Thanks to the public libraries, as a curious teenager, discovered various non-European musical traditions (notably Persian, Inuit, Pygmies, Gamelan and Classical Indian music) and genres such as ambient, krautrock, industrial and other oddities. Then in 1994, noticed a poster announcing a performance, “Electronic Meditation”. The musician was not the expected rock band with blinking synthesizers (cf. Tangerine Dream’s first album), but was Eliane Radigue performing “Kyema” in a small church. As a direct consequence, the following semester was the discovery of musique concrète and becoming student in electroacoustic music class at the Academy of Music of Nice (teacher: Michel Pascal), France, hosted by international music creation center, CIRM (director at that time : Michel Redolfi then Luc Martinez).
Without a background in conventional instrument playing, reduced listening, acousmonium diffusion and studio techniques (both analogue and digital) were an immediate and irreversible immersion into music, sound and composition. Recorded sound as a medium, found or adapted objects (from metal junk to branches to homemade microphones) and field recordings of environments as basic materials, Yannick Dauby spent the last 20 years composing electroacoustic music related to soundscapes.
At the same time, started studying Musicology and Ethnomusicology at the University of Nice.
In both Academy and University, followed the improvisations workshop participating to Live-Electronic Performances with digital processing of live manipulation of objects and analogue electronics.
This period of was also the exploration of the massive modular synthesizers, a practice interrupted when leaving the schools, but rediscovered since 2011 thanks to the renaissance of these instruments.
His compositions appeared on CDs, vinyl records and cassettes tapes, released in Europe, Asia, Russia and USA and were played during festivals or national radio programs and collective and/or pirate radios broadcasts. After settling in Taiwan, performs regularly as an improviser with local musicians and dancers. Recent shows include soli based on analogue electronics and animal voices, live improvisations with Alessandro Bosetti, David Toop, live soundtracks for Taiwanese dance company Horse 驫.
Complete discography appears on Discogs.com.
Example of publications :
tsi̍t lâu tsuí 一流水 an record composed in Penghu Archipelago, with the sounds gathered on the islands, a electroacoutic reverie of the shores and their inhabitant.
” time and tide, life and death, all things tumbling over each other like debris in the waves, breaking, softening, and tumbling again. If this is the cycle of life, surrender may yield the greatest calm. ”
— review by Richard Allen, A Closer Listen
蛙界蒙薰 Wā Jiè Méng Xūn, project interweaving analogue electronics and sounds of amphibians.
” The record’s ecological and spiritual credentials are weighty indeed – yet it’s a rich and humorous listen. ”
” Dauby’s modular synths hit the jackpot, because they sound enough like frogs to blend in, and a magical bifocal environment is created: half unprocessed frog choirs, half hectic electricity. ”
— review by Clive Bell, The Wire, issue 353
” We are treated though to a surprisingly rich and fresh sound world – froggish glissandi (with insect- and birdy-sounding panoramic sweeps) play alongside arpeggiated synth sounds. It’s an engaging combination, which is what this album is all about, combination, complementarity and of course contrast. An organic/synthetic concept, random biotica and more periodic abiotica – which plays with the old game of source recognition and confusion – the guessing game of what’s what as the music unfolds. ”
—– review by Caity Kerr, The Field Reporter
Taî-pak thiaⁿ saⁿ piàn is a series of compositions relating to the sound environment of the Taipei basin.
” In addition to being a musique concrete composition, “Taî-pak thiaⁿ saⁿ piàn” is an acoustic film, a series of images and scenarios with a very strong emotional content where a narrative is established through the exploration of the casual and reduced hearing.
This is a very successful work that opens the door to phenomenological and artistic reflections on the audio visual field and in particular on the relation between cinema and sound art / music; “Taî-pak thiaⁿ saⁿ piàn” rewards the listener with a very strong perceptual experience into a universe of images of extreme beauty and profound meaning. ”
— Review by Alan Smithee, The Field Reporter
” Taî-pak thiaⁿ saⁿ piàn is a wild, whirled work that conveys so many sounds from so many sources, you need quite a few listens to assimilate what Dauby is doing here. Much more a work of editing and, presumably, post-production than anything else discussed here, Dauby alternately startles and transfixes the attentive listener with human cries, songs, the sounds of labor, ritual, and much that is alarmingly, electrically insectoid. A mash-up of intense clarity, Taî-pak thiaⁿsaⁿpiàn might be the release here most meriting the signifier immersive. You’re not immersed in one environment for long, however – it’s more like a sound-gathering spree in a wild taxi ride, not a push as much as a plunge.”
— Review by Jesse Goin, Crow With No Mouth