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Prepared piano, primed guitar, extended drums and electronics.
Since two years of sonic explorations, ambient textures and unstable harmonies, the trio is collectively creating improvised music by deconstructing their instruments in an electro acoustic setting. Their music is driven by the idea of builing a meta instrument, an ego-less creative process to open up new soundworlds and to explore unheard musical territories.
Active on the European improvised music scene, Philip Zoubek, Ivann Cruz and Marcin Witkowski decided to reactivate their collaboration by releasing this first album.

This first opus is an opportunity for them to reveal this uncertain sound territory far from the hierarchies expected by this instrumentation. Over the course of these nine contrasting pieces, they take pleasure in playing with the boundaries between moving electric sound materials and acoustic textures disturbed by a few preparations. The instruments never cease to metamorphose or fade, the gestures collide and intertwine to seek a counterpoint of strings, skins or electronic sounds from which sometimes enigmatic harmonic landscapes emerge; a delightful flow of rubbing, pinching, resonance and percussion in effervescence.

Piano préparé, guitare apprêtée, batterie étendue et électronique.
Deux ans d’explorations sonores, de textures ambiantes et d’harmonies instables, le trio crée collectivement de la musique improvisée en déconstruisant leurs instruments dans un cadre électro-acoustique. Leur musique est guidée par l’idée de construire un méta-instrument, un processus créatif sans égo pour ouvrir de nouveaux horizons sonores et explorer des territoires musicaux inouïs.
Actifs sur les scènes des musiques improvisées européennes, Philip Zoubek, Ivann Cruz et Marcin Witkowski décident de ré-activer leur collaboration en sortant ce premier album. 

Ce premier opus est l’occasion pour eux de dévoiler ce territoire sonore incertain loin des hiérarchies attendues par cette instrumentation. Au fil de ces neuf pièces contrastées ils prennent plaisirs à se jouer des frontières entre matières sonores électriques mouvantes et textures acoustiques troublées par quelques préparations. Les instruments ne cessent de se métamorphoser ou s’effacer, les gestes se percutent et s’entremêlent pour chercher un contrepoint de cordes, de peaux ou de sons électroniques d’où émerge parfois des paysages harmoniques énigmatiques; un flux réjouissant de frottements, de pincements, de résonances et de percussions en effervescence.  

All music composed by Philip Zoubek, Ivann Cruz & Marcin Witkowski

Recorded on December 10 2017 at la malterie (Lille – France) by Peter Orins.
Mix and master by Marcin Witkowski (Wroclaw – Poland) in February 2019.
Photo Michael Niesemann.

This project was created with the support of Avant Art Festival (Wroclaw – Poland), Vive le Jazz (Köln – Germany), Impakt (Köln – Germany) and Muzzix (Lille – France).

Available in CD (digifile cover), FLAC HD (96kHz/24bits) and mp3

Produced by Circum-Disc and Muzzix


“Till Mina Vänner” means “to my friends” in Swedish, the testimony of a friendship between three musicians who have been playing together in various bands since the early 1990s.

The album opens and closes with the brass duo in unison, Julien Favreuille and his powerful breath on the tenor saxophone, and the poetic velvet of Christophe Motury’s fluegelhorn. Pianist Stefan Orins offers this trio a new perspective on his most melodic compositions. “Bodisattva”, which opens the album, a Buddhist term for an altruistic state of life, reveals the attitude of the three musicians throughout the album, helping each other to place music and its beauty at the centre of their attention. “Upplösning” (resolution), offers a totally improvised dialogue between the 3 soloists against a background of up tempo. The calm and serenity of “Lugn” (tranquility) evokes the wide open spaces of the pianist’s Swedish origins. “Pétales au Vent”, the title of a poem collection by Daisaku Ikeda, offers a ballad enhancing Julien Favreuille. “Tabea fyller sju”, introduced by the pianist, offers a melody evolving above complex harmonies and asymmetric measures. “Brussels Charleroi” is the sound testimony of the many trips back and forth in Poland that the composer had to make regularly to perform. Finally, “För”, a pun meaning “for” or “intended for”, is a piece dedicated to Christophe “Pher” Motury, a piece composed as a hymn in homage to the musician’s human and musical qualities.

The three friends build a bewitching sound landscape thanks to the mix of their sensitive timbres and their complicit ideas, a story…

“Till Mina Vänner” veut dire “à mes amis” en suédois, le témoignage d’une amitié entre trois musiciens qui jouent ensemble dans diverses formations, depuis le début des années 90.

L’album s’ouvre et se ferme sur le duo des cuivres à l’unisson, Julien Favreuille et son souffle puissant au saxophone ténor, et le velours poétique du bugle de Christophe Motury. Le pianiste Stefan Orins propose pour ce trio un nouvel angle de vue sur ses compositions les plus mélodiques. “Bodisattva”, qui ouvre l’album, terme bouddhique d’un état de vie altruiste, dévoile l’attitude des trois musiciens tout au long de l’album, s’entraidant les uns les autres à placer la musique et sa beauté au centre de leur attention. “Upplösning” (résolution), propose un dialogue totalement improvisé entre les 3 solistes sur fond de up tempo. Le calme et la sérénité de “Lugn” (tranquillité) évoquent les grands espaces des origines suédoises du pianiste. “Pétales au Vent”, titre d’un recueil de poéme de Daisaku Ikeda, offre une ballade valorisant Julien Favreuille. “Tabea fyller sju”, introduit par le pianiste offre une mélodie évoluant au dessus d’harmonies complexes et mesures asymétriques. “Bruxelles Charleroi”  est le témoignage sonore, des nombreux allers-retours en Pologne, que le compositeur était amené à faire régulièrement pour se produire. Enfin, “För”, jeu de mot qui veut dire “pour” ou “destiné à”, est un morceau dédié à Christophe ‘Pher” Motury, morceau composé comme un hymne en hommage aux qualités humaines et musicales du musicien.

Les trois amis construisent un paysage sonore envoûtant grâce aux mélanges de leurs timbres sensibles et de leurs idées complices, une histoire…

All compositions Stefan Orins

Recorded live at home on May 31 & June 1 2018 by Benoit Ganoote.
Recorded on a Bechstein Grand Piano A190 tuned by Guy Houzet.
Mix and CD-Master by Benoit Ganoote.
Cover photo and artwork by Stefan Orins

Available in CD (digifile cover), FLAC and mp3

Produced by Julien Favreuille, Christophe Motury, Stefan Orins and Circum-Disc.

After experimenting with randomness and electronic transformation (see Empty Orchestras – 2014), Peter Orins returns this time with his only drum set, and some objects, bowls, wood, shells…
As an improviser, he is interested in sound textures, the ambiguity of timbres and their production, the saturation of sounds or the harmonics specific to each instrument: make it possible to hear both the “microscopic” noises of skins or metals rubbed, struck, prepared, at very low power, and the acoustic pressures felt at high volume.
His approach focuses on chance, on the uncontrolled via small accidents, acoustic interactions between objects, percussions, resonances and sympathies due to certain frequencies or vibrations. This results in a certain form of fragility, clumsiness or imprecision, not only integrated but also desired, which transcends errors into necessarily unexpected effects, into an unintentional discovery, which in turn establishes another relationship with time.
His practice, influenced in particular by his encounter with minimal music and composers such as Michael Pisaro, James Saunders or Anthony Pateras, led him to approach James Tenney’s piece “Having Never Written A Note For Percussion” (from the Postal Pieces, written in 1971), a piece that combines the musician’s various concerns with time, progression, dynamics and the richness of the timbres…

Après avoir expérimenté l’aléatoire et la transformation électronique (voir Empty Orchestras – 2014), Peter Orins revient cette fois avec sa seule batterie, et quelques objets, bols, bois, coquillages …
En tant qu’improvisateur, il s’intéresse aux textures sonores, à l’ambiguïté des timbres et de leur production, à la saturation des sons ou aux harmoniques propres à chaque instrument :  faire entendre à la fois les bruits “microscopiques” des peaux ou des métaux frottés, frappés, préparés, à très faible puissance, et les pressions acoustiques ressenties à fort volume.
Sa démarche fait la part belle au hasard, à l’incontrôlé via les petits accidents, les interactions acoustiques entre les objets, les percussions, les résonances et sympathies dues à certaines fréquences ou vibrations. Soit une certaine forme de fragilité, de maladresse ou d’imprécision, non seulement intégrée mais souhaitée, qui transcende les erreurs en effets forcément inattendus, en une découverte non intentionnelle, qui de ce fait installe un autre rapport au temps.
Sa pratique, influencée notamment par sa rencontre avec les musiques minimalistes et des compositeurs comme Michael Pisaro, James Saunders ou Anthony Pateras, l’a amené à aborder la pièce « Having Never Written A Note For Percussion » de James Tenney (issue des Postal Pieces, écrite en 1971), morceau qui agrège les différentes préoccupations du musicien autour du temps, de la progression, de la dynamique et de la richesse des timbres…

Happened by Accident composed by Peter Orins
Having never written a note for percussion composed by James Tenney. Copyright Sonic Art Editions. Used by permission of Smith Publications, 54 Lent Road, Sharon, VT 05065

Recorded on June 26 & 27 at CCAM – Vandoeuvre-lés-Nancy (F)
Edited and mixed by Peter Orins

Available in CD (digifile cover), FLAC HD (96kHz/24bits) and mp3

Produced by Peter Orins, Circum-Disc and Tour de Bras 

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