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This is Daddy long legs

collective projects • 0 • 2019

Noise Gate
Publishing of the first recording noisy rock band from Erikm out only by tape in 1992.
Label Jetlagprod & Atypeek music
Numeric distribution > Spotify qobuz Deezer ... Atypeek music
Physics distribution "exceptional" > Metamkine
Michel Zimmermann : Bass & Voice / Erik M : Guitars . Bass . Tape & Voice / Stef Affholder : Drums
Live & clip

This Is Daddy Long Legs – Noise Gate
In 1992, This Is Daddy Long Legs viewed their musical genre as Noisy.
The bandmembers grew up in the industrial town of Mulhouse in eastern France, which, at the dawn of the 90s, was a fertile breeding ground for bands such as Mercyless, Crusher, and others.
The DDL started out as a duo in the fall of 1990, with Michel Zimmerman and Erikm both simultaneously playing bass on drum machines. Steph Affholder became the band’s drummer in February of 1991.

They had many influences, from Hüsker Dü to Dinosaur Jr. to Sonic Youth. Those bands were almost all on indie labels such as SST and Blast First. When performing in France and Switzerland, they would share the stage with local rock bands such as Les Thugs, Davy Jones Locker and Kill the Thrill, which Erikm joined in the mid-90s.

The decision to release this album today had undoubtedly to do with the fact that it’s a testament to a musical aesthetic found in France in those days. It is also the first studio recording of work by musique concrète composer and free improviser Erikm.

For the musically adventurous, Erikm is better known as a sculptor of sound, whether on turntables or manipulating various electronic devices. Though he began experimenting with sound before the DLL, it was after the band broke up that he really matured and developed in that area. His many musical collaborators include Luc Ferrari, one of the precursors of musique concrète, and F.M. Einheit from the Hamburg punk group Abwäts, who was also one of the founders of the industrial music group Einstürzende Neubauten.

The band split up abruptly in late 1992. It wouldn’t be long before Michel, on vocals and bass, called it quits altogether, while Steph and Erik explored other musical territories as a duo, then in a power trio that played free rock.

This demo was recorded in 1992 and remains the band’s only studio recording.

Crazy pictures

Pavillon du Lac

collective projects • 0 • 2016

Günter Müller iPod, Percussion, Electronics
Norbert Moslang - Cracked Everyday Electronics
Erikm - CD-J & Electronics

Double LP
Performed in a double space.

Final mixing and mastering by Norbert Moeslang
Artistic director : Frédérick Quennoz
Cover art / Daniela Grüninger
Production : Dolmen

Dolmen |Switzerland

Anarchist Republic of Bzzz

collective projects • 0 • 2016

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.

Bzzz Records |France
Jello Pudding Pops


collective projects • 0 • 2014

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

Mal des Ardents / Pantonéon

collective projects • 0 • 2013

Catherine Jauniaux : Voice . bird call . cupule . cazoo ..
eRikm : Turntables + Electronics & live sampling + architect lamp
Double CD’s
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 !
Anne Montaron

mikroton |Russia
Ne pas / extract


collective projects • 0 • 2012

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
Machette / extract


collective projects • cd • 2011

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 >>>

Mikroton |Russia


collective projects • lp-object • 2011

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.

Planam |Italy
visitation extract
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