12 FEB


Wed 12th Feb
Aposiopèse Night at les Ateliers Claus.
15 rue Crickxstraat, 1060 Brussels, Be. 20:00 / 6 €

⤷  lesateliersclaus.com/activities/aposiopese
⤷  presales

THOMAS TILLY — (Fr) / Field recordings / Electronics

Codex amphibia (an interpretation of the explosive breeding phenomenon)

Fr : Codex amphibia (an interpretation of the explosive breeding phenomenon) est une série de compositions issues d’une étude de terrain menée en 2016 avec Antoine Fouquet (herpétologue, chargé de recherche au CNRS) en Guyane. Explorant le frottement entre la phonographie et l’électronique, l’approche scientifique et artistique, Codex amphibia explore le phénomène méconu des reproductions explosives, brefs rassemblements de plusieurs centaines de milliers de grenouilles occasionnant des murs de sons d’environ 100 décibels.
Production : CEBA (centre d'étude pour la biodiversité amazonienne), Le Lieu Multiple, Jazz à Poitiers, Césaré, SCAM, Studio d’en Haut.

Le Field recording / Thomas Tilly : Il ne s’agit pas que de capter le son, mais de placer le microphone au même rang que l’instrument de musique et d’envisager la situation de cet instrument dans l’espace comme une méthode de composition, il s’agit de détourner son rôle d’outil de communication pour appréhender l’onde sonore autrement. S’attaquer à un immatériel croisant tout ce qui constitue et conditionne le matériel, s’attacher à parler et user du bruit comme quelque chose de précieux et unique, et confronter ce bruit à ce que l’on appelle musique.

Pdf / Fr : glisteningexamples.files.wordpress.com

Eng : Musician whose principle instrument is a microphone. For twelve years he has been composing, inventing sound art installations and teaching. His work has been presented in more than 15 countries. Tilly finds inspiration in different environmental analysis protocols and how they have impact on the notion of listening.

Codex amphibia / (an interpretation of the explosive breeding phenomenon) : This project comes from a research field session realized with Antoine Fouquet, Research associate at The French National Center for Scientific Research (CNRS) « Ecology, environment and interactions in Amazonian systems Lab » (LEEISA) and the « Evolution and Biological diversity Lab », Codex Amphibia (an interpretation of the explosive breeding phenomenon) is supported by le lieu Multiple, Jazz à Poitiers, Centre national de création musical Césaré, CNRS Guyane, and Labex CEBA (Center for the study of biodiversity in Amazonia),
On Codex Amphibia, Thomas Tilly lets the field recordings take the reins. Collected in Guiana in late 2016 as part of a field research project with the French National Center for Scientific Research, the mostly unprocessed selections paint vivid pictures of a lush natural environment. Leaves rustle, water bubbles, and the ribbits of the titular amphibians are just a few of the sonic elements that comprise the organically dense collages, and the masterful production ensures that everything is heard clearly. The digital version comes with a few photos that I assume were taken during the recording process, and it’s a testament to the album’s clarity that they’re almost exactly like what I was picturing in my mind while I was listening. It’s one of the most intensely immersive albums I’ve ever heard, with Tilly’s subtle additions in the form of sine waves and quiet drones keep anything from seeming too stagnant. Codex Amphibia is a truly awe-inspiring work, one that I’m sure will reveal more layers as time goes on. https://noisenotmusic.com



A Collaboration with Les Ateliers Claus - lesateliersclaus.com

  20:00 — THOMAS TILLY
  21:00 — TARAB
  22:00 — YVAN ETIENNE
  23:00 — DJ CARLOTTA

TARAB — (Aus) / Field recordings | Musique concrète

Tarab (Eamon Sprod, (TARAB) explores re-contextualised collected sounds and tactile gestures formed into dynamic, psycho-geographical compositions inspired by discarded things, found things, crawling around in the dirt, junk, the ground, rocks, dust, wind, walking aimlessly, scratchy things, decay and most if not all the things he hears and sees. More than simply documenting a given site, TARAB is interested in a direct engagement with our surrounds, teasing out half narratives, visceral sensation, false leads and heightened awareness. Recent works have consisted of multi-channel, site responsive performances and installations for speakers, transducers, found sounds, found things, microphones and elements of the performance/installation space itself.

TARAB's compositional works have been published on labels including Naturestrip (AU), nonlinear (AU), 23five (US), Unfathomless (BE), Aposiopese (FR), Swarming (FR), Cronica (PT), Semperflorens (RU) and also his own sonicrubbish imprint formed in 2018.


YVAN ETIENNE — (Fr) / Psychoacoustic / Field recordings

Eng : French artist/activist Yvan Etienne, is engaged in research in the field of sound art. (specific site installations, concerts,). As a musician, he composes and plays pieces using electronic, phonography, analog synthesizers and the hurdy-gurdy. His sound art research questions the perception and physicality of sound spaces.
He has also played with Phill Niblock, Yann Gourdon, Richard Glover, Brice Jeannin, Patrice Grente, Robert Poss, Paul Panhuysen, Marie Verry...
Lives and works in Mulhouse, Fr.

Fr : Yvan Etienne développe un travail qui prend des formes de “choses“ sonores, d’installations, de performances/concerts, de vidéos et d’éditions. Conçus comme des espaces, des moments à expérimenter, ses pièces sont généralement liées à des contextes, des climats induis par les spécificités des sites et/ou des supports investis. Réalisés avec des instruments acoustiques, électroniques et phonographique, ses assemblages sondent divers aspects de nos perceptions.



Caroline Profanter works in the fields of Electroacoustic Music and Sound Art as a Composer and Musician. Her works oscillate between Acousmatic Composition, Live Performance and Sound installation. She collects field recordings, combines them with electronics, and explores the grey zones in between concrete material and abstraction. The human voice and the interplay with words and text appear as current elements. Her works have been presented in several Festivals: XI Bimesp - Sao Paolo/Brasilien 2016, Visiones Sonoras in Morelia/Mexiko 2016, The Acousmatic Project in Wien 2016, Espace du Son in Brüssel 2015, Wortsampler in Düsseldorf 2015, Festival für Zeitgenössische Musik in Bozen 2014, Sync in Jekaterinburg/Russia 2013, Wien Modern 2012, Tempo Reale Festival in Florenz 2012, among others. Studied Computer Music and Electronic Media at the University of Music and Performing Arts in Vienna and holds a Master's degree in Acousmatic Composition at the Conservatoire Royal de Mons in Belgium.





APO 14
LP / CD / DL | Edition of 300 | April 2019

LISTEN / BUY A COPY : label.aposiopese.bandcamp.com

Composed, recorded and mixed by Yvan Etienne. 2018.
Serge Modular, Field recordings.

Mastered by Giuseppe Ielasi.
Cut by Mike Grinser at Dubplates & Mastering, Berlin.
Artwork by Gregory Weiss / Layout by Yvan Etienne.
Lp 180g / Cd digifile. Produced by Aposiopèse.
Distribution / Métamkine.

Excerpt : soundcloud.com/aposiopese-music

© Yvan Etienne. (2019). All rights reserved




Twist is a new piece of sound art from French creator Yvan Etienne who we last heard with his 2014 offering Feu, which gave us some idea of his taste for long-form explorations and his thirst for asking poignant questions about the nature and meaning of audio phenomena. He continues to probe these profound areas of interrogation on Twist (APOSIOPESE / APO 14), with two lengthy pieces of quite baffling sound; like most of his work, they may or may not be related to his site-specific installations, and he’s still asking questions about our collective memory and shared perception of sound.

On ‘Cinq Réflectances Inversées’, this takes the form of slow-moving, barely perceptible rising and falling sounds, sometimes mixed with the friendly crackle of radio static…it’s about as abstracted as you can get, and one would find it quite a challenge to discern anything as prosaic as “field recordings” or indeed any recognisable source material in these vague hummings and emptied-out drones. If Yvan Etienne likes to deal in riddles, so far this could be read as one of his most successful pieces yet, summoning a ghostly presence that requires we account for it in some way, yet it refuses all normal modes of enquiry. Noting the “cinq” in the title, I’ll concede there may be a five-part structure in operation here, but to discern it one would have to be paying close attention, have a very good memory (memory is explicitly named as one of Etienne’s ordained requirements), and keep careful notes. As it is, I can barely glimpse the outline of anything here; it’s like being asked to put a cloud in a box after catching it with a butterfly net.


The second piece, ‘L’Énergie Du Non’, has a little more substance. This is a series of minimal drones produced with great attention to detail and nuances of colour, light, shade and tone; none of your automatic-pilot ostinato bleating this morning. If Yvan Etienne could be said to work to a formula, then one hallmark is the simple juxtaposition of two unknown sounds, which are layered together for a very long time to see what shared ground may be occupied and how much mileage there could be in such an experiment. This one comes even closer to the feeling of flying in the sky – the whole of Twist would make a perfect soundtrack to a dream state and would likely induce continual visions and sensations of flight.

It’s also to his credit that Etienne avoids many of the pitfalls associated with phonographic sound art, and the one thing you can say it that his work never sounds banal or commonplace. Further, one is tempted to speculate on the title in this instance – it’s intriguing to imagine this sounds as a sort of “negative energy”, the energy of nothing, or the power of saying “no”. It’s nowhere near as nihilistic as you might suppose, and instead turns out to be quite empowering. Perhaps by saying “no” at the right time you can suddenly free yourself to see all the many other options available to you. Perhaps records like this one are just what we need to help us perform these thought experiments, these mental exercises to help us find out way back to freedom.

The Sound Projector