We are proud to present new album of Laurent Pernice, providing fresh views for
academic avantgarde, from the different sides of microtonal music, reductive
minimalism and other methods of digital decomposition
Release date is 15 May 2004
Limited edition of 500 copies in jewelcase - sold out
Laurent Pernice is very talented and multifaceted french composer and
multi-instrumentalist active since 80s, his artistic life was segmented
to several periods, when he was moving easily from one style to another:
non-academic avantgarde, industrial rock, psychedelic dub, techno-ambient,
microtonal music, dancefloor polystylistics and electronic jazz.
Here a short bio written by himself.
Beginnings in Toulon
After having taken part as a bass player in various groups of the area, I launch out some experiments on four-track-cassette-tape and a computer. Thus is born, almost unconsciously, my first solo album, "Détails", come out in 1989 by Permis de Construire (Nancy). New music? Industrial music? In any case, very personal. Two choreographers are interested in my work, use it in their show. The critical greeting is very good.
Industrial Rock Period
In Paris, I was introduced by my label to Nox, a band looking for a percussionist for a tour. Our feeling is really good. Overdriven guitars with humming percussions satisfy me fully. A series of concerts in Europe and a record, the third of the band ("Killing Drive Power", 1989, also with Permis de Construire) results from this. However I feel the need to give my personal point of view. My second record ("Axident", always with Permis de Construire), much influenced by my participation in the band and produced by Gérome (Nox guitarist and leader), comes out in 1991.
Hallucinated Groove Period
The tempo of the concerts with Nox slows down: each member of the group being occupied by personal projects. I seize this opportunity to gently direct myself towards my third disc, "Exit to the City" (come out 1993 by PDCD, Germany). I still try out a new way, always unclassable, mixing my impressions of trip to Moscow, the non-European music and a groove near to On-U-Sound bands. The criticism is very good. I start to draw near to the techno. One of the titles of "Exit to the City" will be remixed in this state of mind.
In 1994, a new meeting, this time with an rather shifted German band, POL, whose music, full of nuances, is close to mine, makes me think about a record in collaboration with one of the members of POL, Marcus Schmickler (Pluramon). That gives one year later "Sept Autres Créatures", come out by Odd Size Records (Paris). Resolutely directed ambient techno, the loops of synthesisers are pre-eminent there, compared to the samples. The atmospheres, complex, are very much varied, the beat fluctuant.
Back To The Roots
In 1998, I need to find again thyme and "farigoulette": I move to Marseilles. At this time, I feel the need to speed up the tempos, to turn over to a more direct vision of music, more rock-n-roll. Thus I work out "Tambo". Always in a techno vein, but with more samples, I search simpler and faster things, while keeping the richness of atmosheres, the baroque side, foutraque of my preceding album. "Tambo" will not born such as I anticipate at the beginning, but some of these pieces will be used a little later on Split CD (with 99mg, Amaury Cambuzat, from the band Ulan Bator), "Ligne Latérale", released by Fario/Fear Drop.
The new millennium involves me in electronic experiments increasingly more unslung: "Yppah", a proteiforme album, dedicated to the American poet Walt Whitman, at Moloko+ (Germany). Jazz is mixed with funk, ambient is amalgamated with industrial music... The big cauldron of computer allows everything: thus it is necessary to try out everything... while waiting for "Infrajazz", which is released last year by Organic (Grenoble). The most recent work, "Drosophiles et Doryphores" (label RX:TX, Slovenia). Co-written with Jacques Barberi (author
of science fiction books and sax player with the band Palo Alto), the CD explores deviant, ambient electro-jazz.
Music is an unlikely imbroglio of chance, desire, mistakes, sensitivity, pleasure,
contradictions, surprises... Ever since my first album ("Détails", 1988), I have been
collecting certain sounds which came into being all on their own, so to speak,
the haphazard result of certain manipulations. By letting them run free, I realised that they
produced a kind of minimal music, even microtonal at times - yet a truly alive music
worthy of being heard.
Most of these sounds came about through sheer experimentation while trying to distort the
use of an instrument. Thus, the first immobile music I "composed" was based on a double
bass using only its extreme high notes and on a zither played with bass drumsticks.
The incongruity between the technique and the instrument produced chance music which,
in a certain sense, created itself.
Beyond this strange power of self-creation, it also became apparent that this music did not
tell a story, or even lie within a dramatic structure alternating tension and calm leading up
to a final climax, as is customary in traditional occidental music, but that it created
an atmosphere, a changing climate capable of continuing endlessly.
This is why I came to call it "immobile music", for it is not so much the music which moves,
but the attention of the listener which scatters, regroups, scatters again, ad infinitum, thus
designing its own construction.
If my first experiments with "immobile music" concerned acoustic instruments, I soon
realised, while manipulating electronic sounds, that immobile music could be machine-
generated, thanks to certain bugs or unconventional configurations - including practices
actively discouraged by manufacturers (such as dirtying the sound cards of certain
synthesizers so that the sounds are misread).
These first experiments with electronic dysfunction are brought together here.
I am not the first, of course, to venture into the vast realm of chance music - John Cage,
since the beginning of the XXth century, has broken much of the ground in this area.
But these pieces having given me a certain listening pleasure, I'm happy to be able to
present them to listeners today, with my wishes for a pleasant journey in the land of
"imaginary landscapes", to use the words of John Cage himself.
- Laurent Pernice