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Insub Meta Orchestra: 13 & 27 (Another Timbre)

Coordinated and composed by d'incise and Cyril Bondi, this incredible Swiss-based collective of 30 to 40 experimental musicians was founded in 2010 and has presented concerts and recordings since; this CD presents two works, "13 unissons" splitting the orchestra into 13 subgroups; and "27 times" where each musician plays 27 times in 30 minutes; phenomenal.
 

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Label: Another Timbre
Catalog ID: at117
Squidco Product Code: 25022

Format: CD
Condition: New
Released: 2017
Country: UK
Packaging: Cardboard Gatefold
Recorded at Studio Ernest Ansermet, in Geneva, Switzerland, in July, 2016.


Personnel:

Alexis Degrenier-hurdy gurdy

Anna-Kaisa Meklin-viola da gamba

Angelika Sheridan-flutes

Antoine Lang-voice

Anouck Genthon-violin

Bertrand Gauguet-saxophone

Brice Catherin-cello

Bruno Crochet-laptop

Christophe Berthet-saxophone

Cyril Bondi-harmonium, bass drum

d incise-laptop

Daniel Tyrrell-acoustic guitar

Dorothea Schurch-voice, singing saw

Eric Ruffing-analogue synthesizer

Gerald Perera-electric doublebass

Hans Koch-clarinet

Heike Fiedler-voice

Ivan Verda-electric guitar

Jamasp Jhabvala-violin

Luc Muller-floor tom, melodica

Maxime Hansenberger-bowl, harmonium

Raphael Ortis-laptop

Regula Gerber-doublebass

Rodolphe Loubatiere-bowl, cymbal

Sebastien Branche-saxophone

Sandra Weiss-bassoon

Steve Buchanan-saxophone

Thierry Simonot-laptop

Violeta Motta-flute

Vinz Vonlanthen-electric guitar

Wanda Obertova-voice

Yann Leguay-electronics

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track listing:


1. 13 Unissons 19:52

2. 27 Times 29:28
Related Categories of Interest:


Improvised Music
Electro-Acoustic
Electro-Acoustic Improv
Large Ensembles
European Improv, Free Jazz & Related
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descriptions, reviews, &c.

"Two subtle works for the unique Swiss-based collective of 30/40 experimental musicians, co-ordinated and composed by d'incise and Cyril Bondi. "We started with the desire to invite as many musicians as possible to experiment with pieces and a very different approach that comes with a large ensemble....And from this moment onwards we had to deal with its potential and its limits."-Another Timbre



"The Insub Meta orchestra (IMO) is a large ensemble gathered around the experimental and electroacoustic practice.It was founded in 2010 by the Cyril Bondi and d'incise duo. It consists of about fifty permanent members that form the thirty international musicians present at each concert. Born from questionings on improvisation in a large group, the IMO built with time a strong collective and typical background where the individual gesture get lost in the production of global sonic states. Thus subtle matters emerge and interact with silence. The notions of improvisation or composition become confused in a constant research of a specific development in the context of this orchestra. Its axes are the place of silence, an electroacoustic and extensive listening, the work on durations, the mimetism, low volumes, non-hiérarchical relations, the circulation of informations."-Insub Meta website



Another Timbre Interview with Cyril Bondi

Tell us about the Insub Meta Orchestra. It's remarkable and unusual to have such a large group dedicated to experimental music. How and when did it come about, whose initiative was it, how often does it meet and has it changed direction?

I would like to try to answer these questions by focusing on the two main aspects that you have to deal with when you are crazy enough to start an orchestra of 50 musicians: the social and the artistic.

Since I started being involved in musical projects, I was always impressed and excited by the notion of a 'collective'. The idea of the Insub Meta Orchestra came at the right moment in my personal musical development (you can read it as "our" development because it was and it still is the fruit of a strong collaboration with d'incise). We started with the desire to invite as many musicians as possible to experiment with pieces and a very different approach with a large ensemble. After a few years and many concerts, we asked people to choose if they would like to be part of the orchestra as regular musicians. For me this was a really important thing in the structure of the IMO, that we never made a choice about the participants. This orchestra is a collective of musicians from different parts of Switzerland, France, Belgium and Germany, who have decided to be part of this process by themselves. And from this moment onwards, we had to deal with its potential and its limits.

The social and artistic aspects of the IMO are obviously very linked. In seven years we have gone through different recognisable moments. We started with pieces composed by members of the IMO. The idea was mainly that we have a large ensemble of musicians; let's experiment with this! It was completely influenced by the London Improvisers Orchestra (with whom we played a couple of times during our UK tour with diatribes in 2008-09). Then we decided to work only on improvisation. But it wasn't as easy as expected; we had to built a common vocabulary, language on top of which we could improvise. It was a long process, but maybe the most important one, because it gave us the core identity of the IMO.

After that, and it's a process of creation we still keep, we composed pieces with d'incise; compositions linked with the limits that we reached with the improvisation. Now, when we feel that the orchestra needs to explore new fields, we use improvisation again as a way to define new challenges.

What about the two pieces on the CD? How are '13 unissons' and '27 times' structured, and how were they developed?

We organised a recording session at the Studio Ernest Ansermet in Geneva during the summer of 2016. The pieces were composed by d'incise and myself. Before the recording session, we had rehearsals with small groups (12-15 musicians) to try the new pieces and explore the best way to share our ideas.

For the '13 unissons', we split the orchestra in 13 subgroups (2-3 musicians) playing just one note as a unison. Every group can play as much as they want but never have more than 3-4 groups playing together. The silence is used as a moment of breath, giving a certain articulation between the musical moments. The main idea is to create different structures and associations between the groups.

'27 times' was a difficult piece to record because the structure is quite complex even if the result seems quiet and peaceful. For years our main goal with the orchestra was to convince everybody to feel the ensemble as a whole and not as a collection of individuals. For this piece we ask them exactly the opposite. We started with the idea that each musician had to choose his or her 'most unique, personal sound'. But obviously, as this is so subjective, we had to find a way to have some coherence.

During this 30 minute piece, each musician has to play 27 times. The orchestra is divided into 4 groups (percussions, strings, winds and electronics), playing at 3 moments. In each moment, the musicians has to play 3 times a sequence of 3 times. Which is at the end 3x3x3, so 27 times, but always the same sound.

On the cover you and d'incise are credited in a low-key way as joint composers of both pieces. How did that work?

As I said, the compositions d'incise and I proposed were and are completely linked with the structure and the limits of the orchestra. So, for us, it was natural to propose pieces to help the orchestra to explore new fields. But in a way every composition comes from the orchestra. We always compose with and for the singularity of the IMO.

You and d'incise have a long history of collaboration in several projects over the years, and the music that you make together has shifted to some extent over this period. How would you describe that history?

It's not easy to give a resume of such a prolific collaboration over the years. We come from the same neighbourhood in Geneva. We grew up in almost the same block of flats, but due to the difference of age, we weren't very close during our childhood. We needed a common friend (Gaël Riondel, saxophonist and third member of diatribes for the first years of the band) to propose our first rehearsal in 2004. It was the beginning of diatribes, our main project and, I would say, the basis of all of our projects.

We had two very important moments in our collaboration. The first one was when we decided to continue diatribes as a duo inviting new musicians to improvise with us for each concert. We played with more than 200 musicians from all over the world and created some strong links with a lot of people. Even if we don't improvise so much anymore, I still feel that we need to play and work all the time with different musicians : Ryoko Akama, Cristian Alvear, Stefan Thut, Jacques Demierre, amongst others.

The second moment was when I started to be involved in Insub. D'incise started it as a netlabel in 2006 and I joined him in 2010 to initiate the Insub Meta Orchestra and the Insubordinations Microfestival (more than 100 concerts in small spaces in one week in 20 cities in Switzerland). Then we used Insub as a platform to create new projects: concerts, a label, a studio and an other festival focused on orchestras.

We also have a trio called La Tène, with Alexis Degrenier (hurdy gurdy), a powerful and repetitive project, a clash between traditional and experimental music.

And to finish, to draw a complete picture of this "long history", we are now working on a series of compositions this year for other musicians: Magnus Granberg, Christoph Schiller, Anna Lindal, Anna-Kaisa Meklin, Bertrand Denzler, The Pitch and so on.

You are both based in Geneva. How is the experimental music scene there, and how is it changing?

Geneva is quite a small city but we're lucky to have really good institutions, venues and festivals to promote experimental and improv music like: Cave12, AMR or Akouphène festival. The strange thing is that we never were satisfied by what we had around us and that was maybe what pushed us to be hyper-active, organizing concerts and big festivals. It's a kind of paradox, but because we had access to a lot of concerts and spaces to work, we felt that we need to extend these opportunities by creating more projects, more space.


Artist Biographies:

Hurdy Gurdy player Alexis Degrenier (aka eXsitYousicK) lives in Nantes, Pays de la Loire, France and is a member of OutreNoir, Tuuli/tulii, Insub Meta Orchestra, and Insub.8tet

-Squidco 12/13/2017

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"Anna-Kaisa Meklin was born in 1979 in Kangasniemi, Finland. Since 2003 she lives in Basel. There she studied with the music academy Gambe with Paolo Pandolfo and free improvisation with Walter Fähndrich. She has worked as a musician for various projects in the fields of improvisation and early music. Played in the trio with Hans-Jürg Meier and Christoph Schiller , with old music and free improvisation. New is the trio with Christoph Schiller and Giancarlo Nicolai."

-Unerhort website (Translated by Google) (http://unerhoert-wuppertal.de/Trio-Meklin-Nicolai-Schiller.html)
12/13/2017

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"Angelika Sheridan (* 1965 as Angelika Flacke) is a German improvisational musician (flute, bass player) and music teacher.

Sheridan completed a classical flute study at the Folkwang Hochschule Essen ; As a departure she received the Folkwang Prize in 1990. She has been working as a concert flutist since 1990, and has been working in the field of free improvisation and interdisciplinary projects with fine arts and dance, among others, with Peter Kowald, Michel Doneda, Carl Ludwig Hübsch, Hans Schneider, Gunda Gottschalk, Sebastian Gramss, Matthias Schubert, Dirk Marwedel, Wolfgang Schliemann, Alexander Frangenheim, Thomas Lehn, Lê Quan Ninh, Geraldine Keller, John Butcher and Paul Lytton. With Peter Kowald and Eckard Koltermann, she wrote the film music for My Heart - Nobody! By Helma Sanders-Brahms. She also participated in Butch Morris 's performance of the 1995 Wuppertal Testament. She is currently playing with the duo with Frank Niehusmann (current), since 2004 in the duo with Ute Völker, since 2006 in the Ensemble Hiatus, furthermore with the Ensemble X, Blind Date Quartet. (With Ulrike Stortz, Scott Roller and John Hollenbeck) and the Multiple Joyce Orchestra and the Insub Meta Orchestra.

Sheridan has a lecture for flute, improvisation and didactics at the Cologne University of Music and Dance ; also teaches at the music school in Monheim am Rhein."

-Wikipedia (translated by Google) (https://de.wikipedia.org/wiki/Angelika_Sheridan)
12/13/2017

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"Antoine Läng's (vocals+electronics) taste for hybridization and experimentation leads him to use electronic devices as a means of voice processing to extend its range. Initiated in rock, metal or jazz bands, this process is ongoing and increasingly directed toward experimental and improvised music, in regular projects (dQtç, Léon trio, Atomic Paracelze, InsubMetaOrchestra) or solo. Fascinated by the plasticity of the human voice and the multiple roles it can play in electroacoustic and experimental music, his approach to the instrument extends to several registers - spoken, sung, noise, abstract sound textures. His improvisational work revolves mainly around the peripheral sounds and noise, leading to the production of organic and abstract textures or turning into singing, and includes some unique vocal techniques combining lyrical sophistication and brute animality."

-Antoine Lang Website (http://antoinelang.tumblr.com/bio)
12/13/2017

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"Anouck Genthon is a French violinist and ethnomusicologist involved in the improvised music scene in an approach particularly sensitive to sound. Enriched by her double stance as musician and researcher, she guides her ear by improvised gestures through the surrounding sound-environment."

-Jazz.DK (http://jazz.dk/en/cphjazz/concerts/22506/)
12/13/2017

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"Bertrand Gauguet is a musician trudging through a practice without hierarchy involving sound and music: as an improvising saxophonist, electronic music composer and as a sounds collector.

He plays since the early 2000s the alto saxophone in contexts of solo and group improvisation. His approach takes part in research on the technical areas of the instrument by which precise exploration of a sound language consists of materials produced by the breath, multiphonics and microphony.

Collaborations with John Tilbury, Robin Hayward, Franz Hautzinger, Xavier Charles, Sophie Agnel, Pascal Battus, Eric La Casa, Michel Doneda, Insub Meta Orchestra, Seijiro Murayama Tetuzi Akiyama, Toshimaru Nakamura, John Butcher, Axel Dörner, Isabelle Duthoit... Many festivals about new and experimental music (Europe, USA, Japan ...).

As an electronic music composer, he composes original music and original soundtracks with dance, movies and radio broadcast. He produced the LP The Torn Map in 2013.

In 2011, he was a resident of the villa Kujoyama in Kyoto. He studied the shakuhachi while learning to Honkyoku directory with Mr Yoshio Kurahashi.

Since 2004, he taught at the Haute Ecole des Arts du Rhin in the Sonic research program he co-founded in 2007. He leads the generative improvisation workshop at CFMI in Sélestat since 2012 and conducted educational workshops at the Cité de la Musique in Paris from 2002 to 2012."

-Bertrand Gauguet Website (http://www.bertrandgauguet.com/)
12/13/2017

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"Brice Catherin (born 16 October 1981 in Brussels, Belgium) is a French composer and cellist.

Brice Catherin studied the cello at the Haute Ecole de Musique de Lausanne (Switzerland) with professor Marc Jaermann (cellist of the sine nomine quartet) where he successfully completed his diploma in 2004. At the same time, he was studying composition at the Haute École de Musique of Geneva (Switzerland) with professors Michael Jarrell, Luis Naón and Éric Daubresse. He received his diploma in 2005. The following year he studied at the Basel Musikhochschule with professor Roland Moser.

During this period, Brice Catherin gave a few hundred concerts and performances as a cellist, a composer, an improviser, and a performance artist in Europe, Japan, Russia, Iceland and Canada as an independent artist. He composed about 80 works for soloists to big ensembles, from 10 minutes to 10 hours. He premièred a few works he commissioned for solo cello or chamber ensembles to composers such as Dror Feiler, Christian Rosset, Evis Sammoutis, Patricia Bosshard, Baudoin de Jaer, Abby Swidler, Jacques Demierre, Arash Yazdani and Ludovic Thirvaudey.

He worked with artists from various backgrounds: dancers (Foofwa d'Imobilité, Corina Pia, Judith Desse...), writers (Karelle Ménine, Cléa Chopard...), actors (Delphine Rosay...), and after works of movie directors (David Bestue and Marc Vives, David OReilly (artist)...) and illustrators (Yuichi Yokoyama...)

As a composer, Brice Catherin wrote more than 80 instrumental works with or without electronic.

As an improviser, he is known for engineering the concept of "improvisation laboratories", which refers to performances of constrained improvisations. The constraints can be as different as "playing an instrument you don't know", "playing a building", "improvise music for a cartoon", "improvisation of characters", or "mixing baroque music and free improvisation". "

-Wikipedia (https://en.wikipedia.org/wiki/Brice_Catherin)
12/13/2017

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"After studying piano and flute, Christophe Berthet turned, in 1986, to the saxophone.He began his career with Vertigo in the company of Michel Wintsch, then joined the group Today Madame: First prize at the Jazzonze + Festival Lausanne 1991 competition. He has been a member of the Fanfare du Loup collective since 1989, and he writes regularly for this orchestra.

Currently, in parallel with his saxophone teaching activity in the EPI (Instrumental Practice Space), he continues his work of composition and musical research at the borders of jazz, theater, contemporary music (he followed for four years the contemporary writing course at the Geneva Conservatoire with Xavier Dayer), as well as various avant-garde musical experiences (Le Grand Frisson, suite for eight improvisers).Breached at once by the canons of free improvisation and orchestrated music, Christophe Berthet knows as much how to build cathedrals with an ephemeral thrill, than to give a written part a sound and a note-setting of his own.

He also composes and plays for the theater, including: Macbethde William Shakespeare, staged and in shadow by Marcel Robert.

Tours in Switzerland and France:Against the Spiral TheaterThe horses are completed by the 100% Acrylic Company, with the Wolf BandDunant by the Company of the Organon, with the Fanfare of the WolfThe Tribun by Mauricio Kagel directed by Jean-Louis Hourdin, with the Fanfare du Loup

He created Facteur d'images, with the participation of the director Patrick Mohr in the framework of the fortnight of Musiques à Voir, at the Théâtre du Loup in Geneva.

He creates the Butterfly Effect Duo with Vinz Vonlanthen. He also initiated improvised music encounters in duets or trios with Jean-Jacques Pedretti, Michel Wintsch, Philippe Ehinger, Vinz Vonlanthen, Lucas Niggli, Jacques Demiere, Dragos Tara, Alexandre Babel. He is a member of the quartet Ekyu with Christian Graf, Raphäel Ortis and Cyril Bondi. He recently created Le Grand Frisson, a sound scenario for eight improvisers, with Laurent Bruttin, Patricia Bosshard, Yannick Barman, Jean-Jacques Pedretti, Dragos Tara, Vinz Vonlanthen and Cyril Bondi."

-Christophe Berthet Website (Translated by Google) (https://www.contrechamps.ch/biographie-berthet)
12/13/2017

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"Cyril Bondi (drums, percussion) Born in 1980 in Geneva.

In February 1994, he discovered with passion the battery in the basement of a neighborhood house. His first teacher, Alain Frey, quickly taught him the technical bases of his instrument for four years. At the same time, he is interested in jazz and follows workshops at the AMR from 1998 to 2002 as well as Raùl Esmerode's lessons at the CPM in Geneva where he graduated in 2002.

First experiences with the "irony of sound" of which he is a founding member. Atypical group, bringing together a rapper, a harmonica, a guitar and a drums, "the irony of sound" offers for ten years an unclassifiable music, traveling between improvised music and traditional music. (4 albums, a hundred concerts in Switzerland).

At the same time, he is interested in improvised music and jazz and works with musicians from here and elsewhere such as Otomo Yoshihide, Eric Pailhe, Johann Bourquenez, Gabriel Zufferey, Christian Graf, Christophe Berthet, Guillaume Perret and Nicolas Sordet. , Manuel Gesseney, Alex Allflat, Jean Ferarini, Andrès Neira, Martin Wisard, Philippe Helfer, Pascal Alba, ...

From his meeting with the saxophonist Gaël Riondel and the electroacousticien d'incise was born "diatribes", trio with clearly freejazz consonances. (1 album on altrisuoni, 6 albums on the net, tour in Poland (May 06), Italy (Jan 07).

Without stopping in search of new spaces to explore, he uses his instrument as a means to address unknown or surreal worlds to better understand the one in which he produces sound. This enthusiasm for all music pushes him to multiply the experiences in sometimes radically different styles: Jonas (hip-hop), Ianeq (electro), Pascal Alba Group (jazz rock), Pierre Lautomne (French song), Kara (Afro) .

He has appeared during the Jazz Contreband 04 festival, Balelec 05, Cully jazz festval off 05, Festival Electron 06, the AMR festival at Cropettes 05-06, as well as in Switzerland, France, Italy and Poland."

-MX3 (Translated by Google) (https://mx3.ch/cyril_bondi)
12/13/2017

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"Laurent PETER, a.k.a. d'incise (Geneva, 1983), drifting musician, grew up inbetween dub sound system and experimental electronic music. Sound explorer, he has no perticular instrument, using whatever can be considered as such, softwares, recordings, objects, percussions, harmonium, etc. He's interested in radicalism, reductionnism, repetitions and conceptual approaches, building specific set-up for each new occasion, in improvised or composed context. He tends to extract the most tiny details of the elements, appreciates slowness and obsessive explorations of simple processes. He's, since many years with Cyril Bondi, behind the INSUB. label, orchetra, the Diatribes duo, and many other things, and does graphic designs."

-d'incise Website (http://www.dincise.net/bio.html)
12/13/2017

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Guitarist Daniel Tyrrell is a member of the Dublin based band Call To Arms, and the Insub Meta Orchestra.

-Squidco 12/13/2017

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"The sounds that avant-garde vocalist Dorothea Schürch produces, using her larynx, tongue, lips and hands, are nothing short of phenomenal. She has been active in the field of improvised music since 1986, and has given numerous concerts throughout Europe and the USA, performing in many important festivals including the Festival Musique Actuelle in Victoriaville/Canada, total Music Meeting in Berlin, London Musicians Collective Festival, Jazzfestival Mulhouse, Experimental Festival Kopenhagen, Canaille Frankfurt, and Taktlos Festival in Zürich. In the field of music theatre and contemporary music, Schürch has been collaborating with renowned composers such as Jacques Demierre and Alvin Lucier. She is currently a member of experimental ensemble "6ix", alongside Demierre, Urs Leimgruber, Thomas Lehn, Okkyung Lee und Roger Turner."

-Irtijal Festival website (http://irtijal.org/festival/detailed-program/day-3/jacques-demierre-dorothea-schurch-alfred-zimmerlin-ch/)
12/13/2017

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"Born in 1960 in Frankfurt am Main. Student in the improvisation class with Albert Mangesdorff in Frankfurt Dr. Hoch's Conservatory. After lessons on trumpet and cello, autodidactic study of percussion and electronic sound synthesis in analogue technology. Focus of artistic work with electronics (modular synthesizer EMS Synthi 'A', also in combination with EMS keyboard controller DK-1, the theremin and other voltage controlling devises) or acoustic setup (selected percussion & objects) is on experimental, electronic and contemporary improvised music. Interdisciplinary projects with dancers, performance artists, visual artists, sound poets and reciters. Lives and works as a special educator/music therapist in Basel. Member of the committee in the Forum für Improvisierte Musik + Tanz - Performance - Multimedia (FIM) Basel."

-Eric Ruffing Website (http://ericruffing.ch/)
12/13/2017

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"Gerald Perera was born in a cosmopolitan family ( SriLanka, Sicily, France, England) in 1960 in the East-End in London (GB). He spent his childhood in the the melting pot of the dockland area listening to English traditional and pop music and to the black american music his mother loves and sings professionally. He moves to Lausanne (CH) in 1972. He becomes a self-taught musician (bass and drums) during his teenage years and plays in several rockbands before taking up professional studies on double-bass at the conservatoire in Lausanne. Having finished his studies he plays for three years with various classical ensembles in Switzerland.

He miraculously escapes from the world of classical ensembles which he finds terribly boring, thanks to a few friends ( Daniel Perrin, Jean-François Bovard, Jean Rochat, etc...) who encourage him to explore the different aspects of modern music without prejudice.

From then on and up to today he participates in various creative projects, ranging from arrangements for singers, side man, composition of music for movies and drama to all kinds of different experiments in music, sound, and stage performances."

-Insub Meta Orchestra Website (http://www.insubordinations.net/imo_geraldperera.html)
12/13/2017

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"Hans Koch plays bass clarinet and soprano saxophone. He has played alongside of musicians such as Cecil Taylor, Evan Parker, Fred Frith, Paul Lovens, Barry Guy, Barre Phillips, Phil Minton, Peter Kowald, Hans Reichel, Tom Cora, Jim O'Rourke, Fennesz, Elliott Sharp, Anthony Coleman, DJ M. Singe, Voicecrack, Günter Müller, Jean-Marc Montera, and Joëlle Léandre in Europe, America, and Asia-and still managed to maintain his association with the Koch-Schütz-Studer Trio. He has put out compact discs on various labels."

-ActuelleCD.com (Dame, Ambiances Magnetiques) (http://www.actuellecd.com/en/bio/koch_ha/)
12/13/2017

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"Heike Fiedler is a multilingual performer, author, and sound and visual artist whose work probes the tenuous boundary between language and sound. Born in Germany and now living in Switzerland, she belongs to a tradition of performance poetry established by the likes of Hedwig Gorski, Henri Chopin, Franz Mon, and the Beats. Fiedler borrows from all of these, as well as from the rhythms of Samuel Beckett, the repetition of Gertrude Stein, and the Dada (non)sensibilities of Kurt Schwitters. We hear echoes of all three, for instance, in Fiedler's "Should She," in which a rat-a-tat rhythm propels an interrogation into an unnamed female psyche, akin to that of Beckett's Not I."

-Morgan Childs website (http://www.morgan-childs.com/interviewheikefiedler/)
12/13/2017

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Ivan Verda is a Lausanne, Switzerland based guitarist. Nosk is the solo project of Ivan Verda. Guitarist at first, he explores the interaction between strings instruments and electronics, using loops, effects pédals, objects, small analogic syntesisers, combined with guitar, lapsteel or buzuki. His music is based on abstract and organic sound textures made live, chosing the spontaneous composition and improvisation as a musical form. Denses rivers of sound alterned to percussion elements or abrasive onces are assembled or decomposed forming soundscapes that varies from drone to electronica and noise. He participates also in collective improvisation projects like the Insub Meta Orchestra or electronic duo DMK and audiovisual project like Kominform or Ciné-Noise."

-Nosk Soundcloud (https://soundcloud.com/nosk72)
12/13/2017

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Violinist Jamasp Jhabvala is a member of Convulsif, Spook, Paracelze, Maspin, Cachalot, Cie Cadmium, Additive MAnufacturing, and Insub Meta Orchestra.

-Squidco 12/13/2017

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"Harmonium player Maxime Hänsenberger is a member of Convulsif and Insub Meta Orchestra."

-Squidco 12/13/2017

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"Swiss bass player and composer Raphael Ortis leads the duo/trio/4tet LEON and the trio ShabraK. He is a memeber of the Insubordination Meta Orchestra (IMO) and a part of the Insub.org which organise concerts series. His other projects include Innlaandds, Zgg, Atrl, Sbdqtç, alongside solo proejcts."

-Raphael Ortis Website (http://www.ortis.ch)
12/13/2017

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"The music Regula Gerber is characterized by powerful subtlety. A dialogue between fine sound and strong rhythms is created. The versatile sound register of voice and contrabass can be heard.Regula Gerber comes with vocal and instrumental sounds:There are duos for one person.

Image of Regula laughing with bass With her style, she strikes bridges between classical music and natural sound concepts. It converts between jazzy walking bass and the rhythms of a shaman drum.

The music is playful. One listens to a living stillness and is touched.

Again and again this music is looking for dialogue with the respective place.This is how concerts are places:
- Sacred buildings: churches, chapels.
- Places in nature: caves, quarries, gardens.
- Cordless raisins: factories, staircases, courtyards, garages.
- Places of Silence: Meditation and seminar rooms.
- Traditional concert venues"

-Regula Gerber Website (Translated by Google) (http://www.regulasing.ch/regula.html)
12/13/2017

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"Rodolphe Loubatière has performed solo and with Cyril Meysson, Bertrand Gauguet, Pascal Battus, Laurain et Yoann Durant, Avec Olivier Dumont, Grand ensemble, Franck Vigroux, VLL with Vinz Vonlanthen and Antoine Läng, and RYR with Romain Dugelay and Yoann Durant."

-Rodolphe Loubatiere Website (http://rodolpheloubatiere.blogspot.com/p/projets.html)
12/13/2017

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"Sébastien plays soprano, tenor and C-melody saxophones. He got started with improvisation through workshops with musicians coming from contemporary jazz or improvised music.

Interested in perceptive phenomenons, he works mainly with sound as a material, describing himself as a "sound crafter" for an audience to listen to. His interests also extends to body and space, as he regularly confronts his practice to contemporary dance.

He plays in the saxophone duet Relentless, in duet with viola player Cyprien Busolini or electronics musician Miguel A. Garcia, in large orchestra with IMO, and regularly meets other artists, either for private sessions or performances.He also works on solo performances with tenor sax on a stand and light electronics (Lignes) or soprano saxophone and water (saxopH2One). He has played around Europe in various venues and festivals, for concerts, dance performances or soundwalks.

Sébastien taught Mathematics in high school and also gave a workshop about soundscapes there. From April 2015, he is taking a leave to devote his time to shiatsu and to his music."

-Sebastien Branche Website (http://sebastienbranche.com/bio/)
12/13/2017

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"Sandra Weiss, born in South Africa, studied saxophone at Berklee College of Music in Boston with Andy McGhee and at Zürcher Hochschule der Künste in Zürich with Christoph Grab and Nathanael Su. She studied bassoon at Musikhochschule Lucerne with Stefan Buri.

During the last years she played in various musical projects playing folk music,

classical music, jazz, experimental and improvised music.

For the year 2014, she got the 6 month 'Auslandatelier Stipendium New York' (residency in New York City) from the culture departement of Zürich."

-Sandra Weiss Website (http://www.sandraweiss.com/Bio.html)
12/13/2017

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"Steve Buchanan was born in Philadelphia, United States. Based in Geneva, Switzerland. Early studies: Pat Martino, Marshall Allen, Elliott Levin, Bobby Zankel, Milford Graves, Denise Bey, Ife Tayo Das Sol. Intensive movement studies : Ballet, Cunningham, Graham, Limon, Haitian, Afro-Cuban, Guinean, Nigerian, Congolese, Senegalese.

Steve Buchanan has the rare distinction of having made a name for himself professionally in two fields, music and dance respectively. He has been what is presently called a transdisciplinary or multi disciplinary artist since the 1970's. He presented his first multi-disciplinary work on a grant from Ile-Ife muesam in Philadelphia in 1977 "Cybernetic Primal Therapy" (6 musicians, 8 drummers, 6 dancers, 23 radios, 2 play back loops). He has also been a player of what is in current venacular called 'NOISE MUSIC' since the 1970″s. As well as playing alto sax and guitar He is also the inventor of the 2nd Line Tranz Danz Floor. A digital interface instrument on which he creates music by dancing. With this instrument he has performed worldwide fascinating audiences young and old alike on every continent.

stage and/or studio with : (short list)

Tatsuya Yoshida, Butch Morris, Ron Anderson, Fred Frith, Sun Ra, Robert Musso, Mark Dresser, Hans Koch, Martin Schutz, David Moss, Jon Rose, Antoine Chessex, Mark Sanders, Joszef Trefeli, Nicole Johanntgen, Coco Zhao, Paed Conca, Simon Berz, Guy Bettini, Louis Schild, Gilles Aubry, Ania Losinger, Mike Cooper, Frank Crijns, Stephen Haynes, Ray Anderson, Ellen Chrystie, William Parker, Tom Bruno, Min Tanaka, Derek Bailey, Nicholas Field, ZU, Elliott Levin, 1024 Architecture, Patricia Parker, Paul Garrin, Bit -Tuner, Ti Qao Li, Deng Boyu..."

-Steve Buchanan Website (http://stevebuchanan.net/biography/)
12/13/2017

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Flautist Violeta Motta is a member of Insub Meta Orchestra, Cobra, New !! Soundpainting, Into - Dissolving, Cocytus, The belt of Venus.

-Violeta Motta Website (http://violetamotta.blogspot.com/p/blog-page_31.html)
12/13/2017

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"Guitarist Vinz Vonlanthen lives in Geneva, Switzerland. He's one of the essential personalities of the improvised music scene, also part of a lineage of creative and uncommon European guitarists, constantly looking for new concepts, new ideas, energy and commitment with creation.

He possesses an extraordinary personal voice. The sounds of his "metaguitare" triturated with beads, foam, bows (non exhaustive list) confuse, surprise, cajole and expand the range of the instrument. Micro-textures, melodies and grooves spread the word. His guitar is plucked, painted, beaten, howling on a marble chirp, dizzying, unique, objects vibrating on the strings, producing astonishing unheard sounds, through a deep, intense, even brutal play, opening the door to imagination and poetry.

With various groups in time as leader and sideman he toured Europe and Japan. Concerts and projects with Barry Guy, Gerry Hemingway, Audetat Pierre, Sylvie Courvoisier, Jacques Demierre Bänz Oester, Hans Koch, Joke Lanz, Michel Wintsch, Adama Drame, Roberto Viscaino, Kenny Wheeler. He teaches guitar at the Haute Ecole de Musique de Lausanne and the Professional Jazz School from Geneva.

His discography includes 31 albums, 5 and 7 as leader as co-leader. Some festivals with his presence are: India: New Delhi Jazz Festival, Jazz Festival Mumbai (Bombay) Japan: Yokohama Yokohama Jazz Festival, Modern Art Museum, Tokyo; Belgium: Brussels Belga Jazz Festival; European New Jazz Festival Brussels; Roumania: Festival of contemporary music Sibiu ; Poland: Festival of Contemp.Music Warschau; Switzerland: Montreux Jazz Festival, Stravinsky Hall; Jazzfestival AMR Geneva; Schaffhausen Jazz Festival; Jazzfestival11 # Lausanne; Festival de la Cité Lausanne; Amplitudes La Chaux-de-Fonds Festival; Moods Zurich; Austria: Vienna Porgy and Bess; Spielboden Dornbirn; Paris: Moments Chavirés, Sunset, Duc des Lombards; Holland: Bimhuis, Amsterdam; Paradox Tilburg; Spain: Sevilla Worldexpo."

-Prepared Guitar Blogspot (http://preparedguitar.blogspot.com/2014/06/vinz-vonlanthen-13-questions.html)
12/13/2017

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Eletronic artist Yann Leguay was born in 1981 in Gien, Centre, France, and currently lives in Bruxelles, Rˇgion de Bruxelles-Capitale, Belgium. He is known for his studio work, focusing on electroacoustic and glitch. He is a member of Insub Meta Orchestra.

-Squidco 12/13/2017

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Search for other titles on the Another Timbre label.