As part of the #NoLA2020-21 ongoing project, sound creators from different countries and adventurous aesthetics are invited to each send a live audio session (like an intimate concert to share online with an unknown public) this will be illustrated with a fixed visual as well as a few lines of presentation of the piece and a short presentation of the artist. The emphasis here is on the travelling quality of the sound work and the mental images that it can generate in the listener).
From mid-December 2020 until February 2021, the European Pepinieres and Transcultures will announce, each week, the launch of a session (a continuous piece – which can be in several movements – of around thirty minutes ) from a different artist. These intimate sessions will be available on the bandcamp of Transonic (independent label for differentiated sound creation, produced by Transcultures). Upcoming No Lockdown Transonic Winter Sessions:
Prochaines No Lockdown Transonic Sessions de cet hiver connecté
Amplidyne Effect is an improvised multimedia project by Martin Georgievski (Skopje, Republic of Macedonia). The project takes form as a live improvisational exploration of experimental, ambient, contemporary classical, and drone music with performances at various festivals, venues, and internet streams.
Forming a generative spectrum of sounds in long improvised sessions and recordings, Amplidyne Effect records using an arbitrary selection of instruments ranging from electric guitar, prepared instruments, field recordings & samples, synthesizers, electronics, piezo microphones, and other types of “odd” instruments. Finding the inspiration in art, music, nature, and technology itself, he always tries to push the boundaries of sound or rest in the nest of its niche.
As part of the constantly shifting and growing sound, Amplidyne Effect has collaborated with artists from United States, Canada, United Kingdom, Argentina, Switzerland, Spain, Germany, Macedonia, Serbia, and Italy, either live on-stage or through internet streaming and recording sessions.
Amplidyne Effect has performed at events and festivals such as Skopje Jazz Festival, Pohoda (Slovakia), Waves of Ambience, Philosophical Film Festival, PNEM Sound Art Festival (The Netherlands), KRIK Festival, Biennale of Western Balkans (Greece), Music Tech Fest, D Festival, ImprovE (Belgrade) and many more.
Music is cooking
more spices you have
more the travel is contrasted
I prepared the ingredients
recent guitar recordings
some new synths recordings
I imagined some new parts, dark, sunny, quiet, energic
I wanted to travel in different countries
in my luggage two synths, a noise box
some percussions to play live
a mic opened for the voice and some percussions
during playing I imagined
and that I would like to be free
the result is a testimonial of my moods, at precise moments:
with the help of Didié Nietzsche, Paradise Now and Prism
Christophe Bailleau develops an acoustic musical composition with electronic soundscapes, guitar, percussion and voice (some pieces are post-folk ballads) mixed with concrete sounds. His works play on waiting, silence and tension, and also searches for a certain light. Since 2004, his compositions have been published on various European labels: Le cri de la harpe, Stilll, Carte postale, Eglantine, Annexia, Soundscaping, Optical Sound, Transonic… He also regularly produces videos, installations, radio creations and has just published two books of poetic fragments.
“Mindfuck” is the latest in a series of collaborations between visual artist SaveMe Oh and musician A Limb (Didié Nietzsche in Real Life). These performances in the virtual world Second Life (a world where you can still hug people without danger) are always largely improvised, one feeding off what the other creates.
As is often the case, the music was created without DAW nor MIDI connections, using real synths and grooveboxes. Voices are produced and manipulated on an iPad. “Mindfuck” can be understood in its literal sense, but also as the spirit in which the year 2020 left us.
A Limb (Didié Nietzsche’ solo project) is a kind of artistic Frankenstein, exhuming all sorts of music corpses from their graves, stitching an ambient body with funk legs, punk feet, experimental arms, jazz hands, a drone head, inserting a big ethnic music heart and krautrock lungs… then bathing the whole “body” into a dub effects bath, until an electro thunderbolt strikes it and… it’s alive! Sometimes science goes too far, but it’s too late to back-pedal…
A Limb also enjoys to experiment on his own skin, changing regularly into a mutant monkey, a mirror ball, bunny dancer, a lizard alien … A Limb plays regularly at Cat’s Circus, Burn 2 (official virtual version of the Burning Man) and for several special events. A Limb is often accompanied by SaveMe Oh’s performances, and pleased with it.
A Limb also played in Real Life in swimming pools, squats, castles, gunpowder storehouse, and incidentally in concert venues.
Based in Poland, Greg Ocheduszko is a professional musician, remixer, and composer whose compositions were frequently used in movies, ballet performances, theatre, trailers, and commercials. His credits include music for several Audi car world premieres, and remixes with artists like Amanda Wilson, David Byrne, and Goloka (Skint Records UK, Loaded Records UK, Diamond Records UK) . Greg has also done music production for FLUX, LA Compagnie des Balet de Monte Carlo, Be Be Blond (PL), Jah Mission (NL) and National Theatre w Lodz, Poland. He brings us music in the Dramatic, Orchestral, Classical, EDM, and IDM genres, among others Electronic and Dub genres.
During the time of self quarantine, in lockdown i spend couple of days in my home studio. My working space played a major role, makes me feel comfortable and cozy. I was mentally forcing myself into this crazy quarantine, which now everybody has to be in. I started thinking about all limitations we have in connection with our families, friends and community. But ideas we have, thoughts we create can not be lockdown, they floating on the air with no limitations. I tried to catch all those feelings we have in this hard times and put it into the music. Loneliness, anxiety, a bit of darkness and a bit of lightness, little joy and little hope, all that you can feel and experience in music i made for this special project.
Saying the first Covid lockdown was a sudden spanner in the works which forced most of the world to reconsider whatever they were doing is nearly glib at this point, but it’s also true.
For us, it was a time for duality. Kurt founded a label, called Complex Holiday, and nearly immediately after Robert joined the project. This duality is present in location (we’re both Maltese, but Kurt is based in Brussels and Robert in Malta), in what kind of sounds we want to release (Kurt is steeped in experimental music and sound art, Robert soothing, long-form ambient), from where and in the way we work. We didn’t know each other too well, but working on a project is often the best way to get to know someone, especially as air travel was nearly completely impossible. This is by no means unusual in the scenes in which we operate, which are based on building strong links between like-minded people worldwide. However, it also highlighted the importance of an immediate local scene or habitual partners-in-crime at some point in the process, which by then was somewhat in disarray.
The label, coming at such a strange time, taught us the ins and outs of working at a distance, and of working with each other. Timidly at first, each wary of stepping over the other person’s toes, then with more confidence as the track progressed. This is our first ever track together, which we did away from each other and in a manner we usually wouldn’t have. We would have normally had a face-to-face interaction followed by a long improvisation from which we would have culled parts we found interesting. Instead, the track was built bit by bit from our daily contacts where we often spoke of a more esoteric thing – time. We didn’t know where it was going but, in many ways, the track ended up illustrating where our mind was over the last year – frozen time, with unequal parts delight and frustration borne out of distancing and having to do things diﬀerently. Covid made us do it.
No Lockdown Art
Within the framework of its new Creaconnections program, Transcultures, in partnership with the European Pepinieres of Creation, launched the No Lockdown Art – #NoLA2020 action to support the re-activitism of Belgian and international artists who initiated, during the period containment, interesting audio, video, multimedia projects online and freely disseminate their singularities and poetic glances to the curious connected.
In this sadly unique period (but likely to herald other disasters), many artists of all origins refused the quarantine of the shared expression. They express both a need to connect with another (connected) audience and to get out of both fear and paralysis as well as from the “all in the ego”.
Desiring to join this libertarian dynamic and give support and visibility to differentiated works online, Transcultures has launched a support program open to artists for short, medium or long term projects. In addition, in partnership with the European Pepinieres of Creation, a call for No Lockdown Art (#NoLA2020) projects was successfully launched in mid-April 2020. This initiative was aiming and still is to actively support many initiatives of artists and designers of cultural projects. Their creativity -stimulated by the turbulences of our viral world – is precious to them and to us!