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Plantwave

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Eclectik Percussions Orchestra, nouvelle formule

Nouvelle année , nouvelle formule orchestrale pour EPO et nouvelle co-production du Gueulard Plus juste avant l’arrivée de l’Album “Traces de Vie/Traces of Life” (Passin’ Thru Records 41235) http://www.passinthru.org/

Afin de faire exister le projet (avec ou sans Oliver Lake , http://oliverlake.net/ ) ,nous montons une nouvelle formation.

EPO septet est une émanation du grand ensemble « EPO invite Oliver Lake ». Les deux projets existent conjointement.
Cette nouvelle formation musicale qui est articulée autour de 3 instruments à vent et trois percussions propose une musique épicée par un savant mélange de Musiques de monde et de Jazz jusqu’aux rugissements du Free (Ancient to the future).
Elle développe un répertoire pensé autour d’un grand « Pôle de percussions » sous toutes ses formes (percussions corporelles, objets, instruments traditionnels…).
Elle cultive enfin sa singularité par l’addition de la danse, afin de créer un spectacle jubilatoire pour les yeux et les oreilles.
https://www.facebook.com/events/1850366028576102/Avec:
Antoine Arlot : Saxophones alto et baryton,voix
Pascal Beck : Trombone, Conques,voix
Guy Constant : Percussions voix, composition
Lucile Diou : Danse, Percussions corporelles,voix
Gustavo Ovallès : Percussions, voix
Adama Sanogo : Percussions, voix
Maxime Tisserand : Clarinettes (sib et basse), Saxophones,voix
Et toujours les arrangements de Nicolas Arnoult

http://groupe-epo.jimdo.com/

Marc Tamea – the lake


“See you. Me back. Begin again. That’s one unique point in the hologram.” – Kakkab Nammax

Mark Tamea is a rare species who is at the curious cross road of modern composition, electronic music and plunderphonics. For starters: I have never a clue what he does – if he actually plays something himself on his releases, like the string instruments we sometimes encounter here.

What he set out on his previous releases he explores again here. Six pieces on this album, and everything I knew about him returns. The modern classical approach in ‘Oikony Noyod’, microtonal synthesis in ‘The Lake’, and the elements of plunderphonics? They might be everywhere, hidden in every track.

The radiophonic aspect of his work is again never far away, and it evokes perhaps rather abstractly at things – although a title such as ‘Objet Trouve’ is something to think about – maybe he found some classical music? Tamea splices his music in a digital way, but puts it back together in a new form, very tonal at times, but also very abstract.

Like with his previous release, ‘Metonymy’, I can’t say I am as surprised as I was with ‘Tessellation’, but that doesn’t mean I am not impressed. I think ‘Atomism’ harks back to ‘Tessellation’ more than to ‘Metonymy’, in the way that it uses a lot of acoustic instruments as well as some fine electronic charges. Great (traditional!) musique concrete. Excellent release, all around.

– Vital Weekly 886. 2013