to other people’s work, or is it something you welcome? _Of course we listen to others music. It’s just an inspiration and it’s important to get away from the own material. We need that in order to not get fed up with our own music. It’s as well good to look at our music from a different angle. You’ve used a lot of sounds, from percussion to really subtle sounds. What are your favorite sources? What sound sources do you use and how do you treat them? _In Chimeric we used partly really loud sounds. We normally explored the very low part of the dynamic spectrum. So our sam- pling sources have been very often acoustic instruments played extremely quiet recorded through a microphone like a micros- cope. Like zooming in. FOCUS Essmaa #01 | 22 In Chimeric we wanted to explore the other side ofGR theOUP spektrE RADum.IAN (Autriche) All amps volume up. Cymballs flying through our studio and cras- hing on the floor. IT’S ABOUT LIFE BUT THE SITUATION OF THE STILLIFE IS FRAMED. INTERVIEW MARTIN BRANDLMAYR E # 22 ssmaa This album mark an evolution of your musical practice. Why... In ÉCOUTER - HÖREN - TO LISTEN - ASCOLTARE01 - ESCUCHAR| NOVEMBRE-DÉCEMBRE - LUISTEREN - POSLOUCHAT 2009 - KIKU - ESCUTAR | what? Le trio basé à Vienne est formé de John Norman You are today a well-known artist and an electronic music pioneer. _I think what’s different is the spontanuousà la basse,element, Mar thetin risk,Brandlmayr the à la batterie et vibraphone, Could[PANORAMA you DES tell PRATIQUES us how MUSICALES and ÉLECTRONIQUES when you ET ATYPIQUES]started to work in this field? risk of making failures. The risk of one-goet Stefan recor dings,Németh etc. au It’synthétiseurs a et guitare. _That’s really hard to say. I think somehow everything started when À l’écoute de Chimeric, on découvre une musique oblique, I was a small kid. I remember, my father has a stringquartet. They physique, faisant apparaître un sculpture sonore façonnée par play together since 40 years or something, and they always play (RÉ)ÉCOUTES Scott Walker et déchiquetée par Autechre. Éclats de guitare, as an «opener» one fugue from the art of fugue by J.S. Bach. This 8 barbouillages plaintifs, pointillisme électrique, une électronique was a huge influence on my work and as well on my work with de post-rtotalockers differ arentdue challenge mais fascinante. to integrate this in our system. But I thinkRadian. I love to construct bigger contexts out of small cells. I I explained that alreay. remember another thing when I heard my father play the violin, GRIZZLY BEAR VETheCK AfirstTIMES songT (War p/Disis anco amazinggraph) opening for the album. By the begin,when I was a child. I divided the sound of his playing into the you are left with an impression of such incredible intensity... E-FESTnoise bénéficie of the du bow soutien and financier the «pur de la e»Commission tone. ThisEuropéenne is still a perception I L’album porGrabbingte le nom the d’une listener petite by theîle chest, and as it builds up, you beginhave today. So i think my work started there. inhabitée, l’îleto feelde likeVeckatimest you’re holding près des your breath. By the end of the song,When you it comes to Radian. We started to work together since 1995. côtes de Capepr oposeCod, péninsulea more quiet au sud par dut (party) before propelling us in a sound Massachussets,torr ent...à quelques To finish heur eson de an voi air- -raid siren. ture. Lieu étrange de plages et de marais Could you define with a few words this album? What themes wer conjugant histoir_I thinke politique that’ set pr écosystème,etty much what we intended to reach withyou this focusing on with this album? été indien, baleinespiece. etIt’ résidencess about secondailoosing - control on one hand and complete_On the cover of the album, there is a stilllife. There are flowers, res des Kennedycontr, olCape on Codthe estother le . théâtrBasicallye it’s like windows that are opened.a monstrous fish, working material and so on. A stillife is all des répétitionsIf youdes surbookésimagine Grizzlywe played Bear ,an extremely wild noise piece forabout 15 life, nature, things taken out of people’s daily life... The dans une maisonminutes de la and grand-mèr recordede de l’unthat. After the editing process you brhaveoken glass on the floor tells us a story... So it’s about life but d’eux, avant qu’ils ne reviennent à New York these geometrically arranged windows that are opened justthe for situation of the stillife is framed. All that’s happening is in a les enregistrersome dans seconds une église wher réaménagéee you can hear and see that. en studio. Surbookés, les Grizzly Bear ? hybrid context. I think that’s very much what happens on this Entre les premièrIn betweenes parties either de lasilence tournée or we hold the tension. That’s basicallyalbum. Seen out of our context we dealed with very lively elements. de TV On Thethe Radio piece. et la I sériethink de her concere youts can see very exact what I mean byI frathink- significant parts of the cd came up through playing wild en hommagesming. à Paul Blocks Simon of à wildness,la Brooklyn sharp cut at the beginning and theimpr endovised parts, on one hand and through a process of «framing» Academy of ofMusic a module. avec Olu It’ sDara, time Amoscontainers. In this case with a pretty onwild another hand. By framing I mean the editing process. So the Lee et Gilliancontent. Welch, entrIt’s epersonally le side-project my favorite piece. recorded elements went through a process of reorganisation. So de Daniel Rossen, Department of Eagles, basically wild nature(playing) on one hand and the attempt to put et le mini albumWhat strFrienduck mepour tuned lequel in ilsto the album, it is its theatrical side (in enregistrèrent des reprises de CSS, Band it in a situation of emotional distance (editing, postproduction) the best sense of the word)... More «theatrical» than «narrative»... of Horses et Atlas Sound, ils donnèrent un through abstraction on the other hand. concert au WAalt will Disney of your Concer partt, Hall for isavec it. le Philharmonique_I don’ det seeLos anyAngeles. narrative Le par element- in it really, for me it’s all aboutHow long were you recording the album for ? cours de Grizzlyener gyBear. Theatrical est par ailleurs element... un I think this record suggests mor_Youe mean a recording process in a studio? We didn’t have some enrichessementpictur peresmanent, and gestur un itinéraires of epeople playing their instruments thingthan like that. We recorded bit by bit. A guitar there, a drumfrag bis d’expériencesour pr etevious d’œuvr esrecor popds. mariant This could be something like a theatricalment a year later, etc. The whole working process was spanned le songwriting et la couleur, l’écho et la over 4 years. But we sometimes didn’t do anything for half a year eckatimest, le nouveau Grizzly or longer because we have been occupied with other projects. ding process do you try to avoid listening Essmaa #01 ÉDITO De la synchronie et de la dynamique… des applications transversales et du radical… des collages sonores et de la musique postconcrète… du contemplatif et des déhanchements… des prises de positions et de l’informatique musicale... du field recording et des objets trouvés sur le net… de l’art visuel et de la friction sonore… de la chorégraphie et des initiatives... Essmaa sera un panorama pour auditeur désireux de défricher le territoire toujours plus vaste des pratiques sonores. Documentation et diffusion des musiques électroniques dans leur pluralité. Essmaa sera un kiosque relais d’informations et de propositions d’écoute. Une cartographie des pratiques atypiques et des initiatives culturelles, sociales, utilitaires, économiques et naturellement artistiques. Essmaa sera conçu comme un lieu d’échanges pour préserver la diversité d’approches qu’implique nécessairement toute pratique musicale. «Essmaa» se dit «Hören» en allemand, «Écouter» en français… a Essmaa #01 SOMMAIRE 05__ÉMISSION / n°01-08 09__OUVERTURE / Invité. Millefeuille – Repérages. Jane Bang, House Of Ladosha, Fuckpony, Alexis Gideon. 13__ FOCUS / Addictive TV, Lodz, Radian, Tsunami Addiction. 31__PROFIL(S) / Labels. 12k, Citinite, Kalligrammofon, Mosz, Nacopajaz, spa.RK. Radio. Wreck This Mess – Artistes. Sylvain Chauveau, Consor, Fedaden, Fulgeance, Lusine, Portradium, Raoul Sinier, Starting Steeth, Sweat.X, Aymeric de Tapol, Uské Orchestra. 63__PAUSE / La notion d’objet sonore 73__(RÉ)ÉCOUTES / Fuck Buttons, Kelpe, Lokai, Radian, David Sylvian, V/A Creaked Records, The Black Dog – 41 sorties récentes et moins récentes 85__NOUVELLE / Das Geschenk 88__CRÉDITS Essmaa #01 » EMISSION N° 01-08 Podcast hebdomadaires disponibles sur http://www.lefest.org/ Artiste | Track | Album | Année | Label Emission 1 Émission 01 Mantronix Ladies Mantronix: The Album 1985 Ten Records Ltd. DM & Jemini Omega Supreme Conceited Bastard 2003 Lex Records Cex Brutal Exposure Tigerbeat, Vol. 6: And The Beat Goes Off! 2002 Tigerbeat 6 Kelpe The Blankout Agreement Microscope Contents 2009 DC Recordings Domotic + Audiopixel The Funeral Song Pain Perdu 2006 Effervescence Automated Acoustics The Universal Proportion Love To The Dedicated Listener 2007 Alternative Blueprint Black Dog Xeper Bytes 1993 Warp Records The Sabres Of Paradise Inter/Lergen/Ten/Ko The Sabresonic 1993 Warp Records Bomb The Bass Butterfingers - Dan Aykroyd Mix by Various Future Chaos - Remixes 2003 !K7 Neil Landstrumm Sk1 - The Damager Bambaataa eats his breakfast 2009 Planet Mu Filewile Number One Kid (Robot Koch Remix) Number One Kid - EP 2009 Mouthwatering Records Moloko Fun For Me (Mr Scruff Vocal) Fun For Me 1996 Echo Funkstörung The Zoo Disconnected 2004 !K7 Antipop Consortium Apparently Apparently 2009 Big Dada Recordings Dabrye Game Over (Flying Lotus Remix) Get Dirty 2008 Ghostly International Emission 2 Émission 02 DJ Food Tricky Little Ears (The Cheech Wizard Pays Respect One Man’s Weird Is Another Man’s World 2009 Ninja Tune To All Living Creatures Who Inhabit Dark Places) Thom Yorke Atoms For Peace - Fourtet Remix Eraser Remixes Part 2 2007 XL Recordings Matmos For The Trees The Civil War 2003 Matador Won 2/..