We decided to base the name on a theory of the research physicist Wolfgang Pauli. we found a correlation in that we both worked with a digital scalpel on fields of microsounds; a science which took both our instruments and processed field recordings a little closer to the chemistry of natural sounds, complete with harmonic DNA sequences and rhythmical fragments quantum-jumping from cell to cell. We were intrigued by the idea of the ‘exclusion principle’ and decided that Pauli was ‘not even wrong’ in his theory since Martin and Hervé successfully managed to sit together in the same room.
…in the end, our main source of inspiration will always be deep listening and a fascination for the science of the natural world. Sometimes, sitting in silence for hours in the crest of birdsongs or in wafts of windy harmony is more profitable than practicing scales. And to a certain extent, our recording session in the studio ‘happened’ as an unspoken intense inner excitement. And we left it to rest, a little calmer, as if something had happened in the space between thoughts.
Discus 29CD – Hervé Perez and Martin Archer – The Inclusion Principle
Reviews
Martin Archer, a mainstay of Sheffield’s experimental scene, has released electroacoustic improvisations on his own Discus label since the mid 1990s. Here he takes up his violin, processing the results at source with computer software. Perez sis at a laptop, treating field recordings of natural sounds. “Playing a violin and manipulating a mouse at the same time is an interesting physical process” reads Archer’s press release, and though listeners searching for examples of conventional virtuosity will do so in vain, the sense of considered, focused interplay between the participants is undeniable. An hour or so of abstract noise passes imperceptibly, then, suddenly, everything feels shockingly different – Stuart Lee, Sunday Times
A CD of intricate moments, steering away quite nicely from many of the clichés associated with the vague beast that is the improv genre. Both (players) do indeed seem to be on an extended nature trip, albeit a microscopic one…..It’s an album of abstract micro-events, none of which help pin the improvisation down, and it feels at times that we’re moving along with the musicians on a cellular level of sound…..What I hear is the deep thinking of stones and the beating hearts of young trees, the dying wishes of leaves falling to the ground and the absurdist symphony of a gently running stream…..Guaranteed to make even the most hardened sceptics want to smell new spring flowers and run naked through the fields. – Aaron Robertson, Sound Projector
Martin Archer
www.discus-music.co.uk
www.myspace.com/martinarchermusic
Martin Archer –
Sopranino, alto and baritone saxophones, bass clarinet, bass recorder, violectronics, keyboards, software instruments
Since his move in the early 1990s from free jazz saxophonist to studio based electronics composer, Archer has produced a series of highly acclaimed CDs which combine electronics-based structures with written and improvised parts for brass, woodwind, strings and voices. Elements from jazz, free improvisation, contemporary classical music, electronica, and cutting edge rock music are all present within his work. Archer’s concerts, in which he plays woodwind plus electronics, feature a mix of improvised and composed elements, and will typically use raw material from various studio recordings recombined and reprocessed in real time using laptop technology. Much of his current live set is based on the enclosed CD Heritage & Ringtones.
As a performer, Archer seeks to avoid the inert and inexpressive performance style inherent in much live electronic music.
Archer acknowledges groups such as Faust, Henry Cow, Soft Machine and Magma as being highly influential in his work alongside Cage, Stockhausen, Feldman, and of course the school of European free improvisation. This combination of sources makes him a unique inhabitant of the school of English maverick composers.
“Bright eyed and cleverer than 1000 contemporary musicians” – Ben Watson “Martin was a man at one with the performance, engaging with the laptop like a genuine instrument. Elements of his show were challenging, consciousness shifting, peaceful and reassuring, thoroughly confident with his avant-garde originality.” – Freenoise
hervé perez
www.spacers.lowtech.org/herve
www.myspace.com/nexttime
sndsukinspook – plays the landscape and the urban environment alike – metal bridges and wooden floors, wisps of water clapotis and wind pipes…
It started with rattling the railings and the next thing you know you are drumming public benches. An offence well worth the penalty of eternal silence. Confined in the motifs of muffled footsteps and veiled hushes. absence of thoughts. field recordings of emptiness. an architecture of sound sculpted to reveal the harmonic imprints of sacred spaces and those corruptly filed in the forgotten folds of consumed phat.
Lurking in the dark spaces of acous-mania, sndsukinspook forges vibrations, sculpts the harmonies that will rattle the nerves of academia. Some people scream. Some bleed to death. Disruption is everywhere. In the safe place of the sitting room, in the near inane, in the religious amnesia, in the lull of beta sofa and tv procurantism. Economia verbalis. Hypocritia interestus. Rationalitat Maladicus. Frémir le silence. Every wall has a crack. Find the wave length.
Read more: http://www.myspace.com/inclusionprinciple#ixzz12TPWysiT
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