”La terre, il se pourrait bien après tout que ce soit une espèce
de merveilleux petit appareil enregistreur, plaçé là par on ne sait qui,
pour capter tous les bruits qui circulent mystérieusement dans l’Univers.”
Pierre Reverdy - ”En vrac” - 1929

”J’entends tous les bruits de la terre grâce à mes oreilles et mes nerfs de cristal
dans lesquels circulent le feu du ciel et celui des volcans.”
Michel Leiris - ”Le point cardinal” - 1927

"Go, go, go! ... Go! go! ..."
John Lee Hooker



Peter Otto Emile Tscherkassky né en 1958, cinéaste d'avant-garde autrichien, comme Martin Arnold, Dietmar Brehm fait partie de cette génération de cinéastes expérimentaux qui a succédé à Peter Kubelka invente de nouvelle méthode de montage, travaillant par superposition de photogrammes. Avec son film "Outer space" (1999), de format cinémascope, il utilise le matériau filmique lui-même de films d'horreur, et la bande son n'est plus qu'un grand maelstrom sonore digne des scratches déjantés les plus aboutis.


Ici "Manufraktur", film de 1985


Brian Eno, sound painter

A famous interview with Brian Eno, in june 1979, recorded in New-York by Wim Mertens.
Published on the record "from Brussels with love"  -  Les disques du crépuscule -
This record was intially the first cassette release of the label.
The music "A third trombone" is by Phill Niblock.



A real amazing movie of our friend Leila Morouche around the "Farniente Festival 2013" who hosted last july nice concerts with the fabulous Nosfell, Ted Milton and his band Blurt, the excentric guitar player Jean François Pauvros & Gérard Terronès's project called "Futura experience #5", as well the magic piano of Lionel Malric.
Included in the "Futura experience #5" , the wonderful dancer and singer Dorothée Munyazena...
This film makes you walk on this hot and sunny beach with friendliness, as if you were there with excellent music.

other movies by Leila Morouche here & here


"... remettez votre ouvrage"

"20 fois sur le métier, remettez votre ouvrage"

2 extraits du concert de Jean Philippe Antoine et Jean Jacques Palix
en janvier dernier au  Musée d'Art Moderne de la ville de Paris
dans le cadre de l'exposition de tapisseries "Decorum".


Sam Shalabi

Sam Shalabi is a talented musician and composer located in between Canada and Cairo.
Fascinated by the oriental music as well he listened and liked punk-rock, free-jazz and modern-classical, he directed some interresting musical projects you can listen to on his records, notabily "Eid" conceived in Cairo in 2006 and published by  "Alien8recordings".

 Here, he discuss with James Oscar (CUTV) on modern arabic music

you can listen for a track of Eid's record <<<here>>>
& read the good review about his work in "Wire" last november 2013

In effect


Mikrophonie 1

"Mikrophonie 1" is a piece for tam-tam, 2 microphones and 2 electronic filters and controlers, created by Stockhausen in 1964. In this live piece, "the microphone is used actively as a musical instrument, in contrast to its former passive function of reproducing sounds as faithfully as possible" (K.S. 1971): just to reveal "inaudible vibrations", by an active process of sound detection.

Stockhausen decided to categorize the sounds according to their perceived qualities: groaning, trumpeting, whirring, hooting, roaring, grating, chattering, wailing, sawing, ringing, choking, cawing, clacking, snorting, chirping, hissing, grunting, crunching, clinking, tromboning, scraping ...

(c.a.d. en français : gémir, claironner, vrombir, huer, rugir, griller, bavarder, se lamenter, scier, sonner, suffoquer, croasser, claquer, renifler, gazouiller, siffler, grogner, croquer, cliqueter, tromboner, gratter... )

to celebrate the 100 000 followers of the coda,
beyond the beyond, 
"Mikrophonie 1", a pure piece of jewel : enjoy!

"I searched for ways to compose — flexibly — also the process of microphone recording. The microphone . . . would have to become a musical instrument and, on the other hand, through its manipulation, influence all the characteristics of the sounds. In other words, it would have to participate in forming the pitches — according to composed indications — harmonically and melodically, as well as the rhythm, dynamic level, timbre and spatial projection of the sounds." (K.S. 1971)

& a personal tribute to K.S.  <<<here>>>