a r t i s t : Israel Quellet
t i t l e : Oppressum
d a t e : 2006
l a b e l : sub rosa
g e n r e : Avantgarde
r l s. d a t e : Feb/2009
t r a c k s : 11
b i t r a t e : VBRkbps
s i z e : 74,4 MB
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Introduction to Israδl Quellet - His Life
Born in NeuchΓtel, Switzerland, 1972. He worked in the
psychiatric field for several years. At 16, he discovers on
his own some different soundworlds, such as Miles Davis's
electric era, Sun Ra, Dub, German cosmic music, Magma, Zappa
and many more. In 1997, he stepped into the action and,
following the advice of a sound engineer friend, bought
microphones, a digital mixing board, and studio monitors.
Basically, he turned part of his basement into a soundsmithing
studio. That is when he started to create, out of his
immediate surroundings, sound works that have little to do
with what is "normally" being done. Appreciated by composer
Jorge E. Campos, Quellet is supported by the Centre Pierre
Schaeffer in Paris. In 2003, he contacted Sub Rosa. Now, three
years later, he is releasing his first public recording.
Introduction to Israδl Quellet - His Sound Quellet's music is
not really outsider sound art, but it shares strong
similarities with it. It explores a debarred universe almost
impossible to escape. A minute - albeit extreme - exploration
of sound (particularly through saturation), mystical discourse
and excesses. However, the composer is also pictured as a
regular guy living in a Swiss town, a guy who likes to toy
with the local church's organ, accompanied by his wife...
Sound materials come from a number of sources: the local
church's organ, rented or borrowed percussion instruments
(bass drum, timbales, gong, djembe), various objects being
struck (his oil tank at home struck with hammers and iron
rods), pipes, faucets, telephone touch pads, power tools,
sound-producing toys, voice, mouth sounds, throat sounds, and
wheelbarrows.
Israδl Quellet's Sound, In His Own Words
I made the sounds while I was recording, either alone or with
the help of my wife. Once a piece has been edited together,
the final mixing is performed live, without automation. In
order to retain the original dynamics, I do not use
compression or any other specific mastering technique designed
to equalize the sound or spatialize the stereo image. However,
the heavy saturation used in some pieces limits the range of
dynamics. The diverse sounds and the diverse means used to
capture them give each piece a different overall sound and
stereo image. Therefore, the pieces are not standardized
or calibrated systematically; they do not all sound the same.
(http://www.subrosa.net)
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01-Pour Frappes Sur Citerne, Percussions, Voix [07:31]
02-Pour Percussions Et Saturation, Bruits De Gorge [04:46]
03-Pour Frappes Sur Citerne, Percussions [07:22]
04-Pour Percussions, Jouets Sonores [06:07]
05-Pour Orgue, Voix [02:28]
06-Pour Frappes Sur Citerne, Percussions [07:09]
07-Pour Voix Et Rire, Percussions, Orgue [04:39]
08-Pour Percussions, Ponceuse, Frappes Sur Clavier De [04:58]
TΘlΘphone
09-Pour Seaux TraεnΘs A Terre Et Saturation [05:55]
10-Pour Voix, Orgue Et Saturation [07:51]
11-Pour Percussions Et Saturation [05:30]
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64:16 min