dimanche 27 novembre 2011

TOMUTONTTU (fin) + ID M THEFT ABLE (us) + HELM (uk) + él-G (fr)::


Le Non_Jazz#0312::

- - - - - samedi 03-12-2011 - - - - -

ID M Theft Able (us)
él-G (fr)
HELM (uk)


20 rue Léon
M° Château Rouge


20:30 portes

21:00 début

- - - - - page de la tournée avec tous les détails - in english - - - - -

(dans l'imaginaire finlandais - tomutonttu est un gnome du foyer, qui y prend soin de la poussière)
aka Jan Anderzèn - artiste sonore et visuel (dessinateur et auteur notamment d'artworks pour
plusieurs pochettes de disques - cf. le label FONAL, les siens, ceux de ses amis - DUCKTAILS, etc), basé à Tampere, fut dès le début,
un des principaux protagonistes de la "scène" free-freak-jam-folk finlandaise (dès la fin des années 9Os),
se déclinant autour de diverses entités mouvantes, telles que AVARUS, ANAKSIMANDROS,

Sa musique est un immense himmeli/patchwork de found footage sonore - labyrinthique, dense, ajouré -
humus de ses compositions ramifiées, oniriques - absorbant toute sorte d'accident,
ouvertes, en perpétuelle mue, fragiles et chamarrées, malgré - souvent - leur côté lo-fin assumé et intrinsèque.

"Main man of the Finish drop-out scene. Dance music for broken legs, nu-tango, electronic electronics". (kraak)

"combines samples and tapes with toys, junkshop detritus and more conventional instruments to create a 21st century strain of DIY psych folk." (The Wire)

"Harkening early electronic experimenters and avant composers of the past such as early Die Tödliche Doris and Meredith Monk, this album (éponyme, sorti en 2007) is like listening to 500 library records all at once, or walking through a labyrinth of motherboards, or laying on a scientist's table with electrodes attached to your body while you are exposed to every noise, light, and color in their various range of spectrums."

"Echoed, chanting vocals, ethnic flutes, droning or rushing electronics, ritualistic mantras, low intonations, oscillations, ululations, sped-up tape squiggle, blistered bass tones and thudded percussion are just some of what you'll encounter here, creating a pastiche of sound of that will accompany you as you delve further and further into the neon cave." (Forced Exposure)

NB:: Il dirige un "petit" mais excellent label vinylique - Vauva records
(Stone Breath, The Anaksimandros, Maniacs Dream, Fricara Pacchu, The Puke Eaters, Kemialliset Ystävät...)


"seriously, 21 minutes in this guy’s hands, shows more ideas-per-capita than the entire 5-disc run
of the “archives grm” set combined..."
(Keith Fullerton Whitman, Mimaroglu Music Sales)

"(the) monster of current fluxus. (...)

"Portland’s most notorious noisemonger"

- - - - -

Ce grand monsieur à la carrure d'un druide - doux, roux & barbu - est
originaire de Portland, Me (l"'autre" Portland, celui dans le Maine donc), et pourrait bien être un chaînon manquant
entre Hugo Ball, Henri Chopin, Phil Minton, Stock, Hausen & Walkman (1re période) & ... Popol Gluant (?).

Immense performeur dans un style bien bien à lui - une sorte de ~doo-wop cut'n'paste post-dada néo-fluxus ~"noise",
alliant moult borborygmes, hoquets, gloussements, chant duophonique & autres tours de passe-passe et pirouettes de la
glotte à un jeu de scène pince-sans-rire et manipulations de divers déchets audio.

Son set - - en compagnie de son acolyte et autre dada-noiseur notoire, Crank Sturgeon - fut tout récemment un des temps forts de la dernière édition du freak-festival Colour Out of Space à Brighton (curaté par Mr Chocolate Monk, l'inénarrable Dylan Nyoukis).

in the beautiful gardens surrounding the city of portland, maine. in a small disconnected community, there is a being living by the name of skot spear. in his country called kraagistan, spear is creating his own sound universe for years now. an amalgan of strange cdr's, cassettes, dvd's, books, paper and ephemerea, is the evidence of a man's own dictations and conversations in the ether".

" (...) i’ve been enamored with the work of skot “id m theft able” spear since catching a one-man play about/by him a coupla years back at the piano factory space - something to do with henri chopin & jean tinguely’s ghost(s) uniting future & past wal-mart employees into a unionized agglomerate, which then takes over the herman goelitz candy-corn factory, converting it into a multi-use, multi-disciplinary art-space / slash / inter-dimensional travel-vehicle spare-parts facility with a very liberal casual-friday practice (needless to say, it was all very confusing and even now only makes a modicum of sense) "

"lo and behold skot returns here with an incredible side-length piece incorporating many of these themes at a million-edits-a-second pace, incorporating his sound poetry, self-built instruments, and pause-button tape antics (seriously, 21 minutes in this guy’s hands shows more ideas-per-capita than the entire 5-disc run of the “archives grm” set combined) ..." (Keith Fullerton Whitman, Mimaroglu Music Sales)





HELM (uk)::
est Luke Younger, l'"autre" moitié du duo ~avant-drone BIRDS OF DELAY.
- responsable aussi du label ALTER.

Luke Younger is a Sound Artist and experimental musician based in London,
working with a vast array of revolving instrumentation and abstract sound sources.
Working under the moniker of Helm, Younger's compositions build a dense aural
landscape that touches on musique concrete, uncomfortable sound poetry, noise, and
hallucinatory drones. His most recent LP for the Kye label, Cryptography, presents
a five-part suite of expertly rendered electro-acoustic study which uses processed
piano, Casio MT-40, cymbal and broken guitar strings. Younger creates a world where
these instruments morph into spectral rust, a shimmering klang swims alongside
passive noise and the relationship between acoustic and electronic derived sounds
forms a solid foundation. This sound is steered through a melange of fringe
territories: glacial drone meditations, reconfigured gamelan clusters, and howling
walls of organized feedback, all coalesced in a post-industrial fashion with a
commitment to homemade exploratory zeal.



él-G (fr)::
"Avant-garde pop, radio collage, stand-up fairytales and general francophone weirdness". (kraak)

"Pop tunnels, electronic hallucinations and outer space spoken words"

"synthesizers, electronic devices, hypnotic spirales and melted-Esperanto voice"

Depuis le début des années 2000, él-G - vraie anguille stylistique - électrique - mais acoustique aussi
(excellent guitariste free-rock mais aussi un folk finger-pickeur de choix -
et il ne le prouve pas assez souvent - à notre avis...), a enchaîné divers
projets - sonores mais aussi filmiques.


Depuis ~trois ans il focalise surtout sur une approche beaucoup plus électronique (synthés + bidules divers), solo ou
au sein du duo post-noise OPERA MORT (electronics visitations - synthetic love - trances tunnels - proto-technoid dance -
- processed evil vocals - raw broken beats) ou du trio avant-tout Reines d'Angleterre (=OPERA MORT + Ghédalia Tazartès).


dimanche 20 novembre 2011



--------- samedi 26-11-2011 ----------

Le Non_Jazz#2611::


20, rue Léon
M° Château Rouge

20:30 portes
21:00 début des concerts


"I was almost obsessed with mixing, but listening to how the idea of dance music is always remixed and kind of in flux as well.

I kind of had this perverse idea for the new Heatsick thing of playing the keyboard, but playing as if I was a DJ, like how a DJ mixes between tracks. I'm really obsessed with imitation."

~experimental gay dance music/musak?

La moitié de BIRDS OF DELAY (duo british de noise conceptuelle), Steve Warwick a développé son projet solo depuis ~5 ans
& après diverses incarnations stylistiques (+ divers autres alias: Birds of Prey, Hungover Breakfast etc), l'avatar actuel de sa "musique kaléidoscopique" explore davantage son obsession pour le son de la house old school de Chicago - travaillant essentiellement à base de sons produits par un vieux Casiotone, vintage et ébréché + une pédale de boucle.

Le supposé handicap de l'instrument - la majorité des touches manquant ou dysfonctionnelles - devient une contrainte formelle poussant le musicien à faire preuve d'encore plus de discipline et d'inventivité (less is more, hein)

"Heatsick uses various instruments including voice, keyboard and percussion to create saturated washes of tone, floating and disintegrating entropic loops, while also using deliberately broken continuity as a playful, live conceptual gesture.

The project is focused on repetition as a means of creating abstraction, improvising with organic variations of a theme, yet embracing the artificial to facilitate a psychedelic mindshift. The music references a palette of sources from Musique Concrete and Psychedelia, through to the early Chicago House mix tapes, creating a unique and compelling sound".


Duo mixte poético-synthétique, associant une electro-pop déviante à une approche légèrement décousue d'un
jam-band en dérive psychédélisante.

Un des membres fondateurs des agitateurs du Collectif Tralala, du label HEIA SUN & du trio FEU MACHIN
("musique accidentelle, mutante, hypnotique, aux aspérités noise, voix réverbérées et rythmiques telluriques"),
"préposé" à un beau fatras d'electronics, générant, en général, du bien beau bruit.

vendredi 4 novembre 2011



Le Non_Jazz#1911::

samedi 19-11-2011


@Galerie LIMITIS
49, rue du Moulin de la Pointe
75013 M° Maison Blanche (7)


20:30 portes

21:00 début

Duo mixte d'Oakland, CA pratiquant un "minimalisme psychédélique", raga -cosmique.

"Quickly, it reminds me of a bunch of my favourite music - Alice Coltrane, Terry Riley, Pandit Pran Nath, Cluster, Sun Araw, Brightblack Morning Light, PG Six – while combining the influences into something relatively original.
(They) strip a lot of their music back to the drones and devotional ambience of Eastern-facing cosmic jazz records…." (Uncut)

Leur premier LP "Of Psalms" est sorti sur Root Strata.

"Music for the rain forests of the moon, (...) slowed-down music of the spheres, with a canopy of glowing fog and a heavy narcotic bass pulse that keeps the whole thing rooted straight into the earth. It’s a heady mix of alap paced violin phrases, jewel toned keys, harp swells, distorted tapes and ever present bass waves all crafted with precision detail in a humid space that leaves a dreamy imprint in the mind long after waking."
"(...) a strange, yet fantastic fusing of Eastern style raga drones, and hypnotic Spacemen 3 style bass buzz. The music is almost like some sort of slowcore, spacerock, dronedrift that is abstract and minimal".

“Date Palms is the new project of heavy electronic / cassette tape manipulator Gregg Kowalsky and Marielle Jakobsons (Myrmyr, Darwinsbitch) and is a strange, yet fantastic fusing of Eastern style raga drones, and hypnotic Spacemen 3 style bass buzz, which seems like a weird combo, but it definitely works, situating the Oakland duo right between those two not so disparate (as you might think) sounds, the music almost like some sort of slowcore spacerock dronedrift, writ abstract and minimal and Eastern, if that makes any sense.

Actif depuis une trentaine d'années, ce musicien, compositeur/improvisateur/"artiste sonore" basé à Louisville, Kentucky,
a développé - surtout depuis la fin des années 90s et travaillant essentiellement avec une metal bodied resonator guitar - une approche toute personnelle &
profondément originale, voire excentrique, nourrie de minimalisme, blues, bluegrass, musiques traditionnelles d'Asie & d'Afrique, musiques occidentales -
- traditionnelles et "classiques": anciennes & contemporaine, psychédelisme, drone & jazz.

Performeur solo, il a aussi travaillé avec, notamment: Rhys Chatham, Charlambides, Pelt,
My Morning Jacket, Lukas Ligeti, Ignaz Schick, John Butcher, Susan Alcorn ou encore... Matmos.

Sa musique a été publiée chez, entre autres: Table of the Elements, Important, Xeric, Tompkins Square, New American Folk Hero...

Son prochain album sort cet automne chez Incunabulum.

"With an intensely focused technique, he sets bluegrass and blues-inflected tonalities against dense masses of harmonic overtones and sustained textures. It is a mesmerizing sound, one that conjures the effect of various global trance-musics (...) Inhabiting the mysterious string-space between Tony Conrad and John Fahey, Lawler's is a wholly original idiom of music that brims with near-religious exaltation and spectral, gothic dread -- a daring plunge through the darkened brambles of a particularly raw Americana." (Forced Exposure)

"I struggle to recall any recent comps that glide together as seamlessly as these Tompkins Square projects, and Volume Three is no exception. Contemplative, intricate, a simple but ornate school of folk that hangs effortlessly between the ancient and the avant-garde -- I could listen to this stuff all day." --John Mulvey, Uncut.

"Ultimately Lawler is a lone, restless artist charting his own crooked path to the outer reaches of guitar invention"
(Marc Masters. Pitchfork).

Musicien autodidacte, prolifique & polymorphe - aussi à l'aise dans le contexte de l'improvisation free, noise ou composition électronique ou ... math-rock - guitariste, platiniste & synthétisant analogique.

Ayant multiplié depuis le début des années 2000, projets, collaborations & performances - en solo ou au sein de diverses formations (BOBBY MOO, SMHOT, ROLEX, WOOOM,...), il "reviendra" sur son premier instrument - guitare électrique -
pour un solo électrisant & féroce.