, recorded at Studio 2 at the Swiss Radio DRS, the complete EP archives and a live performance filmed at the Zoo (Usine / Geneva) makes up this double album CD / DVD.
And then there’s this: a tour in the Middle-East, several weeks of residency in Vevey, concerts in Germany and Russia and studio sessions in Moscow, Paris and Zurich. This leaves Plaistow ready to release their first long play album “The Crow”. Recorded before Christmas, the album will be released in spring on Unit and the netlabel Insubordinations.

THE CROW
It’s taken almost three years from the founding of the band to releasing the first long play album. Three years and a great many concerts, rehearsals – experiments really – and always with the axiomatic will to listen, to give, share and receive attention. On these bases, themes were formed, melodies and returning motifs, written six-handed. Pieces that ended up forming solid compositions, and that’s what “the crow” is really all about.
From the introspective “Boomerang” right through to the explosive “Full CSS”, all the tracks undulate between free jazz, sturdy groove and lyrical minimalism but never at the cost of coherence. The eclectic influences won’t allow you to point to one major influence. One is reminded of the prepared piano by John Cage, but also of Lowell Davidson Trio or the pop influences of The Bad Plus. In a slightly paradox way it’s certainly through this radical open mindedness of the band that Plaistow’s style takes shape.
Adepts of categorisation and labelling, be aware, because Plaistow will only fugitively correspond to pre perceived categories. This is certainly part of the game plan and of the fun that the musicians have playing their music. Hide their tracks in order to surprise and ambush, comfort reflexes only to betray them right away, incorporate famous phrasings in order to play them out of context. Plaistow’s post-jazz as it can be heard on “The crow” is a polymorph and untameable beast.

music under CC by.nc.nd, copy & share it, thanks

Oups, j'avais honteusement zappé !
Merci !

Oui, un peu différent des précédentes productions, mais à première écoute, ça le fait vraiment bien, merci encore !

[insub35] Rafal Mazur & Keir Neuringer improwizje


:freejazz/improv:
saxophone and acoustic bass guiatre, an explosive/hyper energic demonstration of the "Free Improvisation as Value"
http://keirneuringer.blogspot.com/2006_04_01_archive.html

Keir Neuringer: alto saxophone
Rafal Mazur: acoustic bass guitar

+download+ the complet album (18min35 / 320kbps mp3+cover / 46Mo)
INSUBORDINATIONS netlabel.

Citation :

Rafal Mazur's involvement with music began in his youth with violoncello studies in Krakow. He switched to bass guitar in the late 1980's. Since 2000 he has played an acoustic bass guitar built to his own specifications by luthier Jerzy Wysocki. He has developed an advanced and individual approach to his instrument, and to improvisation in general, in which sonority, extended technique and gesture combine effortlessly in performance. He has taken an important role in Kraków to support young artists and improvised music. A founder of the ImproArt studio of improvisation, he has performed jazz and improvised music in clubs and festivals across Poland and Europe, and in China, South Korea and Israel. In recent years he has collaborated with Lisa Ullen, Frederic Blondy, Charlotta Hug, Raymond Strid, Keir Neuringer, Zsolt Sores and Attila Dóra and others. His current focus is the trio Ensemble 56. He is an organizer of the Laboratory of Intuition, a series of spontaneous art presentations in Kraków. Mazur's main field of interest and activity is collective and solo free/spontaneous improvisation. In his practice as an improvising musician and on his way to mastery/artistry he studys Chinese philosophy (Jagiellonian University). He regards Taoism as a strong base for the enrichment of the improviser's attitude, and to this end he practices the Taoist's martial art TaiJi Quan Chen. For Mazur, following the masters of Chinese philosophy and martial arts is crucial in the development of a state of mind prepared for the unexpected situations an improviser encounters in the act of collective free improvisation.

Keir Neuringer has cultivated a personal and intensely physical approach to solo saxophone improvisation that honors, builds upon, and eschews diverse music-making traditions. Vehemently critical of the destructive behavior of industrial civilization, in his work (as a composer, performer, bandleader, writer, interdisciplinary artist and curator) he seeks to bring audiences into a state of emotional and intellectual curiosity that meets the conditions for meaningful dialogue with and transformation of the culture at large. He has collaborated with Rafal Mazur since 1999 and works with a wide and undefined network of inspiring musicians, including turntablist DJ Sniff and the contemporary music group Ensemble Klang.

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c'est la rentrée....

[insubcd01] KARST toujours trainer des formes étranges

abstral compost: voix
d'incise / luc mueller / cyril bondi: objets, percussions, etc

Citation :

Après presque cinq ans d'existence, le netlabel Insubordinations lance une nouvelle série, au format cd.
Et c'est le quartet KARST qui l'inaugure avec neuf morceaux ou toute une panoplie d'objets et de percussions soutient, enrobe ou voir met à mal voix et textes pour une alliage unique de poésie sonore, de lecture/écriture automatique/aléatoire, d'improvisation libre et masse (électro)acoustique.
After almost five years of existance, the Insubordinations netlabel starts a new serie, in cd format.
And it is KARST that inaugurates it with nine tracks where whole objetcs and percussions panoply supports, coats or even put in trouble voice and texts into an unique alloy of sound poetry, automatic/random reading/writing, free improvisation and (electro)acoustique mass.

+download+ the complet album (63min 27 / 320kbps mp3 / 148Mo)
INSUBORDINATIONS netlabel.
MITENAND to order the cd.

music under CC by.nc.nd, copy & share it, thanks

Merci beaucoup !
On va écouter au plus vite !
C'est toujours un grand plaisir ces randonnées défricheuses !



Edit : question, puis je publier votre lien sur myspace et facebook ?

et toujours un plaisir de savoir qu'il y a quelques oreilles attentives !

(et pas de soucis pour les liens, c'est bien le but que ça se diffuse)

dom's a écrit:

Merci beaucoup !
On va écouter au plus vite !
C'est toujours un grand plaisir ces randonnées défricheuses !



Edit : question, puis je publier votre lien sur myspace et facebook ?

S'il reste un exemplaire, je pense que....

héhé, et vous pensez fort bien cher ami !

très chers,...

[insubcdr10] DIATRIBES & PHONOTOPY partielle d'averse


:free/EA/improv:
a single long cloud of EA sounds, percussions and objects in magnetic relations.

cyril bondi: drums, percussions
d'incise: laptop, objects
phonotopy: tennis cythar, electric racket

+download+ the complet album (23min35 / 320kbps mp3+cover / 60Mo)
Edited as 100 mini-cdrs in hand-made digisleeve.
INSUBORDINATIONS netlabel.

music under CC by.nc.nd, copy & share it, thanks

Merci beaucoup, très cher aussi !

Celui-là je sens que je vais l'aimer, belle électronique tout à fait dans le genre qui me plaît... MERCI!!

[insubcd02] DIATRIBES & ABDUL MOIMEME complaintes de marée basse


:EA/free/improv:
After the trio with Phonotopy, but recorded a couple of month earlier, Diatribes proposes with Abdul Moimême a new electroacoustique oriented album, where the instrumentation distinction is lost to the benefit of a sounds ensemble strongly linked by skeazing ropes and under permanent tension. Some metalico-organics improvisations develloping under harbour influence, superpostion of poetic evocations like an high-tech nostalgia.

abdul moimême: two prepared guitars, metalic objects, springs, cymbals, metronome
d'incise: laptop, objects, various instruments, snare drums, bow, cymbals, gramophone
cyril bondi: drums, percussions, bow, cymbals, objects, small instruments

+download+ the complet album ((47min08 / 320kbps mp3 / 124Mo))
Edited as 500cd, 18x14cm print in thin sleeve. [15chf/~10euros/~14usd, worldwide shipping]
INSUBORDINATIONS netlabel.

Citation :

Diatribes is the Geneva-based duo of d’incise, who plays laptop, objects, and percussion, and Cyril Bondi, playing drums and percussion. First coming together in 2004, the duo’s subtle distinguishing mark develops out of Bondi’s relationship to free jazz and d’incise’s relationship to ambient electronica and free improvisation. As environmentally diffused as the sounds may become, Bondi is often knitting at pulse, creating polyrhythms and a momentum that animates the whole, keeping it moving while d’incise pulls sounds from the ether or the street. The spontaneous character of the music is insistently maintained by working constantly with other players, as if Diatribes is only complete when it’s Bondi, d’incise and someone else, as if Diatribes is a principle that always includes the other. The duo has recently released three works, each with a third musician; as different as the guests are, Diatribes manages to create a distinct identity.

Multitude, with bassist Barry Guy, is inevitably influenced by Guy’s own spectacular virtuosity, but it’s also fascinating listening to hear Guy working so intently with improvisers whose fundamental approaches are generally less linear than his own. There is a very close rhythmic connection between Guy and Bondi, evident in the percussive mix of rapid pizzicato bass and drums on “le poids des humeurs.” D’incise’s sounds arise amongst the other two and it is frequently difficult here to demarcate the three. When Guy plays arco, as on “corrosion du possible,” this blurring of identity is even more pronounced, the bassist creating a forest of harmonics and scrapes, sputtering rhythmic figures and sudden movements between registers that seem to spring from and include all the sounds around him (including here the added clarinet of Benoît Moreau). Diatribes, for their part, build up broken fields of percussion and electronic sound, sounding as if their instruments are literally intertwined in the strings of Guy’s bass. Together the three create a world of micro-rhythms and intervals, new patterns interspersing themselves in gaps in time and register.

On Complaintes de Marée Basse with the Lisbon-based guitarist Abdul Moimême, the three musicians seem to be much more aligned in their approach. Moimême plays two prepared table-top guitars, metal objects and small instruments, and both he and d’incise have cymbals in their list of instruments. The playful sound sources extend to Moimême playing metronome and d’incise gramophone. At times the sound is almost industrial—the scraping of metal, the sound of large objects falling—at others it has the most remarkable delicacy, fragile glissandi and barely audible string scrapings. Identity and perspective are constantly changing here. Little noises arise and are gradually subsumed into louder ones or else disappear like unknown but evidently endangered insects in a distant ecosystem. A snare drum rhythm beats against the scratch of a gramophone needle on an exit groove. The sounds are at times so intimate you feel that you are ear-next to a bowed cymbal or a mallet-struck string; at other times the sonic vocabulary of random echoing metal suggests a freight yard, industrial noise in which sound is only a side effect of another process. It is this shifting perspective, this fluctuating succession of different scales—from closet to airplane hangar—that makes this the remarkable dreamscape that it is.

The third Diatribes performance, Partielle d’averse (available as a limited edition mini-CD with a hand-made cover or as a download), was made with Phonotopy, also known as Yann Leguay who’s playing tennis cythar and electric racket. Just over 23-minutes long, it’s a beautifully sustained single piece, Leguay’s transformed sports equipment a perfect complement to Bondi and d’incise. The work is the kind of transforming soundscape that one associates with AMM, a gradual loss and development of identity through audition.

Invisibility, anonymity, and pseudonymity are clearly important here (another Diatribes performance with HKM+ and other German musicians was “recorded in an abandoned building in Leipzig”), for this is music shaped by the acuity of consciousness and the porous frontier of identity, whether of the sound, the instrument or the maker. Watching this music being made might diminish its sonic appeal; living here only in the ear, it elaborates on mysteries of identity which are matters of both cognition and psychology. It’s fitting that some of the works themselves inhabit an area both grey and plural, as limited edition works of art or downloads.
Stuart Broomer / http://www.pointofdeparture.org/PoD32/PoD32MoreMoments4.html

Oups, j'avais complètement zappé, shame on me !
Merci pour ces merveilles et bonnes fêtes !

Et re-oops, je suis en train d'écouter "christine sehnaoui-dragos tara-d'incise - AT [cnv65]" qui interpelle notablement mes papilles auditives ...
merci pour celui là aussi !

jonas kocher: accordion, objects

Recorder october 23rd 2010 at 'zoom in' Festival Bern
Recorded, mixed and mastered by Fabio Oehrli, Tonlabor.

Edited as 300 cds, screenprinted, 18x14cm.

free download & cd order,
http://www.insubordinations.net/releasescd03.html

Whereas his earlier solo record, "materials", was the result of a research work in studio, "solo" shows how Jonas Kocher brillantly uses his accordion in concert. His music caries in itself huge contrasts, between reserve and explosion, as if this dualitly was engraved in the back and forth bellows's mouvement. Alternations of low and high frequencies, slappings and breaths build a perfectly controlled form inside the improvised frame.

un peu de chronique au passage....
http://olewnick.blogspot.com/2011/05/paul-vogel-godwit-songs-munitions.html
http://www.vitalweekly.net/780.html
http://blog.monsieurdelire.com/2011/06/2011-06-15-dadavistic-orchestra-jonas.html
http://agier.blogspot.com/2011/06/jonas-kocher-solo-2011.html
http://improv-sphere.blogspot.com/2011/05/jonas-kocher-solo-insubordinations-2011.html (fr)
http://essmaa.wordpress.com/2011/06/12/jonas-kocher-e-cout/ (fr)
http://www.hisvoice.cz/clanek_599_jonas-kocher-solo.html (cz)

L'occasion de découvrir des blogs pointus et alléchants, qui donnent eux même envie de se plonger dans les productions Insub que je confesse ne pas systématiquement prendre le temps d'écouter par paresse et manque de temps de cerveau disponible...
Merci!

Un peu pareil par ici...
Merci Insub !

Là sur la foi d'un article sur improv-sphere.blogspot.com je viens de me graver Sébastien Bouhana - Tambour Pas Tant (le calembour avait pas réussi à attiser ma curiosité jusque là). Après un bon quart d'heure d'écoute, je dois dire que ça me plaît même si c'est pas franchement reposant...

Ah ok, j'irai voir, là je suis en l'écoute de quelques Noisy Love Songs ...

EDIT : et je vois qu'il y a du Peter Evans aussi sur le lien que tu as mis...