Francisco Meirino - Anthems For Unsuccessful Winners
DRAINAGE, IN SIX PARTS
with Jérôme Noetinger
CD/Digital, Released by Klanggalerie, released August 2, 2023
Recorded in 2019 at La Becque Residency Center, Switzerland.
Edited and mixed in 2021 in Lausanne, Switzerland, and Rives, France.
Mastering and artwork by Francisco Meirino.
Francisco Meirino, modular synthesizer, field recordings, microphones.
Jérôme Noetinger, Revox B77, electronics, radio, CD player, tapes.
Born April 1966, in Marseille, Jérôme Noetinger discovered experimental music under the influence of the Déficit Des Années Antérieures in Caen. He is a composer/improviser/sound artist working with electroacoustic devices. Composing sometimes musique concrete in the studio, and performing improvised music using electroacoustic devices such as: the reel to reel tape recorder Revox B77 and magnetic tape, analogue synthesizers, mixing desks, speakers, microphones, various electronic household objects and home-made electronica. Performing both solo and in ensembles, and collaborating often, and touring extensively internationally. Jerome also used to be the director of Metamkine, a non-profit... more
... a music that explores the limits of sound research ... Meirino pushes himself fervently into the dark per tug of a complicated and conceptual sonic avant-garde with results so brilliant that he is sometimes able to redefine the very existence of sound as we know it (or believe we know) ... the principle governing the composers praxis is processing what is not supposed to be recorded, and its a beautiful and adventurous prospect if undertaken with rigour and fear... one might object that one cant understand where the art is in this mess of electrostatic discharges, insane oscillators, modified and altered samples, abused low and high frequency filters and left free to occupy the available sound space...
(Alieno de Bootes, July 2023)
In 2019, Francisco Meirino from Switzerland and Jerome Noetinger from France did a concert (I think) at the La Becque Residency Center in Switzerland, mixed in 2021 in Lausanne and Rives. I assume the cities where these musicians live. Armed that day for recording, Meirino brought in a modular synthesizer, field recorder and microphones and Noetinger his trusted Revox B77, electronics, radio, CD player and tapes. Maybe this wasn't a concert but a residency for a few days, resulting from their collaboration. As I am playing this release several times, it dawned on me (I am known to be a slow thinker) that I grip a lot about improvised music, but, obviously, this is a work of improvised music. But then, as a sort of radical live-action musique concrète work that I enjoy very much, their approach is that 'we take no hostages'; they go in at full force, with sounds bursting and cracking, explosions left and right. I don't know if Noetinger, in his set-up of live loop montage, also adds sounds from Meirino to the melee. Maybe he does, maybe he doesn't. Sounds are cut short, vanish in a hole in the ground, or are shot up in the sky. Don't think this is a noise release, far from it; these men also know to have moments of careful approach, in which they sparsely use sounds, but it all sits next to a more brutalist process, in which they go all the way. It is not a harsh noise per se but fiercely loud. And yes, all of this is very much improvised, but this is the kind of improvisation that I enjoy very much. It is on the same level as noise music when it's done correctly; then I am all for it, and in that respect, this is not only improvised music but also noise music. Electro-acoustic music without the care and protection, but with some moments of reflective sparseness. This is forty-two minutes of sonic bliss. That's how I liked them best. (Vital Weekly - FdW)