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[insubcdr11] D'INCISE/HENNIG/KOCHER/SCISS
d'incise: objects, laptop
ludger hennig: laptop
jonas kocher: accordion
sciss: laptop
1. so zahlreich, daß man sie nicht zählen kann mp3
2. einen einzigen Schuß abfeuern mp3
3. flach auf den Boden, um Maß zu nehmen mp3
4. daß die Kruste der Erde sich anschickte, ein Gemenge von disparaten Formen zu werden mp3
cover (jpg) 1,
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Download in MP3 (complete album in a zip)
(42m53 / 75Mo)
Download in FLAC (complete album in a zip)
(42m53 / 246Mo)
recorded at Dachboden, L129, Leipzig, 07.05.2011
Edited as 100 cdrs in hand-made digisleeve.
it can be ordered via our shop page, or directly with the following paypal button.
[10chf, worldwide shippingincluded]
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You'll usually find d'incise behinds is laptop, doing one thousand things in the same time. Uncontrollable noise maker, engages battles without compromise with objects of every kind, mistreating them through digital elements. Working with textures, breaks, tensions and spectral atmospheres, he is looking to play in a reactive manner, pushing the limits of his machine, trying to break the distinction between acoustic and treatements. Loves to share and spread its albums and creations on the web, he’s the founder of improvised music Insubordinations Netlabel and deeply rooted into the free culture thinking.
since beginning/middle of the 90`ies, Ludger Hennig is engaged in experimentally generated sounds on objects and diverse materials. through the studies on film and camera @ university of applied sience in dortmund (1997-2000) and art & media-design @ bauhaus university and SeaM (studio for electroacoustic music) weimar (2000-2004), he started to work with sound-installations and development of electroacoustic and live-electronic software-instruments and computer music. as a technician, programmer and sound-engineer he has been working for hans joachim hespos, gary hill, robin minard, jill scott, bill viola ...
Accordionist dedicated to improvisation, Jonas Kocher collaborates regularly with musicians such Michel Doneda, Christian Wolfarth, Christoph Schiller, Olivier Toulemonde, Alfredo Costa Monteiro, Luca Venitucci, Joke Lanz, d'incise, Jacques Demierre, Christian Kesten, Gaudenz Badrutt, Christian Müller, ... . Jonas Kocher's work explores the relationships between tone, noise and silence and the processus of listening. As composer he realises projects which are situated between composed theater, installation and concert pieces. His compositions has been played at Biennale Bern 2010, Theater Basel, Zentrum Paul Klee, Festival Encuentros Buenos Aires, KlangKunstBühne Berlin, Centre Dürrenmatt Neuchâtel, Festival Concentus Moravie, Zagreb Biennale. He composes also for hörspiel and theater.
Sciss is the artist name of German composer, performer and software developer Hanns Holger Rutz. Born in 1977, he has studied computer music and audio engineering at the Technical University Berlin, during which period he started to work on what can be roughly termed ambient, noise and electroacoustic music. His current interests are mainly in sound installation and live improvisation.
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Vous trouverez le plus souvent d'incise derrière son laptop, en train de faire mille choses à la fois. Bruiteur incontrôlable, bataille avec un bric-à-brac d'objets, malmène les outils numériques, travaillant sur les textures, les cassures, les tensions, le spectre, l'ambiance, il cherche un mode de jeu réactif en essayant de se soustraire à la rigueur de la machine, essayant de briser la distinction entre les sons acoustiques et traitments. Il se plait à répandre ses albums directement sur le net, profondement impliqué dans la rélfexion sur la culture libre, fondateur du netlabel Insubordinations.
Depuis le début des années 90, Ludger Hennig est engagé dans la génération experimental de sons au travers d'objets et divers matériaux. Lors de ses études en cinéma (université de science appliquée, Dortmund, 1997-2000) et en art & media-design (université bauhaus et SeaM (studio de musique électroacoustique), Weimar, 2000-2004) il commence à travailler l'installation sonore et à dévelloper des programmes de musique électronique-live et électroacoustique. En tant que technicien, programmer et ingénieur-son il à collaborer avec hans joachim hespos, gary hill, robin minard, jill scott, bill viola ...
Accordéoniste improvisateur, Jonas Kocher collabore régulièrement avec des musiciens comme Michel Doneda, Christian Wolfarth, Christoph Schiller, Olivier Toulemonde, Alfredo Costa Monteiro, Luca Venitucci, Joke Lanz, d'incise, Jacques Demierre, Christian Kesten, Gaudenz Badrutt, Christian Müller, ... . Le travail de Jonas Kocher explore les relations entre son, bruit et silence tout comme le processus de l'écoute. En tant que compositeur Il réalise également des projets se situant entre théâtre musical, installation et pièce de concert. Ses compositions ont été jouées à la Biennale Bern 2010, Theater Basel, Zentrum Paul Klee, Festival Encuentros Buenos Aires, KlangKunstBühne Berlin, Centre Dürrenmatt Neuchâtel, Festival Concentus Moravie, Biennale de Zagreb. Compose régulièrement pour le hörspiel et le théâtre.
Sciss est le nom d'artiste du compositeur, performeur et programmeur Hanns Holger Rutz. Né en 1977, il à étudié la musique informatique et l'ingenieurie du son (Technical University, Berlin), période durant laquelle il commence à travailler sur des genres de musique vaguement définissable, ambient, noise et musique electroacoustique. Ses intérêts actuelles sont principalement l'installation sonore et l'improvisation.
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Another free download tonight then, that is also available as a limited edition CDr from the Insubordintions netlabel should you wish for one. This recording in question is a four track album by a Swiss/German quartet made up of three laptop improvisers; D’Incise, Ludger Hennig and Sciss, the performance name of Hans Holger Rutz and the accordion of Jonas Kocher. I have listened to quite a lot of improvised music in my time, but I am quite sure that this is the first three laptops plus accordion quartet I have heard. The interesting arrangements of sound then, between the three digital sources and the acoustic accordion gives the music its first point of interest. Given that any of the computers could instantly swamp Kocher, and considering that three of them fighting for space could easily see the music dissolve into a noisy featureless mass, the musicians manage to keep things suitably well balanced throughout these four pieces.
The sounds we hear across the untitled album very between the wheezing tones of the accordion and a variety of digital sounds, ranging from field recordings, some more processed than others but none really obviously identifiable, to digitally synthesised sounds, and probably other stuff in between.It is impossible to tell any of the computers apart, and almost as difficult to work out how many are producing sounds at any one time, leaving just Kocher as something familiar to focus our ears upon. None of this matters of course though, and it is in fact quite liberating as a listener to take in this music without having to concern yourself with who is doing what. The music all becomes one, or at least three quarters of it does, and you are able to just listen into it without concerns about ego or personality getting in the way.
The music is good, occasionally very good indeed- often quite darkly tinted, full of brooding, shadowy sounds but involving a wide array of textures and dynamics from pure tones to digital sounding scribbles to industrial roars and clatter. Nothing stays static for very long at all, and there is no hint of a drone. The overall finish is nearer a slightly slowed down John Wall than anything else I can think of, with sudden rushes to cliff top chasms, deep wells of churning moans and small collections of little chattering, fidgety abstraction strewn about on top. There is a strong sense of story telling and progression in the music though, it doesn’t feel as if these sounds were all just thrown together to see what develops. When the music settles into quiet lulls it takes carefully listening and considered responses to keep the music together, with all four combining nicely to keep any particular moment full of detail and yet also to keep a sense of structure rather than chaos in place.
This is a very nice listen then, an unusual palette of sounds utilised very well indeed, and given that it is available for free anyway why not just go and listen for yourselves? the Insubordinations project is one of many excellent examples we have these days of online labels set up purely with the aim of distributing music for free but that do so with a great amount of care and attention, underlining that the love of the music shown by the musicians as they create it flows on into how it is distributed. Grabbing the FLAC folder from the website delivers several image files as well, so if you wanted to print and fold up your own physical sleeve for the music you can. The attention to detail and amount of care is admirable for a free product. They aren’t alone in how they do things, but certainly Insubordinations, which is run by D’Incise is as good a model for how the CD label could potentially continue to operate in the digitally driven future.
Richard Pinnel / the watchful ear
there is a connection between Switzerland-based musicians, and between accordion-induced music and nuance-filled live electronics. Three laptops and one accordion. There are 4 long-running compositions which comprise a shitloads of improvised tendencies and refreshing variegations. More concretely, this is a dialogue between organic sounds and more or less treated microscopic sonic explorations, between the acute washes of noise and barely perceptible silentful oscillations drifting between music and...mhh...physics. The album is a shift between the pixels and voxels of white and grey and black-hued minimalism. Or on the other side, this is an intricate and intriguing set of improvised tracks wrapped up in the electro-acoustic/acousmatic environment.
Recent music heroes / agier.blogspot.com
A group improvisation of three guys on their laptops and one playing accordion.
The latter is provided by Jonas Kocher, the other three are D'Incise, Ludger
Hennig and Sciss. I only know the (solo) work of D'Incise and Kocher. In May
last year, this quartet played in Leipzig and the results are to be found on
this CDR. Its obviously a work of improvisation, but as usual when people from
the world of electronics start improvising, it hardly sounds like
improvisation, so I guess that's a good thing (if improvisation as such is not
really your thing). These people on their laptops play sustaining sounds,
producing sine wave like sounds, loops of crackles, processed field recordings
and who knows what else. Kocher, the only man with a 'real' instruments, plays
his squeezebox in very much a similar fashion. The accordion is a perfect
instrument for that end. It can also produce sound that is sustaining yet it
retains also a specific acoustic quality, as Kocher is using acoustic objects on
his instrument to produce extra sounds. Sometimes this almost gets lost in the
pieces - four in total - and a true fusion takes place. You could argue wether
you would need three laptops to do this and if perhaps an additional other
electronic instrument would not have been a bad idea - say an analogue
synthesizer - but the results are indeed very nice.
FdW / Vital Weekly
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ces enregistrements sont mis à disposition sous un contrat Creative Commons.
this recordings are under a Creative Commons license.
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copy, share, burn, P2P, offer, thank you for that, but please keep the whole record complete with all its elements.
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