int021 | Jamie Drouin & Hannes Lingens | Alluvium

Jamie Drouin & Hannes Lingens

(3:06) (1:11) (4:13) (2:49) (0:50) 
(2:44) (14:42) (1:16) (3:09) (5:50)

CD, digisleeve, insert / edition of 200
27 March 2017

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Вновь дуэт на Intonema! Канадец Джейми Друэн, играющий на разного рода электронных приспособлениях, и немец Ханнес Лингенс, извлекающий звуки из малого барабана и напольного тома, записали эту работу необычным способом. Импровизируя в студии, используя наушники, а не мониторы, музыканты имели возможность сфокусироваться на мельчайших деталях звука. В частности, звуки, полученные при помощи близкого расположения микрофонов к перкуссии Лингенса, были использованы в качестве источника и сочетались с электроникой Друэна. Процесс записи альбома "Аллювий" позволил заниматься независимыми текстурами и перекрещивать звуки друг друга, размывая границы между ними.

One more duo on Intonema! Canadian artist Jamie Drouin, who uses a small selection of electronics, and German artist Hannes Lingens on snare drum and floor tom, have recorded this new album in an unusual way: Improvising in the studio using headphones, rather than monitors, the musicians were able to focus on meticulously detailed microsounds. In particular, the sounds derived from the close mic’ing of Lingen’s percussion instruments, combined with Drouin’s using that input as a sound source for his own electronics. The "Alluvium" recording process allowed their independent gestures and textures to cross pollinate each other’s, blurring the definition between their otherwise distinct instruments.

Jamie Drouin: no-input mixer, contact microphone, laptop, radio
Hannes Lingens: floor tom, snare drum, objects

Рецензии / Reviews:
"Jamie Drouin is a Canadian performer from British Columbia whose name is new to us…he’s been active for a number of years and is represented on his own Infrequency label with his friend and co-founder Lance Olsen, though he’s also appeared on one or two Another Timbre releases. Here on Alluvium (INTONEMA int021) he plays contact mics, laptop, and radio, working alongside the German percussionist Hannes Lingens with his drums and objects.

The deal for these studio recordings was a “no-monitors” session, and the duo listened to each other through headphones only; this made them more attentive to small details, microtonal sounds, barely-existing events, and such, heightening the sense of hearing when that of vision is gone. There is also a very close melding and inter-mingling of sound sources; for instance, Lingens’ drums were close-miked and used as sound sources by the Canadian, presumably manipulating them in real time through his laptop. In this way they elected to surrender their respective identities, and those of their instruments, to the general ebb and flo of noise production.

Some interesting and unusual sensations are the result; at times the listener is transported to a virtual factory floor where it’s not clear what’s being manufactured, the engineers have gone home for the night, and most of the action is happening 50 feet away from where we’re standing. There’s a nice sense of enigma and puzzlement suggested by all this, but the duo can’t seem to work hard enough to transcend the fundamental flatness and inertia of this largely process-based art. I’m not feeling a strong sense of purpose or meaning behind these vague hums and rattles; their artistic gestures are concealed and muddled by this technique, not enhanced by it. “Cross-pollination” and “blurring the definition” between instruments isn’t really enough of a result for me. From 28th April 2017."

(Ed Pinsent, The Sound Projector)
"Calm and cacophony strategically appear on Alluvium as well. Oddly placed three-quarters of the way through, the track “(14.42)” is twice as lengthy as the next longest pieces combined. A showcase by default or design, the track demonstrates how flat-line nearly continuous drones can be transformed into the aural equivalent of panoramic scenery with the judicious placement of no-input board platter hisses and scratches as well as percussion pops, drags and splats. The result isn’t harmonious, but it is logical and conclusive. On the remaining tracks, titled by their timings which range from 50 seconds to almost six minutes, the duo sweeps peeps smacks drones and crackles every manner of muted textures from their output(s), with the result that the timbres could be those from a single instrument. Other places, noises that could be attributed to an egg-timer ringing, heavy water gurgling, rocketship launching and an air rifle recoil pop out from among the undulating buzz only to swiftly vanish. By coordinating sounds into a seamless, nearly solid mass, Drouin and Lingens have created an absolute example of selfless improvising as unique in its way as what The Holy Quintet does for long-form interactive improvising."
(Ken Waxman, MusicWorks / JazzWord)

"Il canadese Jamie Drouin (no-input mixer/laptop/mic a contatto/radio) e il tedesco Hannes Lingens (timpano/rullante/oggetti), a darsele secche in libertà con particolar cura per il microscopico dettaglio (session registrata in studio con cuffie piuttosto che uscendo dai monitor).
Sfrigolii statici, torsioni, sfioramenti e qualche intruppo d'insieme da ematoma e non da frattura.
Quaranta minuti di raschianti costruzioni tra feedback in controllo, grovigli materici, pulsazioni brutiste, membrane frollate e più di un metallo in attrito moderato.
Post AMM (in calo post industrial), con qualche parvenza di struttura e una certa capacità narrativa nell'organizzar il flusso acustico/rovinoso.
Livide, minimali sbrecciate ambientazioni, che grazie pure al saggio trattenuto minutaggio, riescono a trovar un senso."

(Marco Carcasi, Kathodik)

"A fitting title for this ear-silt; a subtle, almost-there, grit that builds up in pale layers.

The brief pieces (many around 3 minutes mark) all seem to document an action: unboxing something, gently bowing something, methodically rubbing something with cryptic knocks and wheezing adding hot spice.

Further investigation reveals these actions come via Jamie Drouin’s basic electronics and Hannes Lingen’s floor tom and/or snare drum as they listen intently to each other on expensive earphones.

It’s easy to imagine you are inside the friction (now the snake-like, descending hiss of uncoiling sellotape, now the busy scrub of glasspaper on marble) or the low electric moan (a dying medical machine, a looped breast pump) as it seems to bore inside your very soul.

For something so lowercase and subtle this Alluvium is exerting a powerful influence over my ear-bristles.

The sound itself is king and to keep the composition clear of unnecessary chaff, especially in a duo situation is testament to the control and lack of improvisers-ego in both Doruin and Lingens.  It’s only on ‘06’ – that deals in an ever-so-slightly more assertive sound – a rubbery raspberry that putters like an outboard motor – could you say these folk lick out anyone’s jams.

The longest piece ‘07’ is still loose-limbed and beautiful at a stately 15 minutes long.  It begins by conjuring up a polite crowd caught on malfunction mp3’s; the code starting to buckle and warp in that wonderful see-sawing motion.  Then a wet rope being twisted in the rigging interrupts the human recordings; some dry-heaving swells sing like angels and someone starts a terrible tap dance.

Truly sublime listening art."

(Joe Posset, Radio Free Midwich)

"Many of the releases on Intonema are recorded in St. Petersburg, where this label resides, but this new release was taped in Berlin, in August and September 2013. Drouin, of whom we had a release he played on two weeks ago, plays here 'no-input mixer, contact microphone, laptop and radio', while Hannes Lingens plays floor tom, snare drum and objects and the outcome is ten pieces of some extreme nature. Obviously this is the work of improvised music, as one would expect from these two musicians, but the music is, oddly enough, mostly electronically sounding. I have no
idea how they work and what they do, but it could very well be that the laptop and no-input mixer set a number actions in motion; objects on resonating drum parts for instance is one such thing. To which Lingens may add some of his own playing, but very rarely this playing sounds rhythmical, if that is what one would expect from seeing the drum parts listed. Whatever Lingens does deals with the resonating qualities of the drum parts, by rubbing them with objects, bows and hands. Drouin's sound palette is that of sustaining sine waves, feedback and radio waves picked up, and brought together with Lingens playing makes this all very intense improvised music. In a way it all sounds like it has been taped with a pair of microphones, which adds a particular brand of acoustics to the music (odd as it may seem) and adds to the intimacy of the music, despite some of the more extreme sounds used, also strange as it sounds. This I thought was a beautiful release."

(Frans De Waard, Vital Weekly)

"Межконтинентальный дуэт канадца Джейми Друэна и немца Ханнеса Лингенса записал эту программу в Берлине, в конце лета-начале осени 2013 года. Три с половиной года спустя она увидела свет на авангардной петербургской фирме Intonema. Alluvium вызывает ассоциации никак не с концертным залом, наполненным благодарными и восторженными слушателями, а, скорее, с акустической научной лабораторией, где немногочисленная группа исследователей с интересом знакомится с результатами работы своих коллег.

И такие ассоциации представляются мне вполне естественными: творчество Джейми и Ханнеса – это глубокий авангард. Их не интересуют стандартные понятия гармонии, мелодии, ритма, их интересует звук, как таковой. Они исследуют соотношение звука и тишины, акустический и электронный характер звука и их взаимодействие, изменение высоты звука и его окраски в зависимости от местоположения его источника (источников), звуки, создаваемые специально для этого предназначенными объектами (то есть музыкальными инструментами) и совершенно случайными предметами, и так далее. Джейми Друэн оперирует разнообразными, преимущественно электронными дивайсами, Ханнес Лингенс – по преимуществу перкуссионист, в Alluvium работавший с малым барабаном и напольным томом. В берлинской студии они максимально приблизили микрофоны к инструментами Лингенса, а сами использовали не мониторы, а наушники. В результате в программу вошло десять импровизационных контактов двух исследователей (я сознательно избегаю здесь терминов «композиция», «пьеса» и т.д.) разного объема – от почти пятнадцати и до чуть менее одной минуты звучания. Разумеется, никаких названий эти записи не получили: оба исполнителя аппелируют к узкому кругу таких же жрецов чистого звука, как и они сами, так что любые ассоциативные намеки, неизбежно возникающие при чтении и попытке трактовки названий тут не уместны.

Любопытна ли эта работа? Безусловно, да. Всем ли она может быть интересна? Безусловно, нет. Но Intonema, как и весь достаточно узкий круг музыкантов-экспериментаторов в разных странах никогда не работали для широкой публики. Alluvium, как и другие работы такого рода, - это «для своих». Только «свои» в данном случае – это не закрытое тайное общество. Если традиционная музыка, пусть это будет и крутейший фри-джаз, вам кажется слишком пресной, если у вас есть свои творческие идеи или просто интерес к подобному творчеству – velcome! А чтобы проверить себя, - для начала послушайте Alluvium."

(Леонид Аускерн, Джаз-Квадрат)