Kazuki Tomokawa

Born in 1950, the poet, singer and musician Kazuki Tomokawa is an atypical performer who expresses an outlandish and spreadable energy with his idiosyncratic style of voice.

Often described as a "screaming philosopher", has been chocked by the reading of the Japanese symbolist poet Chūya Nakahara. In the 70s, inspired by Bob Dylan, he started to write his own poems to perform them with an acoustic guitar.

Then he released the album "Hanabana no kashitsu" (Fault of Flowers) on PSF Records, a label until then better known for avant-garde music and psychedelic rock (RIP his founder Hideo Ikeezumi who flied away a few weeks ago).


A version of "Pistol" excerpted from the Vincent Moon's movie titled "La faute des fleurs"
live at Shangri-La in Osaka - 2009

and other extracts of Kazuki Tomokawa' performances on the Vincent Moon channel

A record guide

& a records' factory

Symphonie "Les échanges"

En marge de ses activités de chef d'orchestre, metteur en scène et producteur,
Rolf Liebermann compose la symphonie "Les échanges"
pour la" Swiss Expo" en 1964.

Beside of his activities as a music conductor, director and producer,
Rolf Liebermann composed the symphony "Les échanges" for the "Swiss Expo" in 1964.

Cette pièce musicale est jouée sous forme d'installation dans le Pavillon concernant les affaires bancaires et commerciales, et les assurances...
L'orchestre, dirigé électroniquement, comprend 16 machines à écrire, 18 machines à calculer, 10 caisses enregistreuses, 8 telex, 16 téléphones, un monte-charge, et quelques autres machines obsolètes de ce genre.

This musical piece is played as an installation in the Pavilion concerning banking and commercial affairs, and insurance ...
The orchestra, directed electronically, includes 16 typewriters, 18 calculating machines, 10 cash registers, 8 telexes, 16 telephones, a mounts, and some other obsolete machines of this kind.

more informations on  Dispokino

Violon baroque?

 

Prune Bécheau joue d'un violon baroque avec un modeste système d’amplification qui donne à son jeu la juste puissance qui convient tout en lui conservant une dimension acoustique entière. Usant principalement d'un archet, et soucieuse de donner sens à ses frottis de cordes, elle s'approche des ouïes de son violon pour mieux attaquer son instrument et  exprimer tout un univers de micro-sonorités, de stridences maitrisées, et de drones rugueux: alors le voyage mental commence.

extraits adaptés de JazzMagazine - avril 2016

Elle collabore avec de nombreux comparses parmi lesquels Adrien Bardi Bienenstock qui use de sa voix et de sa gorge comme elle de son violon et son archet, murmurant, chuintant, grésillant ... et chantant parfois en "latin de cuisine" quelques mélodies italiennes et autres comptines. 

"Vivéré" est leur nouvel album publié en 2016 avec un collectif de complices musiciens sous le nom de Urs Graf Consort. 

Prune Bécheau en solo en février 2016

Grooves (1)

"70 secondes" (2013) est une pièce de l'artiste Amélie Scotta qui consiste 

en un disque vinyle agrandi et photogravé sur cuivre, 

empreinte sonore qui permet de lire dans les sillons comme une partition.

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Thierry Azam est un artiste du sud de la France, 

un compositeur et directeur du Festival des Musiques Insolentes.

En 2015, il exécute une série de splendides peintures nous évoquant 

le disque vinyl, la cible, le cercle.

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et le très beau clip du groupe  Plaistow
à voir impérativement en "plein écran"

et d'autres sillons à voir et entendre ICI

Subvoice

 

”Sub voice” & ”Lunch music”, two new releases of Yannis Kyriakides on the label Unsounds

”Sub voice” contains 9 compositions relative to the relation in between speech, text, instrumental music and computer sounds. Nine experimental pieces which bring us in hallucinating landscapes similar as deep soft dreams.

”… the underlying idea is to explore what happens when material that has a clear semantic form, wether communicated in text or speech, is translated into the musical structure…”  YK

 "Lunch Music" by composer Yannis Kyriakides is a set of pieces for voices, percussion and live electronics, inspired by the 1959 book "Naked Lunch" by William S. Burroughs.

The concept of the music revolves around the idea of the polyphony of voices found in "Naked Lunch".

 

YK - a portrait by Sara Morris

Yannis Kyriakides reaches the composition with an intellectual approach and a formal construction, but the results are not deprive of deep emotion. These two new CDs, ”Subvoice” & ”Lunch music”  prove it again.

”…The ‘perceptual’ in time based arts I define by how we perceive ourselves inside the music. The passing of time. How the space around us is changed by the music we hear. How we reflect on things that have happened a second before or an hour before. How the moment or the ‘now’ is expressed and perceived in relation to the duration that is set up in the music…” YK - 2003

 "...Lunch Music joue avec les sens et l’espace, contorsionnant le temps et les mélodies pour en élaborer un matériau musical aux images fortes et à la beauté radieuse, ensorcelant chaque sillon de leur impossibilité à s’extraire de la folie et des substances hallucinogènes auxquelles fait allusion Le Festin Nu (le roman) ..."   Roland Toress

"...for most of his (YK) work, he encodes the countless fruits of oral expression in immaculate contrapuntal designs. Not just as mere colors; rather, as transformed nuclei of primordial significance containing the keys to acknowledge a subtler level of comprehension..." 
 Massimo Ricci - january 2017

 Complete review by Massimo Ricci here

Sympathetic piano

 

The Turkish sound engineer Gökhan Deneç has developed a sympathetic resonance system for a grand piano, using electromagnets and feedback through its strings. The electromagnets are placed in the piano and hung approximately 2 mm above the strings which are attracted and repelled by the magnetic fields caused by them. By sending the same signal through all electromagnets, each piano string will start to vibrate by sympathetic vibrations and feedback.

This concept was elaborated at Istanbul Technical University Center for Advanced Studies in Music (MIAM).

”My first intention was to create feedback to excite the piano strings and then by manipulating it I would create textures. […] The sound creation is realised in PureData; there is a generative algorithm that I designed to create a very specific type of sound world. […] What you hear in the video is the generated tones that are created to vibrate the piano strings and because of its nature, they are unique in their own time. I can not repeat the same sounds, there are tons of randomization going on to construct this generativeness.”  Gökhan Deneç