a r t i s t : Cyril Epinat, Mathias Forge & Jerome Bertholon
t i t l e : Duo...
d a t e : 2005
l a b e l : Creative Sources
g e n r e : Avantgarde
r l s. d a t e : Feb/2006
t r a c k s : 06
b i t r a t e : VBRkbps
s i z e : 105,4 MB
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Cyril Epinat acoustic guitar, objects
Mathias Forge trombone, objects
Jerome Bertholon recording, electric lighter, quartz clock
Original soundtrack recorded in France at La Pierre Chatelus
in La Croixdu Sud located on the Cote Roannaise (Loire
district).
friday dinner: polenta, tomatoes, sauce, lettuce (salad)
saturday lunch: ratatouille, meat, melon, ham
saturday dinner: pasta carbonara
Some reviews:
Oddly enough the disc of the final trio is called 'Duo...'.
Here we find Cyril Epinat (acoustic guitar, objects), Mathias
Forge (trombone, objects) and Jerome Bertholon (recording,
electric lighter, quartz clock). This is the longest CD of the
lot (clocking over seventy minutes) and at times also the most
silent CD. One has to crank up the volume quite a lot to grasp
some of the music. In true onkyo style they produce very
careful and delicate music, in which the various instruments
function as objects. If I understand well, the music was
recorded outside, in a grove, in a leafy forest and a big
field pond-side, which makes this incorporate fields, rather
than field recordings. Another highlight. Frans de Waard
(Vital)
Taking a look at the liner notes, which refer to the music as
a "sound track" while also providing a description of the
meals eaten by the three protagonists during the recordings,
then listening to the first sounds coming from the speakers,
one gets the impression Duo... is a single improvised field
recording where events sound accidental even when they aren't.
Epinat and Forge play "objects" as well as their conventional
instruments (acoustic guitar and trombone), while Bertholon
records the proceedings, adding electric lighter and quartz
clock to the sources. Spurious flatulence and third-generation
scratches of dirty, cheap harmonics interact with
environmental sounds; fluttering, splintered nervous outbursts
are followed by scraping investigations and a rash of
miniature acts of aggression. The tranquillity of wind and
insect sounds that opens the fourth movement is soon
interrupted by a passing car and Epinat knocking on his guitar
body, after which microsonic explorations resume. It sounds
like The Last Supper inside an anthill doused with sulphuric
acid. The musicians smile and chow down on the corroded
remnants, loading their car without haste. But the radiator's
leaking. Massimo Ricci (Paris Transatlantic)
Epinat (acoustic guitar, objects) and Mathias Forge (trombone,
objects) recorded these improvised tracks with Jerpme
Bertholon (credited as "recording, electric lighter, quartz
clock"!) in La Pierre Chatelus, in the Loire district of
France. They performed outdoors (in a wood, in a field etc.)
and you can actually hear crickets and other faint natural
sounds while they play - but nothing as phonography-based as,
say, Afflux's works. "Duo..." features honest, but a bit
predictable and standard (if this word can be used for radical
impro - I guess it can) pieces, with guitar-played-as-object
ramblings and Dorner-style trombone gurgles and sputters.
[...] Eugenio Maggi (Chain DLK)
Duo . . . (CS 044) is a fascinating, cryptic set of recordings
from Cyril Epanat (acoustic guitar and objects), Mathias Forge
(trombone and objects) and Jerome Bertholon (recording,
electric lighter, quartz clock). Recorded from over the course
of 30-some hours-from just before midnight on a Friday until
Sunday dawn-these very quiet pieces are mostly rather abstract
and seem to reflect the "environmental" properties of the
recording locations (all in Southern France, and credited
simply as "grove", "leafy forest", "big field pondside", and
"'Chatelus' stone"). Forge is certainly the more garrulous of
the players, exploring the flatulent tailgating end of the
sound spectrum but doing soùif this is possibleùin a highly
restrained fashion (which surely requires an impressive amount
of control). Epanat will only rarely slash across the strings
or pluck a single resounding note-he's more likely, much more
than Forge, to avoid the idiomatic properties of his
instrument. Occasionally I thought I heard some insects
buzzing in the environs and even more seldom there are
passages of rising intensity. But most tracks are anything but
effusive, with the players intent to merge with whatever
sounds they find around them. Excellent stuff. Jason Bivins
(One Final Note)
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01-Friday the 3rd of September 2004, 23h41, Grove [06:42]
02-Saturday the 4th of September 2004, 16h23, Leafy [11:38]
Forest
03-Saturday the 4th of September 2004, 17h14, Leafy [12:13]
Forest
04-Saturday the 4th of September 2004, 20h29, Big Field [14:42]
Pondside
05-Sunday the 5th of September 2004, 05h37, "Chatelus" [12:57]
Stone
06-Sunday the 5th of September 2004, 06h10, "Chatelus" [12:41]
Stone
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70:53 min