Friday 25 February 2022

OVD055 : Pierre Vervloesem - Eric Thielemans / Masterpieces Of Irish Folklore, Vol. 12


Cover art by A.L. from an old poster

OVD055 : Pierre Vervloesem - Eric Thielemans / Masterpieces Of Irish Folklore, Vol. 12

Some music by Belgian Jazz drummer Eric Thielemans and avant garde wizard Pierre Vervloesem for your pleasure! Enjoy!

Digital release on the 25th of January 2022.

Track listing:

1: Moja Toaleta Jest Zepsuta
2: Czy Mogę Użyć Twojego

And on Bandcamp:

Friday 18 February 2022

OUC037 : John Americus Witt / Cacoethes


Cover art by Silas Plum

OUC037 : John Americus Witt / Cacoethes

The brillant American composer (see also ODG115OUC026OUC033, OUC034 and OUC036) return with another great thematic.

Cacoethes is the root of a few longer phrases. Cacoethes Scribendi is the phenomenon of writing as a mania, or a terrible habit.  Cacoethes Loquendi is the same notion, but as regards the need to talk ceaselessly and at length.  Cacoethes in a general sense is an irresistible urge to do something unadvisable.  Few things more succinctly define the course of Human history better than this simple notion.  Settle in.  It’s a long one.

The Depression Rabbits are sweet little guys who come around when it’s time to completely give up.  This is a temporary state, mostly.  A time to let fatigued muscles breathe and the particular mania of the season to subside a bit.  They are a boon, really.  Trouble is, they can also be seductive.  It’s harder to start a cold engine.  This Cacoethes is simultaneously the urge to continue and the urge to stop.  Be wise or be lucky.

Violate Flemish Themes is an interlude; the shortest song on any album by a good bit.  It is also an anagram.  There are two on this album.  We’ll get to the other one in a minute.  This one is about coming home.  How this can be both victory and defeat.  Some animals travel huge distances to breed and die in the same place they were born.  Some people do the same.

Stark Red Augustines is the other anagram. The original wording and this garbled transliteration both encourage self-destructive behavior that feels great.  Free and alive.  Saint Augustine seemed to think that Evil sprung solely and fully formed from the heart of Man, and that anything divine was to be held eternally blameless.  It’s a good trick.  Trouble is, everything costs.  Always will.  Even the most charitable of us eventually get tired of footing the bill.

Cacoethes is the last track, serving as a macroscopic study of the relentless glacial furrow we have plowed across the face of the Earth.  Stops and starts.  Relative quiet and relative chaos.  A working memory of maybe 80 years, give or take.  Repetition is the game here.  What we want remains in conflict with what we want to want.  It is a problem without resolution.  This song, at the very least, ends.

Digital release on the 18th of February 2022.

Track listing:

1: The Depression Rabbits
2: Violate Flemish Themes
3: Stark Red Augustines
4: Cacoethes

And on Bandcamp:

Friday 11 February 2022

ODG155 : Sylvain Van Iniitu / Sylvain van Iniitu ~plays Django Reinhardt


Cover art by Camille Tsering

ODG155 : Sylvain Van Iniitu / Sylvain van Iniitu ~plays  Django Reinhardt

Sylvain about his album:

"To be honest, I was not a fan of Django Reinhardt at first.   His untouchable iconic status, his guitar virtuosity emulating hordes of followers eager to imitate him to the nearest note, the emphasis on speed and dexterity in his playing : all this was enough to put me off from the start. While the guitar was my first instrument, I almost instantly turned to the opposite path: saturation, approximation, obscurity, experimentation, slowness. In short, a dead end.   

Twenty years later, a few good lessons learned along the way, I finally discovered the man behind the music, and it is above all this that pushed me to listen again, differently. First of all, to be touched by the story of a precociously gifted musician, who lived through a catastrophe that completely incapacitated him (let's remember that at 18, he was seriously burned in a fire in his trailer and lost the use of two fingers on his left hand) and who somehow found the strength to completely reinvent his playing: not only to find, compensate, but finally to surpass what he had previously achieved. Then, to become aware that this musician did not live alone, but in a community of friends, of encounters, and in his discovery through various encounters of jazz, to take the measure of his instantaneous capacity to assimilate and syncretize a new music.

In the meantime, I stopped playing guitar and spent the last few years developing a sequencer that I tell myself is "home-made", but in fact owes a lot to an invisible community : the one that develops microcontroller technology, makes software available online to everyone, describes in tutorials how to let them drive synthesizers and expanders through the MIDI protocol. A sequencer in which I have been implementing for years routines that give a lot of space to chance, but which also define the limits within which it can play freely. In this case, this machine allowed me, from a digitization of Django Reinhardt's pieces, to use fragments of them, and to vary them as I pleased, with a bit of hazard. In all this, who is the author of what you will hear ? Django, the Technique, the programmers who ensure the intermediate stages of digitization, those who built the instruments, me?    

Usually associated with a whole guitar mythology, some of Django Reinhardt's pieces are here translated into completely synthetic versions, with the help of a home-made sequencer, whose playing parameters can be randomly modified. A way to explore transformations, processes, limits of legibility and recognition, a mise en abîme of virtuosity through technique, an apology of simulacrum and infinite transformations, of the recycling nature of creativity, a passage from the burnt hand that plays to the incapable hand that codes...

A path of wandering between creative fire and cold technical complexity, I hope it will take you beyond the disfigurement to find a familiar figure in a new light."

Sylvain van Iniitu:

Born in 1976 in Ath. In the mid 90's his main interest was focused on collage, using various processes to corrode and disintegrate fragments of paper, already verging towards the limits of perception and meaning. In the next decade, shifting his focus to music, he started recording and experimenting with sound fragments, field recordings and crude, mostly second-hand or broken instruments, as well as free softwares. From 2008 on, he ran the music label ini.itu, also designing the sleeves of most vinyls. In the winter of 2013 he launched the E42.A8 sessions, based on improvisation in a remote area in the countryside. About the same period, starting to develop his own MIDI sequencer, and out of the need of visualising transformations brought by algorithms, he was paradoxically led again to the visual arts, augmented by the know-how of now being able to develop his own homemade graphic softwares. His main interests now lie in the themes both visual and auditory of processual transformations, (un)readability, interactions between form and meaning, alterations of alphabets, texts and scores,  including braille and MIDI files!

Selected recent recordings : 
Solo: vol3. on Tanuki Records as 4LLP4 CH1N0 on New York Haunted vol9. on Dream Museum Records  code428 = vol12. on co-dependent

With E42.A8:   IIIII : a 2CD compilation of improvisation at E42.A8

Digital release on the 11th of February 2022.

Track Listing:

1: Tea for Two
2: Perfume
3: Improvisation n°7
4: Sweet Georgia Brown
5: Perfume - Alternative take
6: The Man I Love
7: Improvisation n°7 - Alternative take
8: Sweet Georgia Brown - Alternative take
9: Louise
10: Sweet Georgia Brown - Alternative 2

And on Bandcamp:

Friday 4 February 2022

OPN001: Domenico Solazzo's PaNoPTiCoN / Live @ Biouel Barge


Cover art by Domenico Solazzo

OPN001: Domenico Solazzo's PaNoPTiCoN / Live @ Biouel Barge

Ten years ago the PaNoPTiCoN adventure ended, an extraordinary musical project that OFF is very proud to celebrate.

From 2007 to 2012, the eclectic group led by Domenico Solazzo (see also his solo albums ODG113 and ODG139) took to the stage with the sole objective of transcending themselves through music through the perilous exercise of improvisation.
At the rate of one publication per month, we invite you to immerse yourself in a multicolored universe tinged with a thousand influences, nourished by the sensibilities of its many participants, revealing a broad spectrum mixing adventurous jazz, psychedelic rock, electro and world music.

OFF will guide you through their vast discography in ten stages, stopping on their double studio exercise, their most salient concerts to conclude with their three official compilations reviewing five years of activities spread over eight seasons and more than fifty dates.

You will find some of the performers on various albums released on the different series on Off. They will be followed with a link to their release(s).

So we start with SEASON 1: Live @ Biouel Barge

Improvised and recorded live at BIOUEL BARGE, Brussels, November 10th 2007

Line up:
Christophe Bouquelle (electric guitar)
Vincenzo Grosso (guitars, percussions, voice)
Daniel Palomo Vinuesa (soprano saxophone, ewi, effects)
Constantin Papageorgiadis (fretless bass)
R.E.D.A. (turntables)
Catherine Smet (keyboards) 
Domenico Solazzo (drums, direction)

Sound Engineers: Maxime Libert and Matthieu Duvault
Postproduction and artwork: Domenico Solazzo

All picture by Ari Tintikakis

Digital release on the 4th of February 2022.

Track listing:

1: The Space Between
2: Attila - Le Un
3: Reality Dysfunction
4: Attila - Le Deux
5: David and The Sleeping God
6: Attila - Le Trois
7: Intermezze with French Fries
8: Ghost Dance
9: Fibroma Reticuli
10: Departure

And on Bandcamp: