Der erste Track “Pas de Danse” beginnt mit einem klappernden, fast unentschlossenen Geräusch, das sich nach und nach zu einem klareren Rhythmus formt. Dahinter arbeiten sich elektronische Geräusche ins Bewusstsein: Störfrequenzen, Kreischen, ein dumpfes Poltern. Chatons Stimme setzt knapp und gezielt ein, seine Silben wirken wie aus dem Papier gestanzt. Es entsteht ein Bild zwischen industrieller Mechanik und kontrollierter Körperbewegung – nicht zufällig speist sich der Text aus einem historischen Handbuch zur Schnitttechnik für Damen- und Kinderkleidung. Die darin enthaltenen Bewegungsanweisungen für das Zuschneiden werden zur tänzerischen Partitur, die hier sprachlich zerschnitten und neu zusammengesetzt wird.

“Ecrire une phrase”, der zweite Track, scheint zunächst mit einem vertrauten Rock-Rhythmus zu starten, doch dieser bricht bald auseinander, um sich in eine Struktur zu überführen, die an getrommelte Handbewegungen erinnert. Wieder sind es die kurzen, oft geloopten Gitarrenphrasen Andy Moors, die ein Echo an Postpunk-Gesten der 80er wachrufen. Kyriakides’ Elektronik bleibt dabei in ständiger Bewegung: fiepend, flirrend, manchmal fast schrill. Im letzten Abschnitt verdichten sich die Elemente, alles scheint sich einem stillen Höhepunkt entgegenzubewegen, ohne ihn tatsächlich geschehen zu lassen.

“Tailles”, der dritte Teil der Handwerksberufen und deren Klängen gewidmeten “Handmade”-Reihe, präsentiert ein Trio, das sich mit klarer konzeptueller Ausrichtung und hörbarer Detailverliebtheit zwischen den Feldern Text, Musik und Bewegung entfaltet. Eine – wenn das nicht zuviel der Deutung ist – strenge, aber keineswegs trockene Miniatur über Form, Fragment und Wiederholung. (U.S.)

Label: Unsounds

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Caves were probably necropolises: the dead were taken there and fed with the flesh and blood of an animal divinity that was sacrificed as bearer of unifying strength. Animam pro anima. Cor pro corde. As an intensified, repeated, primary act, it became a rite and consequently a cult. The entire figurative pantheon of Paleolithic man seems intended as a fulfilment of that rite. Man replicated the horror of killing with his signs and his pictures on the cave walls, freeing himself from the terror. Art then really did come to grips with the world, a laceration bearing the memory of the violence done to existing creatures. It was desire, prayer, wound, sore, sign produced on the simulacra of the bodies of animals and, at times, of men. What have we done, what will we do in the years to come if not to try to repeat, to relive this act of our beginning?”. Ein weiteres Stück ist ein Score Pupillos zu Ballems frühem Kurzfilm Ill Wind (1972). Das Album ist auch digital erhältlich.

@ Unsounds

“We commemorate the late Phill Niblock with this release made in close collaboration with the composer, just before his passing in January 2024. His life and work have had a profound influence on many contemporary composers, performers and artists, so it is a great honour to be able to present here, together with Echonance Festival, recordings of some of his very last compositions. The two works on this album, Biliana (2023) and Exploratory, Rhine Version, Looking for Daniel (2019) represent the hallmarks of his unique approach to composition where multiple, closely-tuned instruments and voices are used to create rich and complex sonic tapestries. In Biliana, written for performer Biliana Voutchkova, her violin phrases and vocalizations carve out a deep sonorous space full of fluctuating overtones. By emphasizing on the physicality and materiality of her sound, the piece gives us the sensation of stepping back to reveal a singular portrait of the musician. Exploratory, Rhine Version, Looking for Daniel was recorded by two Netherlands based ensembles, Modelo62, and Scordatura ensemble from a live recording made at the Orgelpark, Amsterdam during the Echonance Festival in February 2023. It is a complex work comprising of 20 parts, where lines seem to emerge and disappear out of a landscape of harmonies and sonic spectra. There is also a voice hidden in this mass of instruments, just like in Biliana, giving both works an added human element – something that always emerges out of Phill Niblock’s seemingly dense musical constructions.” (Unsounds)

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Dem angemessen nimmt das Medium Sprache einen großen Teil der zwei Tracks “Garniture” und “Sur Mesure” in Form der bildreichen französischen Texte Anne-James Chatons, die von der Gitarre Andy Moors und elektronischen Texturen Yannis Kyriakides begleitet werden. Das Ganze erscheint als digitale Single (hier im angebrachten Sinne als konzeptuell eigenständige Veröffentlichung und nicht bloß im heute üblichen Sinne als ausgekoppelter Track) mit Artwork von Isabelle Vigier. Andere Releases über Bereiche wie Tischlerei oder das Juweliers-Handwerk sind für die Zukunft geplant.

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Beim Label Unsounds heißt es dazu: “Thermal [...] formed in 2001, three musicians from different musical backgrounds, evolving along their personal routes to meet in free improvisations. For twenty years they’ve been taking their subtle and explosive music throughout Europe”. Das neue Album wurde live im Studio aufgnommen. Es erscheint als CD und Download.

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“Eleven years ago Christine and I organized a recording session in Vandoeuvre during the Musique Action Festival. We were invited by the late Dominique Repecaud to perform ‘live’ and he kindly offered us a space in the building to record. At the time Christine and I had hardly played together and we spent a couple of days in a small rehearsal studio somewhere in the building of CCAM recording our improvisations. We felt there were a handful of pieces that really stood out but not enough to release as a CD just then, so we shelved the project, waiting for an opportunity to record again in the near future. That future took 10 years to materialize as both of us became very busy with our newly arrived families and other music projects that took up most of our time. We ended up not playing together for many years, until we finally reunited in Rotterdam for a duo in 2019 during the Ex Festival. In September 2021 we managed to organize a second recording session after a concert in Instants Chavirés in Montreuil in our friend Bani’s house”. (Andy Moor)

@ Unsounds

“CLAP. An Anatomy of Applause is a compilation of original works by a group of musicians and composers brought together by Andrea Stillacci and Unsounds. The project goal is to highlight the radically different forms and meanings that the sound of applause can take according to its context. The principle was to work from original recordings of each artist’s choice, with sources ranging from the thunderous applause celebrat-ing Maria Callas’ last public appearance to the crowds cheering at the fall of the Berlin Wall, and to transform them into musical composi- tions. Short notes by the artists contextualize the original sounds they have chosen as a departure point and motivation for their piece.

The artists on this album represent a variety of styles and practices within the experimental fields, at the intersection of the curator’s and the label’s artistic visions. The participants have delved into the dy- namics, the grain, the pathos of the applause, in a reversed act of appreciation. The works are unified in the album as they wholeheart- edly respond to the voice of the public. A dialogue that remains a vital force, that of the connection of the public with the artists, and vice-versa. ‘CLAP. An Anatomy of Applause’ wouldn’t have seen the light without the artists generosity including photographer Ljubodrag Andric who created the image gracing the sleeve. This is a limited edition double album, available for pre-orders from June 15 2022.” (Unsounds)

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“Inspired by the kinetic physicality and aesthetics of balance found in Ken Unsworth’s work, the music embodies a feeling of suspension between movement and stasis. Evolving and revolving melodies, poised skilfully in polyrhythmic structures, the music creates an intoxicating and emotional impression. There is a feeling of constant motion and flow of sonic currents that typifies much of Kate Moore’s music.” (Unsounds)

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