DOOR KNOCKED EYE Quelquechose bruisse à la porte, des cloches peut-être ? Ils s’y prennent à trois, Nicht Rio, pour simuler la foule qui sourd au dehors. Quelquechose quincaille à la porte et s’installe. Chuinte. Combien sont-ils en vrai, ces bruits qu’ils font ? Musique au présent, récurrences, tournoiements, éclairs, notes, grondements. Une poésie s’installe, et des images surgissent. Que se passe-t-il derrière la porte ? Qui sont ces voisins qui bruissent ? Ils font l’étrange et le familier tout à la fois, ils opèrent à la pincette presque chirurgicale. Clinique. Quelqu’un marche derrière la porte, s’éloigne puis revient, trébuche, presque trottine à contre-temps. Nicht Rio se loge en-deçà du dicible et du visible. Derrière la porte vous devinez le piano préparé, la guitare et des objets, la batterie permutée. Il y a comme des voix qui viennent, et de l’eau. Vous n’imaginiez pas qu’une telle rumeur soit possible en votre for intérieur. Nicht Rio vous concerne, par le trou de la serrure.
Bruno Allaigre

[insub37] Sébastien Bouhana  - Tambour, pas tant

:bass drum solo:
long ressonante pieces where metal objects are amplified by the drum skins, heavy sounds moving straight forward.

Sébastien Bouhana: horizontal bass drum, etc

+download+ the complet album (58min44 / 320kbps mp3+cover / 141Mo)
INSUBORDINATIONS netlabel.

Sébastien commence la batterie tardivement et sans formation musicale. Il suit les cours de Dominique Marseille à l'école Dante Agostini de Bordeaux pendant cinq ans. Il fait vite parti d'un collectif bordelais de musique noise et alternative (Mandala) avec lequel il se forme à la scène dans les années 90. Des groupes tels que Sonic Youth, Bastard ou Sister Iodine l'invite à se plonger dans des formes transcendantales de la musique. Mais c'est à Toulouse qu'il se frotte réellement à l'improvisation (Emmanuel Petit, Marc Demereau, Fabrice Charles et à l'école des musiques vivantes "Musique'Halle...), qui fut une véritable révélation. Dans les années 2000, il fait des rencontres au sein de la scène improvisée parisienne qui le mènent à travailler dans plusieurs formations de musique improvisée libre. Entre autres, Frédéric Blondy, Pascal Battus, Christine et Sharif Sehnaoui, Agnès Palier, Stephan Rives, Jean Bordé, Jack Wright.
En 2007, il s'installe à Crest (Drôme) et rencontre le Grand Chahut Collectif avec qui il se trouve des affinités évidentes. En 2008, il fait son premier solo (sur grosse caisse) lors du festival "Petits chahuts itinérants" et forme trois trios de musique improvisée : Tu tapes trop fort, Asile Mabuse et Nicht Rio. Il travaille comme musicien et comédien pour la compagnie "36 du Mois/Cirque 360" depuis 2002.

Sébastien lately begins drums and school courses at the Dante Agostini School, in Bordeaux (France). The alternative world in which he moves brings him to the noise music band Madala, with whom he’s formed and trained to the stage in the 90’s. Bands such as Sonic Youth, Bastärd or Sister Iodine influence him and push him to immerse himself in transcendental forms of the music. He discovers free improvisation, at Music’Halle, the modern music school of Toulouse, alongside Emmanuel Petit, Marc Demereau and Fabrice Charles. In the 2000’s, he lives in Paris. His meetings on a few stages in Paris lead him to work with several free improvisation bands such as Frédéric Blondy, Pascal Battus, Christine et Sharif Sehnaoui, Agnès Palier, Stephan Rives, Jean Bordé, Jack Wright…
In 2007, he moves to Crest, Drôme. He meets the Grand Chahut Collectif with whom he has obvious affinities. In 2008, he performs his first bass drum solo, in the Petits Chahuts Itinérants Festival, and sets up three free music trios : Tu Tapes Trop Fort, Asile Mabuse and Nicht Rio. He also works as a musician and an actor for the 36 Du Mois Compagny since 2002.

music under CC by.nc.sa, copy & share it, thanks

Diatribes is the Geneva-based duo of d’incise, who plays laptop, objects, and percussion, and Cyril Bondi, playing drums and percussion. First coming together in 2004, the duo’s subtle distinguishing mark develops out of Bondi’s relationship to free jazz and d’incise’s relationship to ambient electronica and free improvisation. As environmentally diffused as the sounds may become, Bondi is often knitting at pulse, creating polyrhythms and a momentum that animates the whole, keeping it moving while d’incise pulls sounds from the ether or the street. The spontaneous character of the music is insistently maintained by working constantly with other players, as if Diatribes is only complete when it’s Bondi, d’incise and someone else, as if Diatribes is a principle that always includes the other. The duo has recently released three works, each with a third musician; as different as the guests are, Diatribes manages to create a distinct identity.

Multitude, with bassist Barry Guy, is inevitably influenced by Guy’s own spectacular virtuosity, but it’s also fascinating listening to hear Guy working so intently with improvisers whose fundamental approaches are generally less linear than his own. There is a very close rhythmic connection between Guy and Bondi, evident in the percussive mix of rapid pizzicato bass and drums on “le poids des humeurs.”  D’incise’s sounds arise amongst the other two and it is frequently difficult here to demarcate the three. When Guy plays arco, as on “corrosion du possible,” this blurring of identity is even more pronounced, the bassist creating a forest of harmonics and scrapes, sputtering rhythmic figures and sudden movements between registers that seem to spring from and include all the sounds around him (including here the added clarinet of Benoît Moreau). Diatribes, for their part, build up broken fields of percussion and electronic sound, sounding as if their instruments are literally intertwined in the strings of Guy’s bass. Together the three create a world of micro-rhythms and intervals, new patterns interspersing themselves in gaps in time and register.

On Complaintes de Marée Basse with the Lisbon-based guitarist  Abdul  Moimême, the three musicians seem to be much more aligned in their approach.  Moimême plays two prepared table-top guitars, metal objects and small instruments, and both he and d’incise have cymbals in their list of instruments. The playful sound sources extend to Moimême playing metronome and d’incise gramophone. At times the sound is almost industrial—the scraping of metal, the sound of large objects falling—at others it has the most remarkable delicacy, fragile glissandi and barely audible string scrapings. Identity and perspective are constantly changing here. Little noises arise and are gradually subsumed into louder ones or else disappear like unknown but evidently endangered insects in a distant ecosystem.  A snare drum rhythm beats against the scratch of a gramophone needle on an exit groove. The sounds are at times so intimate you feel that you are ear-next to a bowed cymbal or a mallet-struck string; at other times the sonic vocabulary of random echoing metal suggests a freight yard, industrial noise in which sound is only a side effect of another process. It is this shifting perspective, this fluctuating succession of different scales—from closet to airplane hangar—that makes this the remarkable dreamscape that it is.

The third Diatribes performance, Partielle d’averse (available as a limited edition mini-CD with a hand-made cover or as a download), was made with Phonotopy, also known as Yann Leguay who’s playing tennis cythar and electric racket. Just over 23-minutes long, it’s a beautifully sustained single piece, Leguay’s transformed sports equipment a perfect complement to Bondi and d’incise. The work is the kind of transforming soundscape that one associates with AMM, a gradual loss and development of identity through audition. 

Invisibility, anonymity, and pseudonymity are clearly important here (another Diatribes performance with HKM+ and other German musicians was “recorded in an abandoned building in Leipzig”), for this is music shaped by the acuity of consciousness and the porous frontier of identity, whether of the sound, the instrument or the maker. Watching this music being made might diminish its sonic appeal; living here only in the ear, it elaborates on mysteries of identity which are matters of both cognition and psychology. It’s fitting that some of the works themselves inhabit an area both grey and plural, as limited edition works of art or downloads.   
Stuart Broomer / http://www.pointofdeparture.org/PoD32/P … ents4.html

DIATRIBES:
Diatribes, a strongly libertarian ensemble, began its existence in a Geneva basement in Winter 2004. Adapting the improvised and experimental music languages of today, the duo is highly reactive, dynamic, percussive and/or textured. Initialy a trio, diatribes became a polymorphous formation, accuratly incomplete, extending each time its spectrum with guest musicians, from freejazz to electroacoustic improv, from loud sound wall to intimistic acoustic details, crossing the road of Barry Guy, Keith Rowe, Jason Kahn, Jacques Demierre, Christian Weber, Ernesto Rodriguez, Tomas Korber, Jean Bordé, Mick Beck, etc, travelling through europe to create new entities, with Adbul Moimême in Portugal, Hannah Marshall in England, Rafal Mazur in Poland or HKM+ in Germany.
PHONOTOPY:
Phonotopy aka Yann Leguay: both improbable sonic experimentations and self-cons-production label offers a conceptual approach to recording media. Diversion of items, conceptual feedback, tautology, nonsense, concretion and contradiction are the main acoustic ingredients.

KARST est un quartet d'improvisation libre et de poésie (sonore) entremêlant objets et instruments, créant une architecture de percussions, grincements, frottements, pulsions irréelles, mathématique instinctive du son et de sa ré-organisation constante.
KARST est un paysage au relief sculpté par la corrosion, aceré, scabreux, rongé de cavités souterraines ou mille chemins s'offrent à l'ouïe aventeureuse.

KARST is a free improvisation and (sound) poerty quartet; intermingling objects and instruments, creating an architecture of percussions, squeaks, frictions, unreal impulses, instinctive mathematic sounds in constant reorganization.
KARST is a landscape; carved by corrosion, with sharp, underground cavities where thousands of roads offer themselves to the adventurous listener.