A concept album for their Inscape project: onsite installations with strategically placed microphones mixed in real time to create complex and intriguing sound sculptures.
Catalog ID: mono 019
Squidco Product Code: 11821
Packaging: Jewel Tray
Eric La Casa-microphone installation, livemixing
Jean Luc Guionnet-microphoneinstallation, live mixing
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1. Mixings 1 3:00
2. Mixings 2 12:52
3. Mixings 3 4:37
4. Mixings 4 19:30
5. Mixings 5 4:39
6. Mixings 6 3:46
7. Mixings 7 4:35
Related Categories of Interest:
lowercase, micro-improv, sound improv
Installation Sound Work
sample the album:
Inscape. Lille-Flandres is a concept album in three main parts. The first is a calibration of the audio sources used in the recordings. The second is a recording of the active mix taken directly from the desk while the installation was running. The third is a recording carried out at the festival installation itself consisting, as with the second part, of a direct line out of the mixing desk, with only standard balance applied to the tracks."-from the liner notes
"Much more information, in English, can be found on the release by Inscape, the duo of Eric LaCasa and Jean-Luc Guionnet. As Inscape they deal with 'site-specific listening installations', 'principally on the notion of 'background noise'. The review of their CD can never really deal with all the implications of their project (otherwise I'd be retyping the entire booklet), but they more or less scan the environment where a project is by means of audio and video, which are used in a live concert or an installation piece. 'Lille-Flanders' was made in 2004 at a disused postal sorting office, now a cultural space and a list of sounds is in the booklet. Best is to sit back and let the music just roll about. Cars passing, trains, water meter, the rain falling, incidental music from the nearby train station etc. Its all there. Other than LaCasa's solo work, this is more a collage like approach on sounds, with a bit more rapid mixing than in his solo work. It makes a small, but significant difference and it makes a beautiful piece of music. A very fine and solid work of field recordings."-Frans de Waard, Vital Weekly
"Since, in our collaborations, we have worked principally on the notion of "background noise", defined at once as that which designates a specific place (each place, each point defined by the uniqueness of its background noise, its own distribution of sounds, frequencies, textures etc.) and as that which remains when the sonic ensemble which dominates our attention (that which might ordinarily be said to "interest" us) has been removed from the mass of sounds we hear, our projects are based on the idea that an analogy structures the relations between site, sound and the reception, or hearing, of those sounds: sounds come at us, flood our ears in 360°, defining as they do so a centre - which is none other that of the listening body. However, that centre remains also a postulate, defined as it is from outside to in, from sound's invisible horizon. Instinctively, we define a site as such (or are unable to define it otherwise): as a spatial totality, centred on a point, moving orotherwise, inhabited or not.
For us, the experience of a place comes from the brute fact of being there. One waits for a bus (forced to be there, without a choice as such) when suddenly, something specific, unique, singular, whatever it might be, seems to justify, by its very power, an entire life's work - taking over the body entirely. It is this power that defines and motivates our work. But why describe it as work? NO ! A life of experiences, rather, of activities, of thoughts and speculations, of feelings... each place is a point of view, a perspective on the world, all present in the being there. A difference arises however between simply being in a place and an experience of that place which goes beyond simple statement of fact. i.e. we haven't been everywhere we've been ! It might be, then, that we practice this form of art in order to assure ourselves of at least a minimal presence in the places we pass through ... and to try and share with the anonymous listener, via the artifice of the music, thishypothetical presence.
We are a duo and we each exist to lead the other to places he cannot go alone. Our approach can be defined as such: we work to place, or even to force, the 'natural' propensity we have for the contemplation of a site - its particular sonic properties and signatures - into a context in which this simple contemplation can be expressed through more or less complex devices, i.e. our work as a duo specifically serves to develop and complexify our individual propensities for contemplation. This we do in various projects intended to combine and integrate images and/or collaborations with sound artists, instrumentalists etc."-La Casa/Gionnet
At The Squid's Ear!
• Show Bio for Jean Luc Guionnet
"Jean-Luc Guionnet is an elusive figure. A Parisian artist active in many fields (music, visual arts, cinema), he has mostly worked in electro-acoustics but also has a career in free improvisation, playing alto saxophone, soprano saxophone, church organ, and piano. He has collaborated with Éric La Casa, Éric Cordier, and André Almuro on tape music. His main free improv and jazz projects include Hubbub, Schams, Return of the New Thing, and the Joe Rosenberg quintet.
Guionnet made scientific studies before shifting to fine arts. He studied musique concrete under Iannis Xenakis and Michel Zbar, but also pursued studies in philosophy (esthetics) with Geneviève Clancy. His first works date from the late '80s and are mostly collaborations with filmmaker André Almuro (some have been issued by Ground Fault). Then came a lasting partnership with electro-acousticians Éric Cordier and Éric La Casa. Together they wrote the series "Afflux." Guionnet also produces the Ateliers de Création Radiophoniques ("creative radio workshops") for France Culture. His eclecticism has kept him at bay of recognition -- because to the eye of the press it strips him from some credibility and because running careers in philosophy (he was co-director for the review Terre des Signes from 1993 to 1996), painting (he exhibited from 1992 to 1997), and music simultaneously tends to be time-consuming.
The release of an eponymous CD by Dan Warburton's free jazz quartet Return of the New Thing in 1999 on the respected label Leo Records introduced Guionnet to a wider audience. Since then his activities as an improviser have constantly stretched toward the fringes of experimentalism. His participation in the French-Swiss group Hubbub and his duo with guitarist Olivier Benoit (&Un, 2002) follow the school of Berlin reductionism."-All Music, François Couture (http://www.allmusic.com/artist/jean-luc-guionnet-mn0000231714)
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