Reviews

E-SAXBOW –

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[…] Mais certains artistes sont allés encore plus loin en inventant leurs propres instruments. C’est le cas des jeunes musiciens du groupe e-Saxbow. Ils ont présentés, le 19 décembre, une pièce intitulée Polyphasie, créée il y a un an au GRIM. François Wong utilise un saxophone électrifié (l’instrument est branché à de nombreuses pédales lui permettant de moduler à sa convenance les effets de chaque note) et Florent Colautti a joué de son e-string. Sur un socle en bois -qui évoluera plus tard en caisse de résonnance-, il a fixé des cordes de guitare reliées à des archets électroniques vibrant grâce à un traitement par ordinateur. Alternant entre des moments suspendus, de hautes et basses tensions, leurs mix laissent entrevoir un bel avenir pour ces petits génies de l’électroacoustique.

(ANNE-LYSE RENAUT / Janvier 2014 / Zibelin journal)

                                                                                           

 

Zitter trifft Saxophon, erfasst ansatzweise die Klangkonstruktionen auf “Polyphasie” der Franzosen FLORENT COLAUTTI & FRANÇOIS WONG AT GRIM hinter E- SAXBOW, welche zwischen minimalistischem Noise, fließendem Ambient & zeitweise leicht rhythmischen Jazz pendeln (und entweder für Faszination oder totale Verstörung sorgen) E-SAXBOW veröffentlichen “Polyphasie” als limitierte CD-R (100 Kopien) in schmaler Pappverpackung über CORPS ELECTRIQUES und bieten (zudem) eine digitale Variante mittels Bandcamp an, um sämtliche Kundenkreise zu befriedigen.

Eigentlich benötigt ein derart (musikalisch) intensives Oeuvre wie “Polyphasie” keinen inhaltlichen Kontext, aber E-SAXBOW schrieben um ihre 7 Tondokumente ein neurologisches Thema (Polyphasie), das den wissenschaftlichen Zusammenhang zwischen Nerven & Muskeln beleuchtet. Komplexität auf hohem Niveau beschert die höchst experimentelle Symbiose aus Saxophone- & Zittersignalen, die die Franzosen mehrheitlich durch Effektgeräte & Computer verfremdeten, wodurch die Gesamtheit mehrheitlich sehr synthetisch rüberkommt. Zur Akzentuierung dienten E-SAXBOW unbearbeitete Saxophoneklänge wie Percussion, womit FLORENT COLAUTTI & FRANÇOIS WONG AT GRIM die atmosphärische Dichte aufbrechen. “Polyphasie” – insgesamt ein sehr kompaktes Release, dessen intensive Strukturen entweder auf ganzer Länge reizt oder abtörnt – Punkt!

(kulturterrorismus revue)

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e-SaxBow documents the sound of flux. Everything changes. By electro-acoustic standards this is rather confrontational stuff. Usually this sort of approach goes either for the subdued or full-out aggression (a la Borbetomagus). Rather than do either e- SaxBow take the middle ground, balancing between outright noise and near-silence. The improvised nature of Borbetomagus appears to be in full swing here as the songs are quite playful. Volume plays a huge role in the album, perhaps the largest most defining characteristic of the pieces. Each piece also does an amazingly good job in working together to create a giant ever-evolving slab of sound, delightfully portioned out accordingly.

‘Tonie’ begins the album off on a vaguely industrial bent. Claustrophobia reigns over this piece. Yet the instruments are relatively recognizable for this piece. On ‘p.haze I’ things become harder to pin down. Rhythms form out of the ensuing mess. Many of these rhythms help give a sense of movement towards an ultimate explosive endpoint. Due to their generally weird nature they opt for the prickly drone. ‘atonie’ goes for near-silence with a tense constant light feedback. ‘p.haze II’ brings a tremendous amount of distortion which only increases with the passage of time, sounding more digital than anything human. ‘static rings’ brings things back to a more recognizable tender place.

‘Dystonie’ is an amazing closer. Nicely summarizing everything that preceded it the song manages to create a tribal rhythm. Eventually it delivers on the chaos that had been hinted at over the duration of the album. In short it is a cathartic end to a tense album.

(Beachsloth revue)

 

                                                                                           

 

Floren Colautti – NanoM+ / Untitled#°°

What do you get when you cross architectural training with studies in classical music and electroacoustics? NanoM+ / Untitled#oo, an album that brings all three disciplines to the table. Florent Colautti‘s diverse background is clearly demonstrated on this hour-long, two track album, which uses each form to comment on the other. The construction is classical, the sound is particle drone, and the subject matter, at least for the first track, is “the suffocating atmosphere and clutter of interior design in the Victorian age”. We challenge anyone to find another album with the same concerns.

The difference between these pieces and other thick, computerized drones is a vast amount of internal movement. One might expect thirty minute tracks to simply ebb and flow, but the artist includes musical segments in the grit: pulses, sub-melodies, swings. At times the music descends into near-silence, only to topple into another section, like an orchestra yielding ground to the next movement. These may not be symphonies in the classic sense, but they work. “Untitled#oo” presents the sound of E-bow strings chopped and processed; “NanoM+” offers sine waves, feedback and designed static.

As the album unfolds, it invites speculation; discerning this architecture is like searching for shapes in the clouds. Wires, buttons and knobs produce sonic facsimiles of clocks, drums and aircraft. An automobile seems to pass in the center of “NanoM+”, but its outline may be an impression in the fog. Yet not everything is impressionistic. Tempos are apparent, as are exciting surges in volume, further distinguishing Colautti’s work from that of others. When an electric guitar becomes prominent at the end of “NanoM+”, one wonders if Hendrix may have been an influence. “Untitled#oo” begins with electronic precipitation, gaining mass like a thundercloud until it begins to shed its burden. By mid-piece, it’s all beeps and hisses, scoring a factory at dawn; the other machines soon warm up as well.

Call it industrial music with a heart, classical music in zeroes and ones, or simply sonic architecture; Colautti’s interdisciplinary training has inspired a truly original electronic album.

(A closer listen / Richard Allen)

 

                                                                                       

 

Florent Colautti is a brutalist. While that may not seem apparent at first, it becomes clearer with time. Near-silence is mixed with absolutely devastating noise. The result is an overwhelming sense of foreboding. Keeping things tense helps Florent engage in all sorts of ‘near explosions’ before the final burst. Letting things simmer adds to this level of sick twisted fun. For the album is extremely exciting. Elements of other experimental artists have clearly influenced Florent’s work, artists such as Pan Sonic, Alva Noto, and others appear to inform key aspects of the work. Good thing Florent’s level of patience is extremely high. By teasing the listener he manages to confound, surprise, and in a few instances outright shock.

‘NanoM+’ begins with a series of seemingly unrelated sonic events. As the track progresses they come together. Menacing lower register sounds make their presence felt. Beats hide. Traces of melody have been wiped clean. Verging on noise at several times the sound explodes suddenly around the nine minute mark. Out of nowhere an almost normal semblance of music appears with massive distortion. From here the volume is increased significantly. It ends is with an elongated drone not dissimilar to a guitar.

‘Untitled#oo’ ends it with a far more aggressive stance. Noise is the main purpose. Anything else is unacceptable. Really grating static comes in early on before it mellows out halfway through. Towards the end Florent studies aspects of physical levels of pitch, going extremely, uncomfortably low. ‘NanoM+ / Untitled#oo’ is an intense, uncomfortable yet engaging album.

(Beachsloth revue)

                                                                                           

 

Franzosen überbieten sich in der Regel mit Innovationen, worauf ihr Landsmann FLORENT COLAUTTTI bei seiner 2 Track E.P. (in Albumlänge) “NanoM+ / Untitled#°°” gänzlich verzichtet, deren Strukturen aus elektroakustischem “Smog” bestehen, welcher vornehmlich die Hochton- wie Abstraktfraktion bedient, die sich ansonsten japanische Interpreten wie Merzbow, Masonna & Co reinziehen oder zu Herren wie Rudolf Eb.er, Joke Lanz & Co greifen.

“NanoM+ / Untitled#°°” veröffentlichte FLORENT COLAUTTTI über Corps électriques in den Formaten CD-R (limitiert auf 100 Exemplare), deren Verpackung Pierre Judon gestaltete, und “paid” Download (Bandcamp).

Sich inhaltlich den zwei überlangen (Minimum 34 Minuten+) Improvisationen ‘NanoM+‘ & ‘Untitled#°°‘ zu nähern, scheint fast unmöglich, weshalb nur die harsche wie verquaste Tonkunst bleibt, welche einerseits japanischen Noise Helden wie Merzbow, Masonna, usw. huldigt, aber auch an elektroakustische Größen wie Rudolf Eb.er, Joke Lanz (Sudden Infant, usw.) gemahnt, wodurch die mächtige Spielzeit von über 70 Minuten zu keinem Zeitpunkt monoton wirkt. Heißt, Konsumenten müssen Zeit & Konzentration mitbringen, wenn sie sich “NanoM+ / Untitled#°°” wahrhaft (und nicht nur oberflächlich) nähern möchten.

FLORENT COLAUTTI bedient knallhart eine Sparte, die sie/ er entweder liebt oder ablehnt, weshalb ein Anspieltipp in diesem “Fall” keinen Sinn ergibt – Punkt!

(kulturterrorismus revue)