Cette deuxième série de sessions en ligne “ de chambre” (voir No Lockdown Transonic Session – Winter 2020-21) commandées par Transcultures et son label Transonic à des créateurs sonores d’esthétiques variés mais toutes aventureuses (électronique, sound art, poésie sonore, post rock, ambient, field recordings, musiques improvisées…), met à l’honneur des singularités artistiques basées en Belgique (Gauthier Keyaerts, Maja Jantar, Paradise Now…), en France (Mathias Delplanque qui démarre ses Transonic Spring Sessions, Silvain Vanot…) et également des références internationales (dont une session solo de Martyn Bates, chanteur, co-fondateur du duo britannique Eyeless in Gaza au début des années 80)…
Cette volonté de soutenir tant des émergences, météorites sonores que des pionniers des ces sons autres est au cœur de la démarche de l’alter label Transonic produit par Transcultures, depuis sa création en 2012. Elle rejoint ici l’initiative NoLA – No Lockdown Art (programme Creaconnections) lancé par Transcultures et les Pépinières européennes de Création lors du premier confinement anti Covid-19 en mars 2020 et la volonté des partenaires d’utiliser le réseau pour soutenir et faire découvrir ces créations audio différenciées au plus grand nombre de curieux.
When Philippe Franck asked me to record live at home a new piece for the No Lockdown Art Tranonic live session initiative, I opened the windows of my studio, located in the neighbourhood of Malakoff, in Nantes, France, and I improvised with random elements stuck in my computer.
I played, very loud, for my neighbourhood (and had no complains so far…). I also played with all the sonic elements that were coming from the outside (these elements that, as for most of us, became so important during the last months).
This track is dedicated to my father Alain Delplanque (06-09-1944 / 24-03-2021)
Mathias Delplanque (FR) is a composer, a performer, an improviser, an author of sound installations, a composer for theatre and dance and the founding member of several musical ensembles.
His work as a composer started in 1998 as he graduated from the Fine Arts School of Cergy- Pontoise and decided to put an end to his sculpture activity to turn towards sound creation. He since released more than forty records on various international labels. He collaborated with musicians from various points of the musical spectrum, and worked with numerous visual artists, writers, video artists, photographers, film directors and dancers… His installation works are frequently shown in galleries and art centres, and he regularly performs on stage, solo or accompanied by other musicians.
Mathias’s sound work takes on several main lines and develops through different identities. The works done under his own name (developed on records, performances or sound installations, and being either based on field recordings or containing instrumental parts) all directly deal with the question of the relation between space and music: music as architecture, spaces made out of sound etc…
Initially a pure sequenced studio production, Mathias’s music transformed with the years into a more improvised and flexible creation. Showing a real interest in live electronic music, he developed a very personal approach of electronic improvisation, based on the use of multiple controllers and instruments that engage the body in the production of electronic performances.
His live creations generally combine electronic sounds and acoustic instruments treated, sampled and mixed in real time.
Totem #1 is the first draft of a ‘monumental’ work that puts together music / soundscapes and poems from all around the world, read by the poets (in order of appearance: Miguel Angel Real, Kate Rex, Jean-Marc Desgent, Roger West, Elí Urbina Montenegro, Charles Pennequin, Manuel Neto Dos Santos, Frédérique Soumagne, Bertrand Laverdure) who wrote them in their original language. Some poets also pay a tribute to Antonin Artaud.
Totem is… gather the world into the same space, be connected to what unites us at any given moment – microscopic yet infinite, through poetry and music.
Born in Brussels in February 1969, Gauthier Keyaerts has been developing his own physical and organic approach to music / image / poetry for years. His work is based on the principle of instinct applied to audio-video sculpturing and spatialisation, writing, scenography, installations…
His work has been performed and exhibited in Belgium, France, Germany, Spain, Morocco, Taiwan, Quebec…
He has released several albums on Belgian indie labels (Sub Rosa/Quatermass as Very Mash’ta and with Bump & Grind, Transonic as The Aktivist)
Miguel Angel Real (Spain): Un homenaje en un minuto
Kate Rex (England): extract from L’Ombilic des limbes (Antonin Artaud)
Jean-Marc Desgent (Quebec): Poem for the installation « L’oeil Sampler #2 »
Roger West (Scotland): Postcard from Bertrand Laverdure (work in progress)
Elí Urbina Montenegro (Peru): Guardo Hospedada en mi memoria
Charles Pennequin (France): Insulte à l’inconditionné (Antonin Artaud)
Manuel Neto Dos Santos (Portugal): Cada verso é um pássaro
Frédérique Soumagne (France): Poem for Gauthier Keyaerts’ installation « L’oeil Sampler #2 »
Bertrand Laverdure (Quebec): L’arbre est politique (« L’oeil Sampler #2 »)
Live session (impro), mastering and editing : Gauthier Keyaerts
This concert session was recorded in March 2021 at The House Of Hive-Arc, in Nuneaton, Warwickshire, England – above land riddled with underground rivers, and alongside the ancient roman road filled with ghost soldiers where Boudicca routs them still. The recordings form an intimate & warm picture of a cross-section of some of the varied aspects of my music. The invitation from Philippe Franck/Transcultures to participate in the No Lockdown Art Transonic Sessions affords me an opportunity to do something different.
« For me, this time meant that I could experiment with invented guitar tunings and thus stretch out and explore a little (« Down In Some Lonesome Valley There Lives Pretty Saro The Deathless »). It also meant that I could unearth/let fly a few of the long-loved songs that I’ve never actually sang publicly during my long and varied career… delighting in re-modeling some of my songs and placing them in beautifully simple settings – hence the acappella voice versions of the phantasm-pagan song Skull … and then, the inner stillness of the beautiful and crystalline Licorice McKechnie song entitled « I Know You ». I’ve relished having the opportunity to sing the music and words of Sydney Carter the visionary dreamer of the Christ in « In Drink Ah Drink ». A song and a half, as we say, is the exquisite « Brigg Fair », and well – it’s simply that for me, this song was a long, long, long time in coming. And, a song sweet to sing again after so very long… something from my song-settings of James Joyce’ Chamber Music (« Because Your Voice Was At My Side »). These songs are a soundtrack of sorts, its true – a snapshot soundtrack of mine, for now perhaps… and my last thought here is that song is indeed a mythic language, where everything has a narrative, a story of its own – and, that story isn’t always the story that we think it is – and that it isn’t necessarily the story that often we’d like it to be. »
Martyn Bates is an English singer, musician and songwriter. After releasing tapes of experimental, industrial music as Migraine Inducers he formed Eyeless In Gaza with Peter Becker in January 1980. The duo became known for their unconventional instrumentation and arrangements, and for Bates’s passionate vocals. From 1992 onwards, Bates has run a parallel career recording and performing with a re-vitalised Eyeless In Gaza – with Eyeless deftly blending song with collaged soundscaping – while Bates otherwise continues to develop his own intense and possibly autobiographical solo work.
The myriad collaborations of Martyn Bates include a series of albums with Scorn/Napalm Death’s Mick Harris, several releases with Alan Trench (as Twelve Thousand Days), Max Eastley, Anne Clark, Simon Fisher Turner, contributing vocals to Derek Jarman’s The Garden, and The Last Of England), also working with This Mortal Coil, and Lol Coxhill to name but a few…
Read (in french) : Martyn Bates : Vox Luminis – Interview par Philippe Franck – JazzMania 2021
Shoreline – is a line in motion – a line between past and memory – a line in a physical space – through reverberation – an echo – shoreline is a reflexion on emanation – on where we spill – fade – we, and sound, time, water, history – an attempt to contain the evadable – an ebb and flow – shoreline resonates – dissonates – through impact – a dance – a walk – a play with repetition – with waves – and how memory is never the same twice.
Maja Jantar > voice, ceramics, composition
Maja Jantar (NL/PL) is a multidisciplinary, multilingual and polysonic artist, ceramicist and director, whose work spans the fields of performance, music, poetry, ceramic and visual arts. ‘Distant Tartar’ roots echo in her soundings – weaving the operatic, poetic, abstract influences together to vocal sound works that landscape into performance. In pieces like ‘Petrichor a Lit[h]any for rain’ and ‘M[other]land’, she explores collaborations with non-human entities, rain, wood, plants, in her multi-disciplinary installation ‘Shoreline’, Lunalia Festival Mechelen, ceramics and a rolling table created a reverberating sound piece. In performance she invites to enter the field of the imaginary, the inner stream, the shamanistic, enchanting, prophetic.
Her visual and sound work has been shown in several exhibits, recently at Palais de Tokyo in Paris, in La voix libérée a sound poetry exhibition.
For 2021 an LP release of new vocal work is planned on Erratum, in the series ‘Voxxx’.
No Lockdown Art
Dans le cadre de son nouveau programme parapluie Creaconnections (soutenant la création contemporaine exploratoire hybride en réseau et sur le réseau), Transcultures, en partenariat avec les Pépinières européennes de Création, a lancé l’action No Lockdown Art – #NoLA2020 afin de soutenir le ré-activitisme d’artistes belges et internationaux qui ont initié, en période de confinement, d’intéressants projets audio, vidéo, multimédia… en ligne et diffusent librement leurs singularités et regards poétiques aux curieux connectés.
Dans cette période tristement unique (mais susceptible d’annoncer d’autres catastrophes), de nombreux artistes de toute origine ont refusé la quarantaine de l’expression partagée. Ils ont exprimé à la fois un besoin de se relier à un autre public (connecté) et de sortir tant de la peur et de la paralysie que du “tout à l’égo”.
Désirant s’associer à cette dynamique libertaire et donner soutien et visibilité à des oeuvres différenciées en ligne, Transcultures a ainsi proposé un soutien à la production à plusieurs artistes pour des projets à court, moyen, ou long termes.
Dans cette volonté pro-active et dé-confite, un appel à projet No Lockdown Art (#NoLA2020) a été lancé à la mi-avril 2020; il s’agissait et il s’agit encore ces derniers mois de soutenir activement de nombreuses initiatives d’artistes et concepteurs de projets culturels à la créativité intacte, si pas stimulée par les turbulences de notre monde virale.