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Two compositions (Spring 2014) related to the landscapes in the Mediterranean Alps.

Lignite (24:37)

Also called Brown Coal, this mineral was extracted in the mine of Vescagne, located near Vence, until 1953.

Recordings : Bézaudun-les-Alpes, France, January 9th 2014

Caïre Archas (25:17)

The toponym of this mount, located in the Mercantour area, relates to its shape : steep and protruding. But aren't moutains all analogue ?

Recordings : Col de Salèse, January 15th 2014

Released 24 January 2015

Published in Taiwan by Kalerne Editions.

Reference : kal06
Other keywords : musique concrète, drone, electroacoustics
CD for sale at Kalerne Boutique - 8 euros with free worldwide shipping !
(Comes in gatefold card case with plastic sleeve)

Digital version (MP3, OGG, FLAC) and CD also available on Bandcamp.

Here we have two new releases by Yanick Dauby, who lives and works in Taiwan. The first of these new releases uses 'in-site improvisation and field recordings' from Xinzhuang in Taiwan and judging by the title and the cryptic, poetic words on the inside of the cover, this is done in a factory. It takes a while before arriving at this factory. Somewhere after the twenty-three minute mark we hear a conveyer belt, and you realize this is a factory. It sounds like a loop, but it isn't we hear a phone ringing nearby. After the level of abstraction comes back on: we hear some rumble in a bigger hall, metallic and obscured, ending in a similar drone pattern that we also encountered on the first half of this piece. It's hard to say what Dauby does in this piece that is 'in-site improvisation', but some of the parts here consist of quite unearthly rumble; sometimes there are parts in which we hear the large space in which this factory in located and objects being pushed about. Maybe the more abstracter, dronier bits were derived from this? Maybe that is one assumption. Throughout this piece all of this remains quite dark; quite oppressive also, even maybe a bit depressing. There is no light in this factory. Everything is closed off and just machines intoning away, even when it suggests some human activity. Quite a fascinating release!
More field recordings and in-site improvisations (the cover notes them the other way round here, but I'm reading too much in there) can be found on 'Vescagne, Salese', which is about 'some landscapes of the Mediterranean Alps'. Two pieces here, of which 'Lignete' contains recordings made in a mine in Vescagne and 'Caire Archas' is from the Col de Salese. These pieces are entirely different from the other factory CD. In 'Caire Archas' we listen to the surrounding of a mountain top: lots of bird sounds, maybe a plane in the far away distance (but might also be any distant hum actually) and what seems village life way down below. It ends with what seems an ascendant on ropes, all the way down (I didn't check if this was a really high mountain; it would interrupt my romantic notion of this music). The other piece has a somewhat more hollow, cavernous sound and certainly towards the second half darker moods, but throughout sounds way more open than one would expect probably, based on the other release. More than on 'Caire Archas' this piece seems to have in-site improvisations, rummaging through metallic objects that are (perhaps) to be found on this location. All three pieces found on these two CDs are quite strong in that sense that they tell a story, moving from one part to the next, going round in a factory or mine and being on top of a mountain looking down. Two excellent CDs, based on field recordings, but beyond so much than just field recordings. Very imaginative works. (FdW)
JUST OUTSIDE (June 2015)
Dauby treads far different territory on this release--two tracks, the first recorded in a lignite mine in Vescagne (inactive), the second on an Alpine mountain, Caïre Archas. "Lignite" is mysterious while also being rather luminous and transparent, bearing a number of surprisingly "musical" sounds, zither-like strums and resonant, warm booms. Clearly composed and, I imagine, processing the field recordings a good bit (I could be wrong), it works very well, calm but with a subtly disturbing undercurrent, as though Dauby is disturbing an area that would rather be left on its own. The second cut is full of air, ice and snow, very much outdoors, with crows cawing, snow crunching, wind well as distant engines. The presumably electronically-produced drones add quite a bit of drama to the central section of the work. When they dissipate, leaving behind its echo and a wash of liquids, the effect is somehow very magical. It ends with several minutes of...I'm not sure, except it sounds like someone slogging through heavy, packed snow, deep in a crevice. Both pieces are very strong, really well designed and realized of this type.
- Brian Olewnick