”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


La vieille grille

Probably one of the earlier performance of Gong in 1968 at the club "La vieille grille" in Paris (France).
Gong was formed in 1967 by Daevid Allen, who, after he was founding Soft Machine in 1966, was denied to entry again to the United Kingdom because of a visa complication. 

with Daevid Allen: guitar and vocals
Gilli Smyth & Ziska Baum: vocals
Loren Standlee: flute

& the unknow pretty woman in the audience could be the french singer Marie Laforêt?



Mogador tape


The french artist Vincent Epplay build experimental and unclassifiable artworks exploring the interaction between sound process and visual shapes, as well interrogating its mode of distribution and reception.

He has produced a dozen of records for various music labels and collaborated with lot of musicians and sound artists as Sébastien Roux, Samon Takahashi, Jac Berrocal, David Fenech ... and frequently use to combinate live sound performances with movies.


Steam machine music

Morten Riis is a danish artist born in 1980.
His music can be characterized as an electronic music that fuses elements of sound art with a more acousmatic and electro-acoustic approach. Lately his artistic work has focused around the investigation of the myriad of errors that arises when working with analogue and digital systems.

In his recent work Morten Riis tries to implement the notion of programmability, control and execution - the fundamentals of electronic and computer music, into a physical mechanical context in an attempt to search for the elementary elements of digital control.

In "Steam Machine Music", the sound material is generated using two music boxes that are programmable with perforated paper strips, a small Zither - a stringed instrument played with Meccano pulley wheels thus generating continuous drones instead of the normal plucking of the strings. Furthermore a dynamo that generates alternating current, which drives a small Lego engine which output is feed directly to a mixing desk generating a continuous tone which frequency is depended of the speed of the steam engine. Additionally a "drum" machine is incorporated which is built with Meccano parts that can be programmed to consist of up to four simple rhythm patterns; and the most important sound generating part is the sound of the machine itself, the rhythmic patterns and pulsating drones of the steam engine, the squeaking of the gear trains and the rattling of the whole structure is all important parts of the sonic experience.



Jean Rondeau (clavecin), Keyvan Chemirani (zarb) et Thomas Dunford (théorbe) : Improvisations sur un thème de fandango,
live sur France Musique.



Aventures musicales


A écouter: un programme musical de Palix sur WebSYNradio avec quelques unes de ses aventures musicales et sonores, aussi de celles de ses amis, de 1987 à 2015.

autour du Tapage Club, du 64, et d’autres lieux publics.

Avec Sonia Talkaczs, Amiel Balester, Benjamin L.Aman, Olivier Agid, Jeff Rian, Eve Couturier, Jean Philippe Antoine, David Coulter, Gédalia Tazartés, Paul Collins, Georgia Pacific, Joseph Racaille, Daniel Laloux, Cédrick Eymenier, Vincent Segal & Palix.


*** ICI ***

Podcast websynradio  Ecouter le programme de Palix sur votre lecteur 


Glenn Gould at work

" I believe that the justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. The purpose of art is not the release of a momentary ejection of adrenalin but is, rather, the gradual, lifelong construction of a state of wonder and serenity."
Attributed to Glenn Gould (1962) in "Glenn Gould: Music and Mind", an essay by Geoffrey Payzant