![\"S\u00e9cheresse](\"https:\/\/www.gruenrekorder.de\/Photos\/d_incise_cover.jpg\" "\\"S\u00e9cheresse")
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S\u00e9cheresse Plant\u00e9e En Plein Ciel | d\u2019incise<\/a><\/strong><\/p>\n Gr 071 | Gruen CD-R<\/a> > [Sold Out<\/span>]<\/p>\n MP3 & FLAC > [order<\/a>]<\/p>\n Reviews<\/a><\/p>\n <\/p>\n 01. le fl\u00e9au\u00a0\u00a0 6’59<\/p>\n 02. regarder la croix plut\u00f4t que la poutre\u00a0\u00a0 6’51<\/p>\n MP3<\/a><\/p>\n 03. trente ans en trois heures\u00a0\u00a0 6’38<\/p>\n 04. s\u00e9cheresse plant\u00e9e en plein ciel\u00a0\u00a0 4’30<\/p>\n 05. omnipr\u00e9sence\u00a0\u00a0 7’15<\/p>\n 06. somnolence \u00e0 Sosnoviec\u00a0\u00a0 6’06<\/p>\n MP3<\/a><\/p>\n 07. insouciance apparente\u00a0\u00a0 8’02<\/p>\n 08. s\u00e9cheresse en p\u00e9riph\u00e9rie\u00a0\u00a0 6’17<\/p>\n 09. couloirs obliques\u00a0\u00a0 5’48<\/p>\n 10. \u00e0 quelques orages d’intervalle\u00a0\u00a0 5’17<\/p>\n 11. la vie immobile\u00a0\u00a0 2’20<\/p>\n MP3<\/a><\/p>\n <\/p>\n Mostly based on fieldrecordings done in Czeck Republic and Poland during summer 2007. Composed between january and july 2008 in Geneva.<\/p>\n <\/p>\n this album is something like a blur travel diary second reading.<\/p>\n there is some places, with their cultural prints, their people, voices, noises.<\/p>\n their changes, fast, where past and present, still, a bit, cohabit.<\/p>\n the neoliberalism joyfully conquering under brightfull colors, selling its spectacle.<\/p>\n there is habits, faith, misery, and the way we looked a them, with our own cultural construction.<\/p>\n there is all the small details that our eyes and ears catch, their everyday-poetry,<\/p>\n and the personnal story we build upon them. the rain falling on the roof. the smells. Foods. Animals.<\/p>\n it’s about be somewhere for a while, then move, then work on its memories.<\/p>\n it’s not supposed to be right, or fair, juste one of the possibles.<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n www.dincise.net<\/a><\/p>\n <\/p>\n 11 Tracks (67\u203200″)<\/p>\n CD-R (50 copies)<\/p>\n Photo 3 by kurwydomowe.net<\/a> \/ <\/span>Photos 2 & 4 by <\/span>dincise.net<\/a><\/p>\n Gruenrekorder \/ Germany \/ 2009 \/ Gr 071 \/ LC 09488<\/p>\n <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n David Grundy | EARTRIP magazine<\/a><\/strong><\/p>\n A solo project from D\u2019Incise (of Geneva-based improvising duo Diatribes), \u2018S\u00e9cheresse Plant\u00e9e En Plein Ciel\u2019 shares something, perhaps, of that jittery, skittering, scrabbling electronics and percussion set-up, but only as an element on the periphery of its overall musical vision. This music is more about atmosphere than moment-to-moment interaction and change, though that\u2019s not to say it skimps on detail: however, it draws one into its flow through the repetitive quality of its 11 tracks, which are structured around beats or droning synthesizer loops. The cover art gives a good indication as to what to expect: flecks of light emerging at the edge of spreading stains of darkness on the one hand, and on the other, landscapes flooded by an orange cloud of dust that renders only the sketchiest de! tails visible \u2013 the shadows under stones, the vague outline of a spindly bush. Similarly, the music is expertly constructed out of a mix of primary elements, which continue throughout the piece, and smaller spurts, buzzes, hisses \u2013 sampled sounds that disappear almost as quickly as they emerge; unconscious thoughts, sudden traces of movement glimpsed out of the corner of the eye, ghosts stalking the corridors, disappearing round the corner. The effect can be unsettling, though it can also be playful, brooding, perhaps even melancholic. Track 8 is entitled \u2018s\u00e9cheresse en p\u00e9ripherie\u2019 \u2013 \u2018drought on the periphery\u2019 \u2013 which nicely captures the record\u2019s sense of dread, of a crisis about to happen, or the faintest echoes of one that has already happened, a long time ago, yet li! ngers on still, the grubby traces of the past imprinted on the mind. Stains can be scrubbed from walls, ruined buildings can be rebuilt, wounds can be stitched up\u2013 but the scars of memory are less easy to heal. And memory is an important factor here \u2013 D\u2019Incise created these soundscapes from field recordings made in the Czech Republic and Poland a year before the album was composed in Geneva. Field recordings abstracted from their source, voices and creaks and clankings \u2013 a station announcement, the sound of moving transport, the crackle of a lighted match \u2013 negate the re-assuring equivalence of sound to something particular in the world, turn it into something that deceives, that echoes, that can\u2019t be pinned down. Can one trust one\u2019s sense? What is one being told through these sounds? Perhaps thi s is something to do with the very notion of recording &! ndash; a sound played back, days, weeks, months, years after the event, has lost its connection to what originally produced it, has become an empty echo in technology\u2019s endless playback \u2013 the natural has become the synthetic, the imitation, the reflection. D\u2019Incise writes: \u201cthis album is something like a blur travel diary second reading,\u201d and a further layer presents itself here: while he himself may know the source of these recordings, however abstracted and musicked they have become, his listeners do not have that privilege. All they have to go on is guesswork. The result \u2013 for this listener at least \u2013 is that one cannot entirely surrender oneself to the sounds; at the edge of this \u2018ambient\u2019 music is something troubling; a promise of \u2018signification\u2019 offered by the field! recording aspect is like a carrot dangled in the air, always pulled away at the last moment. Whereas a written diary might pretend to offer up its writer\u2019s inmost thoughts (those he cannot tell others), might provide access to the core of that person in a way that would never be possible in a social context, this audio diary refuses the narrativizing at the heart of the written diary, leaving only the vague sense impressions, the vaguest feelings. It offers nothing concrete; everything is shifting, elusive. Do the suggestions of a climax, a crisis, at the end of track six \u2018reflect\u2019 a personal dilemma, an emotional trauma, or something as innocuous as a train passing under a tunnel? To pose such questions in the first place is an error \u2013 it is to fundamentally misconstrue the processes of this \u2018diary\u2019. The danger in a project such as this would be using field recordings ! as just another element in a vague ambient wash of sound \u2013 like the \u2018whale song\u2019 or \u2018rainforest tranquillity\u2019 CDs you might find in an English garden centre. What D\u2019Incise achieves here is something much more interesting. The field recordings are not used in the manic, collage-sampling fashion of something like C. Spencer Yeh\u2019s \u2018The Strangler\u2019, which in fact has a stronger connection to \u2018signification\u2019 \u2013 in the manner of the fragments one catches from a radio station. Rather, they seem to have been interiorized into the very heart of the music, integrated into, and even generating, its textural and rhythmic structure: quietly clanking and clicking loops, suggestions of children\u2019s voices, pizzicato strings, a double-bass, a twinkling \u2018riff\u2019; everyth! ing suggested, nothing revealed. (DG)<\/p>\n link<\/a><\/p>\n <\/p>\n Fabrice Allard | EtherREAL<\/a><\/strong><\/p>\n d\u2019incise est le projet du Suisse Laurent Peter, bas\u00e9 \u00e0 Gen\u00e8ve et membre du collectif Audioactivity. Nous avions d\u00e9j\u00e0 \u00e9cout\u00e9 quelques unes de ses productions (on vous conseille par exemple l\u2019electronica cr\u00e9pitante de Les d\u00e9rives, publi\u00e9 en 2005 et disponible en libre t\u00e9l\u00e9chargement sur son site web), plut\u00f4t exp\u00e9rimentales et m\u00ealant influences electronica, field recordings et musique concr\u00e8te. Laurent Peter est extr\u00eamement productif et il est un peu difficile de suivre toutes ses productions (en solo ou avec Cyril Bondi en tant que Diatribes) et netlabels (Insubordination un peu plus port\u00e9 sur le jazz et l\u2019impro, Audioactivity au spectre assez \u00e9clectique mais restant globalement ax\u00e9 sur l\u2019\u00e9lectronique).<\/p>\n <\/p>\n L\u2019univers de d\u2019incises interroge. Myst\u00e9rieux et po\u00e9tique comme ses titres d\u2019albums ou de morceaux, \u00e0 la fois sombre et beau, complexe et pourtant imm\u00e9diatement accessible, le Suisse a tout pour r\u00e9ussir. Par rapport aux d\u00e9rives de 2005, ce nouvel album se r\u00e9v\u00e8le \u00eatre bien plus dense, faisant la part belle aux field recordings puisqu\u2019il sort chez Gruenrekorder, label sp\u00e9cialis\u00e9 dans le genre.<\/p>\n Le r\u00e9sultat est surprenant, d\u00e9butant par de nombreux bruitages un peu inqui\u00e9tants, chocs m\u00e9talliques, bruissements, grincements, r\u00e9sonants de toute part, avec une sorte de pincement de corde de violon pour toute m\u00e9lodie. Une ambiance cin\u00e9matographique fa\u00e7on film noir, envo\u00fbtante, et finalement accrocheuse alors que ce qui n\u2019\u00e9tait que bruitage et abstraction s\u2019organise comme par magie. C\u2019est un peu le m\u00eame principe qui est repris sur chaque morceau, mais le proc\u00e9d\u00e9 est suffisamment subtil et les constructions complexes pour que l\u2019on ne parle ici de recette. Quand l\u2019organisation se fait plus rapide et les sonorit\u00e9s plus nettes, les influences electronica de Laurent Peter apparaissent plus clairement. C\u2019est le cas en particulier sur le superbe Regarder La Croix Plut\u00f4t Que La Poutre avec sa rythmique concass\u00e9e mais extr\u00eamement fine, le tr\u00e8s instrumental S\u00e9cheresse En P\u00e9riph\u00e9rie ou encore Insouciance Apparente aux m\u00e9lodies douces et pointillistes tandis que des samples vocaux d\u00e9rang\u00e9s viennent questionner.<\/p>\n Se d\u00e9tachant de toute contrainte de forme, d\u2019incise nous offre ici un album extr\u00eamement riche de pi\u00e8ces plut\u00f4t longues (6mn de moyenne) qu\u2019il d\u00e9coupe comme bon lui semble, rompant une structure rythmique et\/ou m\u00e9lodique en place pour faire un break compl\u00e8tement compos\u00e9 de collage de field recordings, enfants jouant dans un parc, annonce dans un hall de gare, souffle bruissant de transports en commun (Trente Ans En Trois Heures), pluie, s\u2019orientant alors vers une sorte d\u2019ambient sombre, urbaine ou industrielle, br\u00e8ves r\u00eaveries pourtant bien ancr\u00e9es dans le r\u00e9el.<\/p>\n <\/p>\n Un peu comme si Autechre avait abandonn\u00e9 ses machines pour aller capter la vie \u00e0 l\u2019ext\u00e9rieur, d\u2019incise compose son electronica \u00e0 partir de samples du quotidien. Un r\u00e9sultat surprenant.<\/p>\n link<\/a><\/p>\n <\/p>\n Frans de Waard | VITAL WEEKLY<\/a><\/strong><\/p>\n Back in Vital Weekly 686 we first lent an ear to D’Incise, a project from Geneva, Switzerland. Here he returns with an album for Gruenrekorder, and for the label, its that much needed change: to incorporate field recordings – in this case made in the Czech Republic and Poland – with music. D’Incise, it is noted before, is the man armed with a sampler. Rhythms play a role in his work, and stretched out flows of sound – ambient in other words – are also important. To this he adds his field recordings – children playing, ventilation, means of transport. He bends and pitches his material around, like before. One of the things that also stayed, a bit unfortunately, is that his pieces are throughout a bit overlong. Six, seven minutes is the rule here, and that is, I think a bit long. The music is not always that good or that varied to hold the attention for the entire length of a track. That is a pity. The music would certainly gain power if things would have been shorter and more to the point. The great potential is certainly there but too stretched out and leaps into mediocre pieces. (FdW)<\/p>\n link<\/a><\/p>\n <\/p>\n Ed Pinsent | The Sound Projector music magazine and radio show<\/a><\/strong><\/p>\n D\u2019Incise has I think played with Diatribes, the didactic improvising combo from Switzerland, but here he be with a solo effort S\u00e9cheresse Plant\u00e9e en Plein Ciel (GRUENREKORDER Gr 071). This is an interesting approach to field recordings, which allows the possibility of radical cut-ups and electronic treatments, to create a disorienting sonic portrait of everyday life in the Czech Republic and Poland. The murmured banalities of humankind are given an extra thrilling and slightly dangerous edge by these digital interpolations.<\/p>\n link<\/a><\/p>\n <\/p>\n Rui Eduardo Paes | Cr\u00edticas – Novas<\/a><\/strong><\/p>\n Seja como for, \u00e9 a solo que melhor compreendemos aquilo que D’Incise procura, e \u00e9 esse o caso destes registos. O menos interessante ser\u00e1 „S\u00e9cheresse Plant\u00e9e en Plein Ciel“, n\u00e3o pela m\u00fasica proposta, que chega em alguns momentos a requintes de sombria beleza, mas porque cai em redund\u00e2ncia a n\u00edvel de materiais e de atmosferas. A meio caminho, a audi\u00e7\u00e3o torna-se cansativa e apetece tirar o CD do leitor. Com o mesmo enquadramento, „Cendre et Poudre“ \u00e9 bastante mais convincente. Os temas oferecem diferentes perspectivas e os jogos percussivos s\u00e3o n\u00e3o apenas sonicamente mais ricos, como evoluem em permanente muta\u00e7\u00e3o, ora impondo-se pela densidade, ora cativando-nos por meio de um intrigante efeito de transpar\u00eancia. N\u00e3o foi por acaso que a cr\u00edtica su\u00ed\u00e7a apontou Laurent Peter como um \u00abplasticista sonoro\u00bb. Percebe-se, inclusive, que s\u00e3o aplicadas t\u00e9cnicas do dub \u2013 para quem n\u00e3o saiba, o nome dado ao reggae tratado e criativamente remisturado em est\u00fadio. A transposi\u00e7\u00e3o de metodologias espec\u00edficas de um g\u00e9nero musical para outro, separando-as da sua gram\u00e1tica, \u00e9 um dos sinais distintivos do presente est\u00e1dio da criatividade musical.<\/p>\n link<\/a><\/p>\n <\/p>\n Ron Schepper | textura<\/a><\/strong><\/p>\n Like many a Gruenrekorder release, d’incise’s S\u00e9cheresse Plant\u00e9e En Plein Ciel is heavily field recordings-based, in this case recordings collected in the Czech Republic and Poland during the summer of 2007. However, to a far greater degree than the standard Gruenrekorder release (or any release for that matter), d’incise’s recording occupies a middle ground between field recordings and electronica (of the electro-acoustic kind). More precisely, rather than ornamenting electronic tracks with field recordings detail as may producers do\u2014using them as added colour, in other words\u2014, the Geneva, Switzerland-based producer (also a member of Audioactivity, a music-and-visual collective founded in 2000 in Geneva) manipulates the field recordings elements so that they become source material for building the rhythm and melodic structures within the electronic tracks (the slow pulse in \u201cOmnipr\u00e9sence,\u201d for instance, sounds as if it was created from a sample of keys). Adopting such a production methodology makes for arresting results, in part because it’s a strategy that’s not commonly undertaken. That it isn’t is a bit of a shame; it’s rare to hear originating natural materials used in such \u2018musical‘ manner (especially ear-catching is the way micro-edits of children’s voices are used as rhythm material during \u201cInsouciance apparente\u201d) and S\u00e9cheresse Plant\u00e9e En Plein Ciel turns out to be more engaging than the norm.<\/p>\n <\/p>\n Subtle melodies, bass lines, and electronic rhythms thread themselves through dense and often slow-moving thickets of samples (city traffic, public voice announcements, trains, people, animals, industrial clatter) in a project that d’incise likens to a blurry travel diary. There’s no shortage of textural content, with clicks, static, and other noise details surfacing alongside the ‚melodic‘ material. At times, the d’incise sound strays into others‘ orbits. One could imagine \u201cS\u00e9cheresse en p\u00e9riph\u00e9rie\u201d appearing on Autechre’s EP7, for example, given how similar d’incise’s beatwork and ponderous tonal weave is to tracks on that recording. If d’incise’s material is relatively distinguished for being original in approach, the release itself suffers from an all-too-common malady: excessive length. Shaving a minute or two off of some of the longer tracks (those in the seven- to eight-minute range) wouldn’t have hurt the material significantly but would have allowed the project to establish itself more succinctly.<\/p>\n link<\/a><\/p>\n <\/p>\n Wonderful Wooden Reasons webzine | wonderfulwoodenreasons.co.uk<\/a><\/strong><\/p>\n Using recordings sourced through travels in the Czech Republic and Poland mixed with various identifiable (and not so) instrumentation d’incise has created a really quite marvellous collage of sound.\u00a0 His take on electronic music is one of disjointed melodies and broken ambience that allows him to hold the listener in a limbo like sense of disorientation.\u00a0 His field recordings are beautifully chosen and there are moments where the grimy mundaneity of contemporary life almost breaks through before it’s all is pulled back into the panoptic swirl by the quality of his music.<\/p>\n D’incise operates in that strange hinterland between genres.\u00a0 His music operates within and without referential boundaries and is all the stronger for it.\u00a0 He’s unafraid to flirt with melody and positively embraces rhythm but each is kept and utilised purely as tools within and extensive arsenal of methodology. This all leads towards two conclusions that can be drawn here; that this album is hard to define but easy to listen to.<\/p>\n link<\/a><\/p>\n <\/p>\n Zipo | aufabwegen<\/a><\/strong><\/p>\n Wieder einmal eine spannende Ver\u00f6ffentlichung auf Lasse-Marc Rieks Label Gruenrekorder. Dieses Mal ist das schweizer Projekt D\u2019Incise aufgefordert uns die Variationsm\u00f6glichkeiten der Verarbeitung von Feldger\u00e4uschen darzulegen. Die Kl\u00e4nge wurden im Sommer 2007 gesammelt in Polen und der Tschechischen Republik. Sie reichen von urbanen Soundscapes bis hin zu intimen kleinen Naturknistereien. Die Montage ist hier nicht nur das Gestaltungselement Nr. 1, sondern es erfolgt auch eine dezidiert \u201cmusikalische\u201d Auseinandersetzung, indem z.T. sogar kleine Rhythmen hinterlegt werden oder eine elektronische Fl\u00e4che als St\u00fctze angelegt wird. D\u2019Incise ist ein Projekt, welches man sicher im Auge behalten sollte.<\/p>\n link<\/a><\/p>\n <\/p>\n![\"\"](\"https:\/\/www.gruenrekorder.de\/Photos\/d_incise\/pl_2.jpg\")
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