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[insubrwk02] V.A. Marées de hauteurs diverses
01. Blindhæð - Un fracas d'asthme, de gravier et de ferraille suintante pour Jacques Sternberg mp3
02. Nicolas Bernier - cructacés (remix) mp3
03. Honoré Feraille - the tide is gone on its own mp3
04. Ludger Hennig - retro forensic version mp3
05. Mokuhen - poisson silence, Oki mp3
06. Francisco López - untitled#279 mp3
07. Herzog - naufrage (remix) mp3
infos txt
cover jpg recto -
jpg verso
Download in MP3 (complete album in a zip)
(47min29 / 65Mo)
Download in FLAC (complete album in a zip)
(47min29 / 278Mo)
All tracks based on their corresponding ones from [insubcd02] Complaintes de marée basse, by Diatribes & Abdul Moimême.
Blindhæð
Nicolas Bernier
Honoré Feraille
Ludger Hennig
Mokuhen
Francisco López
Herzog
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Released in collaboration with Tsuku Tsuku Grammofon.
Fonts design by Nelly H.
Edited as 200 cdr, colorprint, 18x14cm, in thin sleeve,
it can be ordered via our shop page, or directly with the following paypal button.
[10chf, worldwide shipping included]
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A compilation always looks nice as project, to join together people around one idea or thematic, it has also this obvious promotionnal aspect and purpose.
In the present case, starting from the will to establish a collaboration between and "improv" label (Insubordinations) and an "electronic" one (Tsuku Tsuku Grammofon)
we agreed on the concept of reworking one of the diatribes's albums.
Then what about the result ? What is its interest ?
At the end we have in our hands a journey into electroacoustic music, colored by the acoustic and improvised energy of "complainte de marée basse".
It is pretty curious to ear how each musicians used the original material with very different concerns, according to their own usual practice.
Some use them as "field recording", others work with sorts of "dub" remixing technics, some turned totally the sounds into their worlds without any attempt to keep a trace of the sources.
And none of this sounds wrong, but in every case establishe dialogs between the reworks and originals, showing each time another vision of the role or value of "recorded sound".
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Une compilation sonne toujours bien comme projet, de réunir de gens autour d'une idée ou thématique, au delà de l'aspect et du but évident de promotion.
Dans le cas présent, en partant du désir d’établir un collaboration entre un label "impro" (Insubordinations) et un "électronique" (Tsuku Tsuku Grammofon) nous avons convenu de lancer une série de "reworks" d'un des albums de diatribes.
Et après, quid du résultat ? A-t-il un intérêt ?
Au final nous avons entre les mains un voyage au sein de la musique électroacoustique, colorée par l'énergie acoustique et improvisée de "complainte de marée basse".
Il est plutôt curieux d'entendre comment chaque musicien a utilisé le matériau original avec des considérations extrêmement différentes, selon sa propre pratique.
Certains s'en sont servit comme du "field recording", d'autres l'ont aborder avec des techniques de remix plus usuelles, façon "dub", d'autres encore ont totalement intégré les sons dans leur monde sans aucune tentative d'y laisser transparaître la source.
Et rien de cela ne semble faux, mais dans chaque cas établit un dialogue entre retravaillés et orignaux, mettant à jour chaque fois un autre regard sur le rôle et la valeur du "son enregistré".
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This evening then I have been listening to another CD / free download from the excellent Insubordinations label. A little over a year ago I wrote here about a release on the label named Complaintes de mare basse by the Diatribes duo of D’Incise and Cyril Bondi, who were joined on that release by the guitarist Abdul Moimême. I enjoyed the disc a lot, and have played it through again today as the new release I have been listening to consists of rewordings of the seven tracks from the first album by seven new musicians/groups of musicians. The new collection is named Marées de Hauteurs Diverses (something like Tides of other heights?). This new release then is essentially a remix album, the like of which hasn’t passed by my ears for quite a few years now.
The original album was a tetchy, brittle affair full of activity. It fizzed, roared and wailed its way through a half electronic, half scrap metal form of improv that appealed to my sensibilities nicely. The new album has taken the same seven pieces and, having handed them to seven different recomposers seen them subjected to a variety of different processes, the aftermath of which we get here. Of the seven remixers, only two are familiar names to me, one being Ludger Hennig, whose laptop work appeared on yet another recent Insubordinations disc I wrote about, and the other being Francisco Lopez. Of the other five names I am unfamiliar, though I suspect some may be pseudonyms, and in the case of Honoré Feraille, who reworks the third piece, perhaps a link can be made to the Diatribes musician D’Incise, who I believe shares the same surname. None of this matters much though, and not knowing much about who did what here only adds to the intrigue for me really.
The thing about remixes of this area of music is that much of the time the general level of activity involved in the original work leads people to feed it through some kind of virtual blender, so that much of the detail gets filtered down into a more soupy wash based on the original ingredients. This tends to be the case on two or three of the pieces here. While Nicolas Bernier’s reworking of Crustacés retains much of Bondi’s original sprightly, fidgeting percussion, everything else seems to become an insistent groan of digital pulse and hum. It works well, especially as everything gets louder and more explosive as it progresses steadily, but the basic structure is quite a simple one and it is difficult to know how the original is improved upon. Honoré Feraille’s The tide is gone on its own reshapes the title track from the original disc into what is essentially a piece of dark ambience of the kind briefly described as Isolationism at the end of the nineties, all slow moving sheets of vaguely metallic sounding moaning with a thin gauze of gritty abrasion attached. Its nice, often quite beautiful stuff, but again I think I prefer the vibrancy of the original improvisations.
My favourite pieces on the new album are the fifth and sixth of the seven tracks here. Mokuhen’s brilliantly titled Poisson Silence, Oki begins with small digitally processed sections of quiet activity. A little short of three minutes in though the calm we had settled into is suddenly broken by further treated sections of the original, but here the end result is a wrenching, sudden series of violent twists that don’t stay for long but sit in complete opposition to the quietude that came before. Francisco Lopez’ Untitled #279 (has he really reached almost three hundred now?) is another quite extreme rethinking of Pavillon Noir from the original album. Opening with four or five seconds of brisk abstract activity at high volume the piece suddenly and quickly cuts away to just the very slightest of murmurs that had me reaching for the volume control to turn things up after the energy of the preceding piece. Four or five further minutes of very little pass before things build at all again, never really becoming loud, but highly processed shimmers of metallic sounding material slip in and out alongside what feels like stray lazy strikes at a drum, though doubtlessly small sections of the original improvisation have been cleverly excerpted by Lopez who certainly does feel like the most accomplished and original voice here.
Given that its a free release, as was the original album, I thoroughly recommend spending time with these two albums back to back. The energy that is currently spilling out of the Diatribes / Insubordinations community is both infectious and inspiring, and the way it is being done, far from the trappings of how labels traditionally work and ignoring the usual hierarchies that drive even the most niche areas of experimental music is admirable. Throwing a lot of music out there as free downloads isn’t always a good thing as the ease of distribution often results in a lowering of quality, but this doesn’t feel the case for Insubordinations, much thought and consideration seems to go into each release, which are available as lovingly produced hard copy releases as well as free downloads. Don’t take my word for it though, go grab them yourself.
Richard Pinnel / the watchfullear
The other new release on Insubordinations is a remix compilation. Another one?
Well, yes and no. Yes, this seven piece album are all remixes, but it takes the
seven pieces from an album 'Complaints De Maree Basse' by Diatribes and Abdul
Moimeme, which I think I haven't heard, but its a nice idea to get a remix done
for one album, track by track. Its of course is a pity that I didn't hear the
original since it makes it hard to compare with the remixes. So we could also
safely say that this is 'just' another compilation. Here we have Blindheao,
Nicolas Bernier, Honore Feraille, Ludger Hennig, Mokuhen, Francisco Lopez and
Herzog doing the honors. Ranging from heavy laptop processing (Blindhead,
Lopez, Herzog) in which the original is probably entirely removed, to those who
use more clearly sounds of the original (Bernier's take on the drum sounds,
Mokuhen on scraping metallic sounds). Also if you don't know the original, then
it is a fine compilation. Without big surprises, but
with a fine quality overall.
FdW / VITAL WEEKLY
Ein überzeugender Beleg, dass viele Köche gemeinsam ganz phantastische Delikatessen fabrizieren können. In diesem Fall hat sich das von uns sowieso sehr geschätzte Kollektiv von Insubordinations mit Tskuku Tsuku Grammofon zusammengetan - der Netzlabel Abteilung einer ebenfalls frankophonen Tonträgerveröffentlichungsinitiative für Electronica (die, wie wir gern gestehen, uns auf diese Weise überhaupt erst in den Radar gegangen ist. Oho, das wurde ja wirklich Zeit!). Auch wenn der Titel behauptet, dass die Tiden unterschiedlich hoch sind: Wirklich Ebbe wird da nie.
homemade-labor.ch
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ces enregistrements sont mis à disposition sous un contrat Creative Commons.
this recordings are under 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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