Günter Müller iPod, Percussion, Electronics
Norbert Moslang - Cracked Everyday Electronics
Erikm - CD-J & Electronics
Performed in a double space.
Final mixing and mastering by Norbert Moeslang
Artistic director : Frédérick Quennoz
Cover art / Daniela Grüninger
Production : Dolmen
United Diktaturs of Europe
8 tracks : CD edition
Seb el Zin’s latest experiment has everything the informed music-lover needs to fuel his fantasies, be it only mention of these hallowed names in the line-up : Arto Lindsay, Archie Shepp, Mike Ladd, Luc Ex, Juice Aleem and ErikM, to name but a few.
But these names merely represent the foundations for an even more demented music than that on A.R.of Bzzz’s first offering which, along with Lindsay and Ladd, featured Marc Ribot and Sensational.
This time the barbed-wire guitars of the last record, interwoven by Lindsay and el Zin (who on this album also plays the ney) are borne on the back of Luc Ex’s visceral bass and the thwacking rhythms of two talented Turkish percussionists. On this blazing canvas, the rhapsodic flights of the kanun and the violin, the saxophonic slashings of Mr Shepp and the abrasive minerality of eRikm all jar superbly with the machine-gun vocals of Ladd and Aleem, both more seething than ever.
The album’s cover, designed by Kiki Picasso, acting in his role as propaganda minister, puts the seal on what is — have no doubt about it — a cult classic, just like its illustrious predecessor.
eRikm & Martin Brandlmayr
eRikm : CD-j & Electronics
Martin Brandlmayr : Drums
6 tracks : CD edition
Opening with an Apocalypse — a dis-covering where everything is assembled anew, where a snare drum gets dismembered. The drums instantly reanimate into a new body without organs, opening a breach, opening a space. The drummer lifts his sticks and hits ; a vertical landscape emerges inbetween, unidentified as it first breaks into the ears, as some atmospheric depression : variations in grain, tracing, electronic mass — disparate energy where some new chemistry arises, all between skin and memory. Each impact, each collapsing, each crumbling of the surface sets anew the fiction of the encounter, of the game ; devoid of catharsis, but definitely vital.mikroton |Russia
Catherine Jauniaux : Voice . bird call . cupule . cazoo ..
eRikm : Turntables + Electronics & live sampling + architect lamp
Mal des Ardents / Pantonéon
Mal des Ardents - recorded in 2010
Pantonéon - registered Taktlos festival in 2000
eRikm & Catherine Jauniaux : the turntables of improvisation…
Captured. From the first second of their show the public hangs on the Catherine Jauniaux’s voice , is hypnotised by the extraordinary antics of ErikM at his turntables.
No hold barred , they are in a kind of insatiable creative transe. A pure and very deep-rooted improvisation, a journey into the soul where all states can be experienced.
Catherine Jauniaux journies through her extensive vocal range and wends and weaves all feelings with disconcerting ease, erikM creates a surprise at every turn. Poetic and ardent music, deeply human . The constant pleasure of playing with the musicality of words and the fabulous ressources of the body. Erik follows, surrounds, initiates, anticipates or concludes the vocal propositions with equally inventive virtuosity .Vertiginous !
eRikm : CD-J + electronics & sampling live . Mouth Organ
Natacha Muslera : Voice & Microphones + Objects . Mouth Organ
"Cartouche is a mixed duet featuring eRikm and Natacha Muslera, active since 2010.Fragments that break off of a body, like a shattering windshield.The electronics and the voice trigger eruptive sound phenomena, either rushed or stretched, in which the listener is immersed in a physical experience that is transversal to music itself.Leaving only debris and brilliant ruins. With malice, Cartouche is freed of all semantic background and takes delight in this. An untamed and convulsive distanciation essay, both natural and forceful.Monotype Records |Poland
eRikm & N.Moslang
eRikm first met Norbert Möslang in December 1998 at the festival More Scratch in Nantes when they first played together as part of ad-lib quartet gig which later became known as poire_z, a prominent electroacoustic improvisation quartet which existed until the split of Voice Crack in 2002.
Norbert Möslang has been playing in Voice Crack duo with Andy Guhl since 1972, they’ve been working with “cracked everyday-electronics”, modifying and recontextualising the use of home electronics. After the split he continued working solo and in different musical combinations using “cracked everyday-electronics”, among them a duo with eRikm with whom he played in duo >>>
eRikm & Luc Ferrari
When the sun set on April 1st 2011 I heard through the windows of my house
the repetitive song of a night bird. « Madeleine » brought me immediately back
to Luc Ferrari’s electroacoustic piece « Presque Rien N° 2 ».
I became curious about comparing the bird that was officiating in the garden
of Cap15 (in the North area of Marseille) with the bird of « Presque Rien ».
My curiosity triggered the desire to play Luc’s piece in the acoustic space
of my house. With my rudimentary recorder I moved inside and outside the
house moving back and forth between both spaces. I played with the depth of
field, the beat between these two birds separated by 34 years and immersed
myself in these acoustic events.
« …Alors je suis cerné à mon tour et, pourrais-je dire, pénétré en échange. »
(Thus I am surrounded on my turn and imbued in return.)
This Ursprung or temporal Klein bottle was recorded and edited
in one single sequence shot.
eRikm & Michel Doneda
Razine by Erikm and Michel Doneda
At the very beginning of the year 1900, Velimir Khlebnikov is
listening to the new century on the banks of the Caspian Sea. In the
gyrations of the Dervishes he conceives his Futurian equations.
He creates the coming models of "modern" art. He is the first to write
poems from mathematical series and in the form of the palindrome.
Fourty years later this will become the system behind twelve-tone
Velimir spreads his writings in different points in space,
materialising the cut-up technique. He creates ZAOUM, his transreason
language which speaks of the Unconscious mind before its revelation
by Freud. Later, well after his death, he would influence surrealists
And to us improvisers he has given RAZINE, the wild horseman of sound.
This very recording recounts how the ride went that evening : sliding,
breaking of rhythmical lines, sudden transformations, textures, and
who knows, maybe the listener will hear the ring of the "Trumpet of
the Martians", the one that Khlebnikov caught through his utopian poetry.
Michel Doneda 2011