Thursday, October 19, 2017

OUC010 : Quentin Manfroy / Flute Solo

Cover art by A.L.,  original pic by Frederic Labaune. macromicrophoto

OUC010 : Quentin Manfroy / Flute Solo

This flute solo is a meditation about the chaotic organistation of the sounds of nature.
Thanks to my mountain guide, musician and soundman Thomas Manoury, this music was recorded in Iceland in the depths of frozen caves, in a lighthouse, in glacial crevasses, in the vicinity of enormous waterfalls or in more conventional concert halls.
The purpose of this disc is to succeed to make a monophonic instrument deploys the polyphony.
And perhaps through the contact with all these little drops and this water that never ceases to flow (it is its nature), the flute works here to make audible the voice of "the spirit of the sources", so tenuous it may be.

Quentin is a classical music trained flutist who studied at CRM Brussels. 
At the same time, his passage through F. Cassol's improvisation class (founder of Aka Moon) at the end of the 90ties motivated him to pursue a career as a classical musician and an improviser. He joined different jazz or rock band like Orange Kazoo (renamed Belgistan Orchestra later).
He then worked with outstanding musicians such as the Scottish composer Daniel Barbanel with whom he made many tours and records, or Song Yujhé, a Chinese singer and composer who inspired him on the level of sound directions and distances.
Thanks to Gregoire Tirtiaux and his in-depth work on Gnawa music, he discovered trance music with Maalem Hassan el-Ghadiri from Marrakesh. A long collaboration resulted from that encounter.
Currently he plays in the galaxy Mâäk (directed by Laurent Blondiau) with the big band Mikmaak and MW'soul (with the singer Ghalia Ben Ali).
He also works with the supersymmetric band Mû (with the leader Yann Lecollaire, see OUC008), Ananke quintett, Secret Base, Matthieu ha and the Syndicat d'Initiative, the spectral Gong Extensions ...
A certain tendency to desecration has been noticed in some unavoidable projects like the Gurkenpanpan 2 regressive musac cover band, or the Promethean POMPEI.

Played among others with:
Fabian Fiorinni, Sturm un klang, Garret list, Frederick Rzewsky, Coryfeye string quartet, Emmanuel Louis.


The solo project is an intimate reflection about his instrument. For this solo, when playing live, it is purely acoustic. An instrument, a musician, an audience, a room.
Only one question is essential to Quentin: how to succeed in merging the sound of a modern flute and the techniques from the contemporary music on one side, keeping in mind that breath has come from the depths of the ages, from before history, perhaps even before language on the other side? He believes that there is a door opening "the space within ».

He is currently working on what can be labeled as "Great Catalogs" for flute. This research would integrate the contemporary techniques of his instrument to the tonal or modal music, in order to generate polyphony. An obscure and misunderstood phrase by the composer Victor Kissine, written to conclude an analysis of a cantata by Webern, is probably at the origin of this work:  ‘The vertical time is SUPERIOR to the horizontal time!’ 

The idea behind the development of these "Great Catalogs" is to give the numerous flutists in the world new multiphonic ways that could be integrated to the tonal system to "fold" the flute on itself, to verticalize it. These works will be the subject of a future record.

Sound and mix: Thomas Manoury and Vincent Poujol.
Mastering: Finnur Hákonarson
Photo: Frederic Labaune. macromicrophoto, see more here.

This acoustic solo contains twelve worked improvisations.

Digital release on the 20th of October 2017.

Track listing:

1: Flute Solo, Pt. 1
2: Flute Solo, Pt. 2
3: Flute Solo, Pt. 3
4: Flute Solo, Pt. 4
5: Flute Solo, Pt. 5
6: Flute Solo, Pt. 6
7: Flute Solo, Pt. 7
8: Flute Solo, Pt. 8
9: Flute Solo, Pt. 9
10: Flute Solo, Pt. 10
11: Flute Solo, Pt. 11
12: Flute Solo, Pt. 12

Thursday, October 12, 2017

OUC008 : Mû / From Form

Art cover by Vincent Capes

OUC008 : Mû / From Form

The repertoire of Mû consists of "Mouves".

Mixing complex compositions and inspired improvisations, Mû spreads with those "Mouves" a remarkable and seductive music derived from chamber music, rock, science fiction soundtrack and electronic music.

Elusive, they operate by a succession of steps in continuous flow.

Mystical and sensitive, lush and intense, Yann Lecollaire's compositions and telepathic interplay open a new level of subtle nuance and transcendent melancholy in Olivier Messaien's modes.

From left to right: Yann, Eric, Quentin and Benjamin

Inside cover

Recorded originally in November 2013 by Maxime Gendebien, studio Pyramide, Brussels.
Mixed and mastered by Dre Pallemaerts.

Yann Lecollaire: clarinets, editing, programming.
Quentin Manfroy: flutes.
Eric Bribosia: Fender Rhodes, SH101, piano, Hammon dB3.
Benjamin Chaval: drums, noise, left hand keyboard, electrictable.

Digital release on the 13th of Octobr 2017.

Track listing:

1: Mouve 12
2: Mouve 11
3: Mouve 2
4: Mouve 8 
5: Mouve 6
6: Mouve 3
7: Mouve 10

There are still some copies of the original cd available here:

Thursday, October 5, 2017

OUC007 : John Franek / I'm Sure You Can Imagine

Cover art by A.L.

OUC007 : John Franek / I'm Sure You Can Imagine 

Another 13 minutes pieces on harpsichord by maestro John Franek. 
All is played manually, no loops here! 'I'm Sure You Can Imagine' shows once again the love of this artist for the sound of the instrument as well as the complexity of the many layers of intended repetition of patterns. 
It could reminds us the way of the minimal music pioneered in the 60ties by great composers such as La Monte Young, Terry Riley, Steve Reich and Philip Glass.
After the subtle ambient 'La Mer dans le ciel (see ODG063), the four hands piano 'Slower' (see OUC002) and the dark elements from 'I Hav Not See What Other Saw' (see OUC005), this is another side of the multifaceted John!

Digitally release on the 6th of October 2017.

Track listing:

1: I'm Sure You Can Imagine

Thursday, September 28, 2017

OAS006 : Baishui/ Diary of Broken Sounds

covert art by A.L. from a Baishui drawing

OAS006 : Baishui/ Diary of Broken Sounds

Third release on Off from Sichuan born Baishui (who lives now in the US) after the post rockish No Intrinsic, No Independent (see OAS003) and the intriguing contemporary post folk Sound In Motion (see OUC003), Diary of Broken Sounds (originally released in December 2013, without the bonus suite ' Night Songs for the Half Moon), follows quickly on the release of his first full-length soundtrack album, Einstein and Einstein and is actually Baishui’s ninth album. Both albums, though quite distinct, remain important signposts on the road to understanding the artist’s perpetual search for the optimal form of artistic expression. 

If Einstein’s overall feel is a heavy yang, Diary goes yin with a lighter, yet still full, sound. Though electronics are an essential part of Diary, the feeling is distinctly unplugged, in stark contrast to recent forrays into post-rock and experimental music. Diary, in short, takes a minimalist approach to the artist’s very maximalist goal: the pursuit of a new music—“Baishui Music”—with an Eastern core. 

Chimes and flutes float playfully across wide-open expanses; static-like sounds pierce the bed created by carefully-plucked strings evoking both old-time blues and new-age soundscape with an overall ambient-world-music vibe that is equal parts meditative and playful. For brief moments, the listener is rewarded with the haunting vocals of long-time collaborator Yuan Tian, transporting both music and audience to points far above ground and back in time. 

Diary is the artist’s journey—and, as listeners, we are along for the ride—through a freshly-carved yet still-to-be-fully-mapped-out terrain: “Baishui Music.”

All music, instruments,sounds,produced and mixed by Baishui.
Mastered by luo keju.
Vocal & original art work by Yuan Tian.

Original cover artwork

Digital release on the 29th of September 2017.

Track listing:

1: Lost Impression, Pt. 1
2: Lost Impression, Pt. 2
3: Children’s Dreams, Pt. 1
4: Children’s Dreams, Pt. 2
5: Reverse Memories, Pt. 1
6: Reverse Memories, Pt. 2
7: Geometry, Pt. 1
8: Geometry, Pt. 2
9: Geometry, Pt. 3
10: Ballad, Pt. 1
11: Night Songs for the Half Moon, Pt. 1 - Pt. 5 -Whisper, Reverse, Drunk Leaves, Branches, Ritual - Bonus track 

Thursday, September 21, 2017

ORT020 : Bicipital Fine / Bicipital Fine

Cover art by Noah Punkt

ORT020 : Bicipital Fine / Bicipital Fine

Somewhere up North. Maybe. A small abandoned Village. Plants finding their way through
the cracks in the concrete. Reconquering. Creaking. Howling. A beauteous force. One
Force of resistance and bloom. Something small but powerful, forging ahead. Little by little
and irresistible – Causing a tender friction.

Bicipital Fine. Five. Derek Baron, Cameron Kapoor, Brad Henkel, John Andrew Wilhite and
Noah Punkt. A euro-american encounter of quiet force, of soft and fragile tugging. This
wonderful music is an abrasive minimalism full of curiosity and creative urge.

Derek Baron – Flute, Objects
Cameron Kapoor – Guitar, Objects
Brad Henkel – Trumpet
John Andrew Wilhite – Double Bass
Noah Punkt – Double Bass, Recorder

The band live

An impressive bio about works, bands and all from Noah Punkt :
And John Andrew Wilhites

Physical and digital release on the 22nd of September 2017.

Track listing:
1: Bicipital Fine, Part.1
2: Bicipital Fine, Part.2
3: Bicipital Fine, Part.3
4: Bicipital Fine, Part.4
5: Bicipital Fine, Part.5