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Assembl​é​e, Rel​â​che, R​é​jouissance, Parade

by D'Incise

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mbira
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Erix
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enillesen
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Emile Bojesen
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Eric W.
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Christophe Lejeune (freezincurtain)
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Sailor Dog
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chokyinyima
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Rudy Deceliere
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ABSL71
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Philippe (Okraïna Records)
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rodasch
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1.
L'Anglard de St-Donat 1 04:47
2.
L'Anglard de St-Donat 2 05:51
3.
L'Anglard de St-Donat 3 05:06
4.
L'Anglard de St-Donat 4 04:24
5.
Le désir certain 14:56
6.
Le désir serein 12:22

about

Cd edition by Moving Furnitures reocrds & Insub.records.

1-4, assembled from recordings of bowed metalic objets, electric organ, harmonium, banjo & double bass
5-6, bowed metalic sticks, performed live, over detuned/retuned organ background

« Assemblée, relâche, réjouissance, parade », or another long, unspeakable, french, title (that would somehow translate as » Assembly, pause, rejoicing, parade »). Words that conjure ideas of a music used in public and social rituals. The two distinct pieces experiment with the re-injection of music into the experimental area. Do not see anything pretentious about it, it is rather a very personnal path, in the sens, among others, to not forbid certain aspects of music to make appearances, making bridges between conceptuality and simplicity.
The first part, « L’Anglard de St-Donat », is constructed aroud a mazurka tune, a tradional dance from center-France, played by Alfred Mouret, after his father François « L’Anglard ». But the four short « songs » are not to be seen as a reinterpreations (they’re certainly not danceable), rather as a basis for d’incise’s own research. Solid drones and reccurent structres are built with recordings of bowed and strucked metal objects and (sounds of various) instruments make counterpoints and quasi melodic lines.
Then in « Le désir » the strategy is mirrored, electronics (detuned organs) make the rigide, and slightly akward, context for the bowed metal sticks – tuned in relation to the electronic – to be semi-improvised and take a sort of soloist position – unstabilities of both the objects and the gestures sudenly become open to interpreations and expressions. This piece is one of d’incise‘s actual solo
live performance.

credits

released June 7, 2019

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D'Incise Genève, Switzerland

d'incise has no perticular instrument, using whatever can be considered as such, softwares, recordings, objects, percussions, harmonium, etc.
He's interested in radicalism, reductionnism, repetitions and conceptual approaches, building specific set-up for each new occasion, in improvised or composed context. ... more

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