"If it's in Paris that Sophie Agnel was born in 1964, it is towards other sounding islands in the heart of a reinvented temporality that she dwells today, at the stern of a grand piano, an instrument that she turns into a real living & vibrating organism.

Classically trained, escaped from jazz (drawn away by the too strict treatment of harmony), Sophie Agnel boards the piano from every sonic angle this musical vessel can offer : keys, strings & board are simultaneously apprehended, in a mixed procedure (as we say of painting techniques) that would be understated if it was reduced to the cagian definition of the prepared piano. Considering the instrument - that she extends with several accessories, paper cups, balls or strings - as a poetic supplier of anamorphic textures, the musician takes it to be an equal match to the wider diversity of musical systems, whatever the craft they where conceived in (from physiological to electro-acoustic) ...

We would then no longer be surprised to notice her understandings with Michel Doneda and to find her to the side of the wet saxophone of Alessandro Bosetti, of the acoustified electric guitar of Olivier Benoit, of the voices of Catherine Jauniaux and Phil Minton, or the keyboard of Christine Wodraska...

The same seal of esthetic evidence marks all of her musical companionships, with this same taste, beyond the narrative, for the delicate sonic quests and blossoming of dimensions to which the auditor takes part through an active listening : in the heart of Jean Pallandre's phonographic worlds, of Jerôme Noetinger & Lionel Marchetti's small scale cinema, John Butcher or Axel Dörner's crimpy tissues, by the lovely machines of Erik M or Ikue Mori, the harmonico-stratospheric rustling of Stéphane Rives...

The originality of the research conducted by Sophie Agnel today leads her to develop, in solo or with significantly chosen companions, a most refined and highly poetic approach to sound that makes each of her concerts a moving construction filled with chiseled musical gestures, a soft and sumptuous irradiation."-Guillaume Tarche

"Musician (composer, improviser and performer/barker) of the "multiple-entry sound labyrinth" that is the duo Kristoff K.Roll. Acousmatics, electroacoustic improvisations and sound theater are his musical concerns, with words, space and the object as axes of writing.

Beyond the concerts "on stage" on an electroacoustic device mixing fixed sounds and heterogeneous objects, he experiments with sound diffusion outside the room and outside the concert, from intimate listening to headphones, to the "talking wall", passing through the archipelagos of speakers, each proposition exploring its mode of diffusion - its "sonography" - in its place of reception.

With Kristoff K.Roll, he plays regularly in France and abroad (Belgium, Holland, Denmark, Germany, Poland, Austria, Switzerland, Quebec, USA, etc.), as a duo or with musicians, poets, dancers from the improvised scene. They lead workshops or courses, and have released several noted records, regularly broadcast on national airwaves (radio France, radio Canada, etc.).

Furthermore, he has composed for the cinema (Karim Dridi, Frédéric Choffat), radio (with Corinne Frottier for the NDR in Germany), the theater (Théâtre de Paille, Là-bas theatre, l'Hyménée, La Controversy), puppetry (Mathieu theater), circus (Cie Les Frères Kazamaroffs).

Member of the editorial board of "Revue & Corrigée" Regularly hosts radio shows Co-founder of the international festival "Sonorités - from text to sound" in Montpellier."

"Carole Rieussec is a composer of electroacoustic music and a performer living in Frontignan.

Since 1986, Carole Rieussec has composed with the noises, voices and rhythms of the world. In 1988, she joined Luc Ferrari's creative studio in Paris, La Muse en circuit, and composed alongside him for seven years. In 1990, she met Jean-Kristoff Camps in a turntable septet, Les Arènes du Vinyle, and it was with him that she formed the duo Kristoff K.Roll, described as a sound labyrinth with multiple entrances. Carole is a sonographer with a minimalist tendency, working with speakers, and the relationship of sound to space is a fundamental axis of her poetics. She likes sound installations and electroacoustic broadcasts.

In 1998, at the invitation of percussionist Lê Quan Ninh, she immersed herself in improvised practice and has since multiplied live electroacoustic concerts in France and abroad. Its electroacoustic game device combines machine, set of microphones, and everyday objects. On stage, she activates slowness and the improbable. His electroacoustic compositions are woven with electronic sounds, voices, and silences.

Carole Rieussec is also currently collaborating with visual artists Enna Chaton and Antonella Bussanich, director Perrine Maurin, and saxophonist Daunik Lazro.

Furthermore, she created and co-directs the sonorités festival in Montpellier with the sound poet Anne-James Chaton, the guitarist Didier Aschour, the visual artist Enna Chaton, the transdisciplinary author Fred Dumond. She is also a member of the editorial committee of "review and correction", written surface of experimental practices. Within this magazine, she created a distinct audio section dedicated to genre and artistic experimentation: wi watt'heure."

"The French saxophonist Daunik Lazro combines a tart, piercing tone with a quick mind and a flexible philosophy of music-making. His professional start was in bassist Saheb Sarbib's orchestra, a relationship he maintained through most of the '70s, which included three recordings. His first steps playing his own music involved a radical resizing of the cast on-stage, going from orchestra playing to solo saxophone concerts and duets. In the '80s, he busily played with many on the European improvised music scene, including bassist Jean Jacques Avenel, cellist Tristan Honsinger, violinist Carlos Zingaro, drummer Christian Rollet, and saxophonist Evan Parker, among others. In the mid-'80s, Lazro expanded his partnerships to include dance and theater projects, including work with the Company of the Chance.

He formed a particularly fine trio in 1987 with fellow saxophonist Michel Doneda and the brilliant ppercussionistLê Quan Ninh, playing at many of the major European festivals and also touring in Canada. Duets with the American free improviser Joe McPhee are a 1991 discographical highlight, during a period when Lazro also began playing viola. In 1993, he started his own orchestra as well as a quartet called Outlaws in Jazz with Jac Berrocal, Didier Levallet, and Dennis Charles. In 1995, he toured Europe in a triple-threat combination with both McPhee and Parker, and the former artist also joined him in a quartet the following year with the superb British contrabassist Paul Rogers. In the late '90s, he continued involvement with a series of orchestra projects, often as a guest soloist."