« TTTango » is an improvisation recorded by M.A.K.T. Sono November 19, 2018 with the same kind of lo-fi set-up as the one used on album « 11 Songs ». It was published July 7, 2019 by eg0cide productions.
New M.A.K.T. Sono album published June 1 2019 by netlabel Pan Y Rosas Discos, available fro stream and free donwload ; http://www.panyrosasdiscos.net/pyr277-m-a-k-t-sono-tinnitus-flowers/
Improvisations recorded April and May 2018.
Tracks 1 & 2 contain no edits. Track 3 was edited from a longer improvisation.
Magali Albespy: Moog Mother 32, soundbox.
Kecap Tuyul: no-input mixer with effects, mixing.
Review by TJ Norris on Tonshift.net, 24 June 2019
In three numbered tracks the Parisian duo of Magali Albespy and Kecap Tuyul bring an assortment of unique effects, synths and improv. The setting is sparse, aided but electrical currents and twisted frequencies in what sounds like the manipulation of amplified tapeheads at first. This abstract fest has all sorts of bells and whistles going off and on with a free experimental flourish that is timeless.
Simple hummed refrains mix with unhinged electronics that are playful at times (like the incidental anthem sounds at a ball game), and mostly hacking knobs and other gizmos. Even the title, Tinnitus Flowers, wreaks of a pun played upon the casual listener. Heck, make lemonade, people! The pitched squeals and revs and mysterious muttering sounds like sames from warehouse tone-tests (or hearing test), remixed for maximum impact. This is a new wave in musique concrète.
M.A.K.T. Sono doles out a similar, and even longer form variation on the first work, but on the second piece there is a clear pace, held in place by a rounded tone repeated at short intervals. The noise handling seems to be far more organized here, still bloated with fragmented effects that seem to utilize the breadth of vibration and frequency within the sound spectrum with curious results. The pulsation begins to dominate alongside some physical paper crinkling, whistling scrapes and wild decibels.
On the final track I’m reminded of that sparse decibel porn in the moments between John Foxx’s seminal Metamatic and Kraftwerk’s Radioactivity or Geiger Counter – of course it’s stripped of any emphasis on pop and ends up chugging like a freight train, banging its own drum, twisting and wielding wildly down the track. It is within the unexpected results that these two sound shapers are to some extent having to respond and catch up with at moments where velocity overshadows nuance. Though the promising premise is that they seem to physically get deep into the fluctuation, kind of wrangling the noise as if cattle herders. It’s beyond simple experimentation for the sake of a jam session, these two are genuinely sculptors of flux.
Since their beginnings in February 2018, M.A.K.T. Sono (Magali Albespy and Kecap Tuyul) have been experimenting with different set-ups and ways of playing. Amongst them, they like to play both on the same instruments / set-ups in the same time. It’s what they did on ‘UNK.0, an improvisation played on a no-input mixer. The other tracks of this EP (published on eg0cide productions) are electronic compositions by Kecap Tuyul and Doedelzak using this improvisation as only sound material.
Availaiblle now from eg0cide productions : M.A.K.T. Sono (a duo with Magali Albespy)’s second album 11 Songs is made of selected and edited improvisations recorded during the “M.A.K.T. Sono (sans sono)” residency at Le Magasin – Laboratoire de permanence chorégraphique (Mathieu Heyraud) – Saint-Etienne – November 4-9 2018.
Since their beginnings in February 2018 the duo has been working with modular set-ups that are likely to provoke unstable situations (like the soundbox, analog synthesizer and no-input mixer used in their first album “If you were a clarinet”). This time they played with microphones, voices, analog synthesizers, and small battery-powered amplifiers, forming a modular set-up whose elements can be interconnected in various ways. They also experimented the integration of some song-material in their improvisations.
Magali Albespy made some videos of the residency, they can be viewed from her site
Direct download links :
Magali Albespy is a dancer and performer. She likes to question the borders between formats and artistic disciplines. She explores real-time composition with body, video and sound.
Self-taught improviser Kecap Tuyul uses various (and preferably unstable) tools, looking for ways of playing and interacting (with sounds, with other media, with other people) and questioning the traditional ideas of instrumental mastership and composition.
Even bad things come to an end! This is the 6th and last volume of the perfect failure (?) / l’échec parfait (?). I must admit I failed to find any real or perfect failure among all the sounds submitted. Each of them inspired me for building interesting sound blocks, imagining new composition tactics, blurring the distinction between what I can find “good” or “bad” – although I won’t deny that many of these sounds were somehow headache-inducing when played on repeat while working on this 5 hours long mix.
Will you love-hate all these “Imperfect failures” as much as I did while patiently gathering them during 7 years? Probably it is and unbearable listen, and probably it is not bad enough yet. In all cases, the egocidal aim to create some kind of failurological artistic practice has imperfectly failed, it is time to move on. For instance, concerning the editorial line and submission policy of eg0cide productions, there is a kind of failure that I really dislike and want to correct : the under-representation of female artists in the back catalog. You can read more about this in the page about our new submission policy.
Many thanks to all the contributors who trusted me enough to send their secret / questionable material : 3/2, A.D. du nord, Ayato, Benoît Rouits, Charles premier, Cocotte Sapiens, David Pomlait, Doedelzak, Extrasystole, Gavin Prior, Half Evidence, Hellsings, Janne Nummela, Jules Valentin, The Kiriks, Luxalove, M.A.K.T. Sono, Mata-Hari, Natalia Kamia, Onde Poussière, Philippe Desclais, psph.S, Siu, tay_ploops, Torbill, Xavier Mussat, XtetX Ensemble, Yoshiwaku, 3HNT– and some anonymous people. I shamelessly contributed to this with some of the worst recordings of my solo projects Kecap Tuyul and Failure Circle.
Click on the picture to visit the download page on archive.org (Unfortunately, the archive.org player is glitchy with long tracks like this one. For a smoother listening, we recommend to download the album)
Full album download links
Half Evidence (duo formed in 2012 by Charles premier & Kecap Tuyul) is currently on hiatus since summer 2016, but their story isn’t finished. Amongst hours of material created between 2012 and 2016 they have selected a few tracks recorded in april 2013, gathered in a new album published on eg0cide productions : Veines. In these sessions, Charles premier played several of his home-made instruments, while Kecap Tuyul used prepared guitar and voice.
Click on the picture to visit the download page
Full album download links :
The shaman won’t come back is a new file-exchange based collaborative album of Ayato & Kecap Tuyul, It was recorded and mixed in various places between 2015 and 2018. Ayato played guitar with live looping made with a Revox reel to reel tape player, and Kecap Tuyul later overdubbed these hypnotic tracks with various sounds, building dense and trippy soundscapes.
This work can be considered as the 3rd part of a trilogy started with Waiting for the shaman , published by eg0cide productions 6 years ago. For the moment, the 2nd part of this trilogy exists only in the head of the listener.
Click on the picture to visit the download page on archive.org
Full album download links
Birds (Song thrush aka Turdus philomelos) songs used on track 2 have been recorded by Lars Edenius and are licensed under a “Creative Commons Attribution-NonCommercial-ShareAlike 4.0” License. They are available on the site xeno-canto.org .
The other found sounds used by Kecap Tuyul came from older sources whose exact origins have been forgotten.