Fibrr Records

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====== THE FIBRR CD PRODUCTION ======

===== BOT : COMPOSITIONS CONTINUUMS DES MACHINES =====

**(FIBRR011)**

{{:botcdfibrr011_cover_mini_web.jpg|}}

New release from Fibrr Records the CD-BOT is a winter recording multiple BOTs (sonic entities) mixed for CD format. This CD offers a fifty minute snapshot of a sound environment continuously condemned to exist, as a false extract it is the missing link between Luc Ferrari’s music concrete and machinic music/composition. 

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===== NANTES IS NOISE =====

"compilation" (FIBRR010)

{{:cable3:nantesisnoise5_web_very_low.jpg|}}

After 15 years of exploration and support for the Nantes scene, it is time for Apo33 and Fibrr Records to join forces and reveal some of the local talents and the great artists that are flourishing in our city.

__With:__ **Keith Rowe, Formanex, Wehwalt, Jerome Joy, Anthony Taillard, Jenny Pickett, Clinch, Luc Kerléo, Semantik, Mathias Delplanque, Julien Ottavi, Thomas Tilly, Morosphynx, Dominique Leroy.**

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===== C.I.A. - Le POULPE =====

"CDrevue" (FIBRR009)

{{cover:poulp.jpg}}

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Le poulpe (the octopus) is an analogical and digital organism living in a network. Each branch constitutes a sonic installation which, out of a specific location, collects its own locally generated sound effects, transforms them via a digital automaton into a new arrangement of sounds. The outcome is then broadcast locally, through loud speakers, and on the Net, through streaming. Le Poulpe belongs in the city, where people live and make noise. It gives a virtual body to this city, expressing through sounds its invisible mouvements and its continuous flows. Over the Net, its tentacles collect and connect continuous sonic fluxes from ever changing contexts, to infiltrate and modify another environment. 


===== FORMANEX =====
 

CD "PICNIC - JEROME JOY" (FIBRR008)

{{cover:picnic.jpg}}

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picNIC (2002/...) is an instrument for a quartet (commissioned by the improvisation electronic quartet Formanex in Nantes), acting on the sound selections and diffusion through a programmed system with a lot of features such as behaviors and inputs analysis and following, an internal memory, the surimposition of different layers and speeds, the controls of the sound spatialization, in order to obtain a composition of listening. PicNIC is a networked blackbox like a fifth member of the band, with some “cybernetics” behaviors. PicNIC must be considered as an attempt of cybernetic programming in music : a program plays and composes with inputs feed by musicians, based on continuous analysis of the sound inputs according to programmed behaviors.



===== GOO =====


CD "tableaux" (FIBRR007)


{{cover:goo.jpg}}


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The Grand Computer Orchestra (GOO)

This project came out of the APO33 collective research programme and first was presented on Friday 15th November 2002 at Nantes Museum of Fine Arts. 6 artists work together on the public presentation of this ‘orchestra’, analysing it from every possible angle, unravelling, unbuckling, skinning it until they discover the cracks that will lead them to new modes of creation. The project rests on the contradiction between two systems : the orchestra and the computer, forcibly linked. The artists do not perform as players of the orchestra, but as actors of an experimental sound event. The project is not experimental because its object is experimental music; it is experimental because it appears incoherent and improbable, because it involves two conflicting choices and because we cannot guess what will emerge as a result. One possible result being of camouflage, of concealment – accepting to amalgamate the cluster of conventions linked to each of these systems (the artists as members of a group using their computers as musical instruments) i.e. becoming a pantomime of an orchestra. Another being of a surprise attack at the core of these systems (orchestra and computers) which would then interrogate each other.

The Goo is more then an orchestra because its finality is not pre-determined. It is an open laboratory that evolves with each event ; each event is a new situation where new forms are experimented with (like when some external, far away artists produce sounds that are collected and transformed by the GOO members). The GOO experiments at the two ends of sound production : net-working and sound broadcasting. This poses two questions : how can we create a space that would be open, accessible to the public who do not participate in sound production on the net ? How can we recover and reshape, with the broadcasting device, the spaces which we choose to work in ? These questions have a common answer : the Goo is a multiheaded instrument and a multiheaded broadcasting device. The diversity of the broadcasting systems (i.e. of the listening options) implies a diversity of spaces of intervention and of modes of sound formation in space : sound reveals and reshapes the space.

Because each GOO performance implies specific modes of inscription in space and various points of view, we decided that each sound representation inscribed on CD would not borrow the shape of a sound or music piece, i.e. would not be disconnected from the material space where it had been produced. Each ‘tableau’ represents a different point of view on a collective action in a given time and space : the Museum of Fine Arts in Nantes, on 15th November 2002.

===== AMM / FORMANEX =====
 

CD "CORNELIUS CARDEW" (FIBRR006) 

{{cover:cd3formanex.jpeg}}


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The Musique Action festival in Nancy, June 2002: the English pioneers of texture-based free improvisation AMM meet on-stage with the much younger French electro-acoustic improv quartet Formanex. To shuffle the cards, John White and Laurent Dailleau were invited to join in. The menu: an excerpt from once-AMM member Cornelius Cardew's graphic score Treatise -- Formanex had already recorded a few pages of it for Fibrr Records. Of course, Cardew's piece can lead anywhere; it is little more than pretense for a musical collaboration. And it works. The single 45-minute piece begins with a bang, a group "chord" that fades out (the process being reminiscent of John Oswald's favorite introductory trick) leaving almost nothing, except for an electrical hum. In 30 seconds the listener has experienced the full dynamic range of the album. Slowly, a texture emerges, rich, dense, but quiet. The result of a group effort, it leaves no chance to isolate individual contributions. Then, 14 minutes 56 seconds into the track, the near-silence is interrupted by a very precise piano chord doubled by a cymbal hit and something electronic joining the cue. This cue acts like a scalpel piercing through the skin. Gradually, individual voices detach from the collective organism and ooze out. First up is Eddie Prevost's percussion work, followed by Dailleau's theremin, and the entrance of sheep. Yes, sheep, a disturbing arrival and not the last. Other sound samples erupt from time to time, disturbing the flow of the piece, shaking it up. A pop song bursts out for a few seconds, five minutes before the end, and it delivers the final stab. Afterward, the piece dies slowly and peacefully, ending on a Morse code transmission and a faint sine wave. And there's no applause at the end of the disc to distract the listener from processing the experience. And a captivating experience it is. ~ Franois Couture, All Music Guide


===== PHRÉNÊSIE #2 =====


REVUE + CD "a space of language experimentation" (FIBRR005) 

{{cover:cdphrenesie.jpeg}}


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poetic sound pieces with electronic treatments performed by john tilbury, sophie gosselin, julien ottavi, brandon labelle


===== FORMANEX =====
 

CD "TREATISE - CORNELIUS CARDEW" (FIBRR004) - **out of order** 

{{cover:cd2formanex.jpeg}}


The disc begins in a state of quiet agitation. There’s a near-impossible to hear click, regular, about the tempo of a 45 rpm record but it’s soon swallowed in an only slightly louder rumble which, in turn, is overlaid by a quasi-rhythmic scratch, as of an electrical lead making periodic contact with its ground. This begins to describe the sound-world of {Formanex}, a French quartet which chooses to remain as anonymous as possible, wanting the listener to consider only the music, not the individual musicians or the particular technology they wield. They have worked with {AMM}’s brilliant {Keith Rowe} (see the superb album {[N:Q]}, also on {fibrr}) and that pioneering group’s influence is certainly heard in several aspects of this performance. One is the generation of a palpable aural space; the music breathes and has volume, filling the listener’s ears with all manner of detail. Another is a concern with time and scale. The sonic elements aren’t hurried or pushed but allowed to dwell in the foreground until they’re ready to move on, sometimes to be recalled later, other times to evaporate. {Formanex} is quite capable of interjecting rude noises into the proceedings and it does so as the first piece reaches its latter third, but they’re most effective when investigating subtler areas. The second track begins again with repeated brush-like strokes, this time eventually supporting a combination of percussive, echoing bangs and sine wave blips. A series of groaning, rubbed tones predominates for several minutes but that initial brush pattern always lingers and carries the piece off in an array of soft, keening whistles. The listener has a visceral impression of having “visited” a very real, if abstract, space. An impressive album by a still-young band, {Formanex} is highly recommended to fans of {AMM} and the post- {AMM}, electro-acoustic improvisation scene generally.

Formanex/Computers/Bass/Theremin/Guitar/Electronics/Percussion/Saxophone/Objects


===== DIGITALLIVERADIOSESSION =====


CD "s/t" (FIBRR003) 

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Christophe Havard (radio, tape, motors, contact microphones, mini-disc), Emmanuel Leduc (no input mixing board, radios feedback, sampler), John Morin (turntables, sampler), and Julien Ottavi (laptop) met in February 2001 for an improvised set of electronic music. The result is “DigitalLiveRadioSession?”, a title that refers, not to a live broadcast over digital radio, but to the instruments used. With two radios and the vocals and other such samples emitted from turntables and tape player, an overall atmosphere of information and media permeates through the static. Tinny, noisy tones, rather than severe, sub-frequency glitches, consume the majority of the session. Halfway through, a soft drone emerges with equally soft bursts of music and other sound. Unfortunately, this only lasts for a few minutes before harsher tones enter. As improvised (and consequently aimless and erratic) music, this is quite good. Capturing bursts of sound from outside media results in interesting sonorities that cannot be achieved with just the other instruments used. The fact that this is French radio allows me to listen to the manipulated human voice without being bothered by words. (I’m glad I didn’t pay attention in French class.) The main drawback is that, although many different sounds are explored over 46 minutes, high frequencies dominate while bass frequencies are nearly absent. (Matt Roberson) - Angbase 


===== FORMANEX =====
 

CD "Live in Extrapool - CORNELIUS CARDEW" (FIBRR002) - **out of order**  

{{cover:formaa.jpeg}}



Formanex is a quartet of improvisers from France (I think from the city of Nantes): Christophe Havard, Anthony Taillard, Emmanuel Leduc, and Julien Ottavi. They work with electronics, percussion, guitar and bass, amplified objects, and saxophone, but more importantly they build up their works from very small elements of sound, isolated, amplified, and repeated. They are inspired by Britain's AMM (Ottavi and Havard appeared on Fibrr's first release with Keith Rowe from AMM). This album documents a performance in the Netherlands which was based on graphic scores from Cornelius Cardew's "Treatise". The best two cuts on the CD are the shortest and the longest ones. The shortest piece, at 5 minutes plus, has an immediacy that seems to capture direct reactions to visual features of the graphic score. One of the challenges with using a graphic score for improvisation is that the immediate reactions to the visual characteristics of the score may in a longer piece feel simply strung together. Some of longer pieces on this disc did not have the level of the urgency, tension, intensity, and focus I look for in improvised music. That being said, the longest piece runs for 24 minutes and has a really strong drive and coherence. This is achieved largely by sustaining steady, insistent pulses through long stretches, shifting the sounds in and around the pulse as it moves forward, and then interrupting those passages to allow a pulse to be reestablished on different sonic terms. The sounds themselves are often industrial and ominous. The total texture is complicated, with lots of soft, sometimes practically inaudible sounds, mixed around and behind the foreground sounds. Formanex also gets great results from amplifying faint sounds, such as the sound of air blown through a saxophone too weakly to resonate the reed in standard terms. Zeroing in on and turning up small sounds brings out the structure and complexity of those noises. This disc does a really nice job of examining sound. (David Maddox)


===== [N:Q] =====
 

CD "s/t" (FIBRR001) - **out of order** 

{{cover:nqa.jpeg}}


The obscurely titled [N:Q] is a superb electro-acoustic recording of a quartet featuring three french musicians and AMM’s Keith Rowe. The single track is an unendingly fascinating and refreshingly sensuous journey of free improvisation, never lacking for ideas and inspiration. Despite the presence of two reed instruments, the general ambience is electronic with drones of varying depths and sonorities predominating. Indeed, while Havard’s alto sax occasionally breaks through with frantic squiggles, Chevalier’s bass clarinet tends to provide a lush companion drone to that generated by Rowe. By maintaining an impressive concentration on one (apparently) slender slice of the sonic spectrum, this quartet is able to unearth a richness and corporeality often lacking in this sometimes arid territory. One is tempted to credit Rowe with the steadying hand here; his playing is at once both extremely assured and democratically deferential to the group. Along with The World Turned Upside Down on Erstwhile, this is one of his finest projects outside of AMM. Fans of that protean group will find much to enjoy on [N:Q], a state-of-the-art document of electro-acoustic improvisation at the turn of the century.

Brian Olewnick (All Music Guide/May 2002)
Fibrr Records

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