1401 Rodolphe Alexis | Stéphane Rives : Winds Doors Poplars























I Warehouse Doors
Field recordings from l’Usine, artistic residency centre in Tourneufeuille, France, 2012
II Autorail
Field recordings from the line Györ-Pannonhalma, Hungary, 2012
III The Poet House
Field recordings from La casa del Poeta, Trasmoz, Spain, 2010
IV Solid Steel Sculpture
Field recordings from l’Usine, Tourneufeuille, France, 2012
V Poplars
Field recordings around Pannonhalma’s arboretum, Hungary, 2012

Wind Doors Poplars is an experimental composition project initiated by Rodolphe Alexis. It brings together materials ruled by different natures and approaches.
First, the preexisting "recorded sounds": field recordings collected over a year and set as a frame for composition.
Then the "given sounds": a minimalist improvised instrumental gesture by Stephane Rives, bearing his distinctive solo signature. This material was recorded as a "Reminicence”, with absolutely no connection to the above-mentioned sonic framework.
The compositional stage was an attempt to reinstate our elementary listening process towards both sets of sounds, in a broad perspective that questions the very act of listening and the mechanism of improvisation.
This  is not a "musical" project in the classical sense, in which we would have sought to skillfully and effectively bring together separate textures. Each element exists independently, within its own register and raw power. This new syntax can, indeed, generate a listening shift towards a new territory.
- Stephane Rives | Rodolphe Alexis

Saxophone on all tracks was recorded at Tunefork Studios, Beyrouth.

Soprano saxophone : Stephane Rives
Field recordings & editing : Rodolphe Alexis

Graphic Layout : R.A

Promo clip


Audio CD, 6 panels digipak
40 minutes+
Release date: April 2014
12 Euros + shipping order 

Related resources:
Geographically connected
Bertrand Gauguet "Shiro"
Eric La Casa | Cédric Peyronnet "Zones Portuaires"
Battus | Marchetti | Petit "La Vie Dans Les Bois"
Pascal Battus "Simbol / L'Unique Trait D' Pinceau"
Eric Cordier | Seijiro Murayama "Nuit"
Eric La Casa "W2 [1998-2008]"
Jean-Luc Guionnet "Non Organic Bias"
Eric La Casa | Cédric Peyronnet "La Creuse"
Eric Cordier "Osorezan"

Musically connected
M.u.r.m.e.r. "Framework 1 - 4"
Lasse-Marc Riek "Harbour"

Word(s):
Vital Weekly
Field recordist Rodolphe Alexis already had some releases, and here he works with Stephane Rives, the soprano saxophone player. They work strictly separated from each other; the two have no connection in a studio. At least that's what I understand. The two have been sticking their musical pieces together quite randomly. It works together quite well, I think. On the one hand these field recordings, all described on the cover, recorded between 2010 and 2012 in France, Hungary and Spain and which have a fine texture. The rumblings of gates, wind, railway lines and such like work great with the saxophone playing of Rives. In 'Autorail' it's very lengthy, very noisy almost in a sine wave like manner, and sometimes almost like being entirely absent in 'Poplars'. Perhaps only in 'The Poets House', we hear the saxophone more dominantly than the field recordings. This could a hit and miss release, but I think in these five pieces it works wonderfully well. The whole John Cage/random approach wasn't also convincing to me, but obviously there is a possibility I am wrong. This might be such a case.
- Frans De Waard -

Revue & Corrigee 
Un projet initié par Rodolphe ALEXIS autour de field recordings effectués durant une année, et collectés afin de devenir un projet qu’ils définissent eux-mêmes comme syntaxique. Afin de mobiliser l’écoute. Cinq pièces, quatre lieux en France, Hongrie et Espagne. Des lieux industriels (une usine française), mécaniques (« Autorail », ligne de chemin de fer hongroise), la maison du poète (« La casa del Poeta », en Espagne), et la forêt hongroise. Plusieurs portes d’entrées (allusion au titre « Warehouse Doors ») à l’univers des deux compositeurs. Ça crisse, ça rebondit le métallique, ça bourdonne même. Une prise de son superbe où vient se poser le saxophone de Stéphane RIVES. Dans la retenue du souffle court. Une électroacoustique fluide circulaire. Où chaque son a sa propre place dans une coordination sonore remarquable. Cette première pièce nous dresse donc le tableau des ces 4 pastilles sonores agréables. Ça y est, on prend le train, on y est. On serait surtout dans une musique de film. Le saxophone vient imiter le signal sonore annonçant le départ du train, dans une confusion intrigante au point de vue du timbre bien sur. Les essieux circulent comme les sons aigus du saxophone. Un travail très intéressant sur ces mimétismes sonores entre le mécanique fixé et le souffle soprano de Stéphane. Les prises de sons me font penser à Bernhard Günter (d’ailleurs dans les remerciements du livret) et Jean François Laporte. Ou encore Dave Philipps avec cette prise en forêt hongroise, dans une interprétation presque traditionnelle de percussions aux timbres indiens. Juste après la respiration venteuse de la maison du poète en Espagne. Si j’ai été largement enthousiasmé par le disque de Nick Hennies (Work, Quakebasket records), ce disque me touche tout autant, même si dans un registre différent. Encore que...
- Cyrille Lanoë -

1 comment:

Andres Pena said...
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