REVIEWS
artist: YANNICK DAUBY & CHRISTOPHE HAVARD
title: Live At Bars Des Oiseaux
catalog number: and/live 1
release year: 2002
format: CDR
status: sold out
title: Live At Bars Des Oiseaux
catalog number: and/live 1
release year: 2002
format: CDR
status: sold out
The first release in the "and/live" series of an improvised laptop performance
recorded live at Bar des Oiseaux in 2001 during the Manke festival. A very nice
mixture of sparse moments with dynamic builds, crackling textures and drones of
various frequencies, created from environmental recordings and minimal
electronics.
recorded live at Bar des Oiseaux in 2001 during the Manke festival. A very nice
mixture of sparse moments with dynamic builds, crackling textures and drones of
various frequencies, created from environmental recordings and minimal
electronics.
VITAL WEEKLY (OCTOBER, 2003)
You will have to excuse me for the delay of this review, but somehow,
somewhere, this release was misplaced in the Vital HQ (humho), but a review
is never too late. The recording is almost two years old and is described on
the cover as an "improvised laptop duet" - actually I saw this only after I had
heard it. I swear it was a combination of the good old laptop in combination
with someone producing electroacoustic sounds, amplified tin foil, screws
and bolts, combs: that sort of thing. Well, maybe they were on the laptop as
original sound sources. In the course of forty-three minutes, things unfold only
a very slow rhythm - a gentle moving glitch (as opposed to glitches), almost
inaudible passage and whatever software they are using: it is hardly to be
recognized. Maybe it's just two guys playing their finished soundworks and
nothing is improvised? It certainly sounds like it. I am sure not many
improvisers would agree with me here, but saying something sounds like it's
composed, while it's actually improvised is probably an insult to the rigid
improv minds. But I rather see it as a compliment. Only at certain times, this
sounds improvised, but for the better part, it sounds like a well planned thing.
Either way: it doesn't matter. The result is nice and that's what counts.
(Frans de Waard)
You will have to excuse me for the delay of this review, but somehow,
somewhere, this release was misplaced in the Vital HQ (humho), but a review
is never too late. The recording is almost two years old and is described on
the cover as an "improvised laptop duet" - actually I saw this only after I had
heard it. I swear it was a combination of the good old laptop in combination
with someone producing electroacoustic sounds, amplified tin foil, screws
and bolts, combs: that sort of thing. Well, maybe they were on the laptop as
original sound sources. In the course of forty-three minutes, things unfold only
a very slow rhythm - a gentle moving glitch (as opposed to glitches), almost
inaudible passage and whatever software they are using: it is hardly to be
recognized. Maybe it's just two guys playing their finished soundworks and
nothing is improvised? It certainly sounds like it. I am sure not many
improvisers would agree with me here, but saying something sounds like it's
composed, while it's actually improvised is probably an insult to the rigid
improv minds. But I rather see it as a compliment. Only at certain times, this
sounds improvised, but for the better part, it sounds like a well planned thing.
Either way: it doesn't matter. The result is nice and that's what counts.
(Frans de Waard)
ABSURD - absurdities #7 (MARCH 2003)
and/OAR is a new cdr label by Dale Lloyd (if I am not mistaken), the first release
of which was Yannick Dauby's and Christophe Havard's encounter that took
place at the Bar des Oiseaux sometime in November 2001, and is a subtle
impressive minimal recording using the usual drones and crackles/scratches,
whatever, which flows in such a mood that I call it adventurous, especially the
last 15 minutes of which (in all is 43.45) turn to be more lively as a kind of
opposition to the previous half hour (?) that made me like it very much. I
suggest you listen to it at high volume as there's a lot happening in the
background, unfortunately I don't know much about Christophe Havard but that
was another installment to admire the work of Yannick Dauby! And also curious
for further releases of the and/OAR label as well, I think that is more into field
recordings or so genre. (Nicolas Malevitsis)
and/OAR is a new cdr label by Dale Lloyd (if I am not mistaken), the first release
of which was Yannick Dauby's and Christophe Havard's encounter that took
place at the Bar des Oiseaux sometime in November 2001, and is a subtle
impressive minimal recording using the usual drones and crackles/scratches,
whatever, which flows in such a mood that I call it adventurous, especially the
last 15 minutes of which (in all is 43.45) turn to be more lively as a kind of
opposition to the previous half hour (?) that made me like it very much. I
suggest you listen to it at high volume as there's a lot happening in the
background, unfortunately I don't know much about Christophe Havard but that
was another installment to admire the work of Yannick Dauby! And also curious
for further releases of the and/OAR label as well, I think that is more into field
recordings or so genre. (Nicolas Malevitsis)
EAR / RATIONAL (APRIL 2004)
Ultra-subtle location recordings - I turn the stereo up loud and hear wind, a little
buzzing. A little frying, something falls. I forget about it and my room is still
interesting. A little scraping and I forget again. Tones come and go, this is much
more than plain field recordings. I can sense emotion and something building,
sounds seem placed and an order is being made. The subtle sounds and
crunchy bits make me feel like my legs are being eaten by termites. This would
fit in with the RLW type of releases. Minimal use of sound creating a very large
impact on the environment and because it doesn't hold your attention, it is
perfect. (Don Poe)
Ultra-subtle location recordings - I turn the stereo up loud and hear wind, a little
buzzing. A little frying, something falls. I forget about it and my room is still
interesting. A little scraping and I forget again. Tones come and go, this is much
more than plain field recordings. I can sense emotion and something building,
sounds seem placed and an order is being made. The subtle sounds and
crunchy bits make me feel like my legs are being eaten by termites. This would
fit in with the RLW type of releases. Minimal use of sound creating a very large
impact on the environment and because it doesn't hold your attention, it is
perfect. (Don Poe)
