Вторник, 27.02.2024
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obs *





obs * RD#2 cdr collaboration,36 min,




lim to 100 numbered copies


Olivier Dumont
Rodolphe Loubatière


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"For this second meeting,  duo Dumont-Loubatière clouds the issue a bit further. No matter who does what. Musicians take sound texture from a place to bring it to another place...unless it is the reverse?"

snare drum : rodolphe loubatière
guitar/objects : olivier dumont






Two tracks from Dumont (guitar, objects) and Loubatière (snare drum). Can't swing a dead cat without hitting objects and snare drums these days. I'm pretty sure the first time I saw a snare used by itself (aside from some wonderful Max Roach moments) was at the hands of the great Sean Meehan, in duo with Toshi Nakamura at ABCNoRio. It certainly spoiled me. There's no reason, of course, to only use it in a quiet manner but, to my ears, it lends itself so well to that approach, has so much to offer therein, that when attacked more aggressively, I can be, perhaps unfairly, put off somewhat. "Side A" (so titled though there's no LP or cassette release of which I'm aware) begins in semi-AMMish territory with low rattle 'n' hum but soon Loubatière takes bow to snare and that sets the eventual tone. There's a quiet period with a dull, distant drone overlaid by rubbed taps, like wet fingers pressed into drum skin and it's very effective--dark and dystopic. The mood unravels a bit however, the sounds becoming less focussed and, again, veering into that "bowed" area (I'm not certain of the actual means of production here, but it has the same feel) that's so difficult to maintain. The interest level fluctuates but, overall, there's too much activity that becomes treading of water, an instance where shortening would have been highly beneficial. It's a tough balance and the dup teeters on the edge of some good things but just lacking, to these ears, some degree of concision. "Side B" begins quite seductively, with liquid, rolling sounds from the guitar and mini-barrages from the drums--very active, yes, but with purpose, possessing a nice careening quality. But again, focus is lost and the excess of activity doesn't quite compensate. Again, the drum bowing (I think) is prominent and, as is the case in players as otherwise masterful as Prevost, its really hard to integrate. As in the first piece, solid moments are achieved but evaporate too quickly. Maybe that's enough. I wanted to hear more space, more grace.

Just outside


Et revoici Olivier Dumont et Rodolphe Loubatière. Revoici leurs ressacs, revoici leurs petites fissures, revoici leurs feedbacks, revoici leurs sustains. L’un est toujours guitariste, l’autre toujours batteur. Mais ceci ne veut rien dire puisque chez eux rien ne se joue comme prévu. Et pourtant rien ne se déjoue.


Il y a chez eux une option vitale. Elle passe par le circulaire. Chez eux, presque tous les trajets le sont. Une marche entre chien et loup, une lenteur ou un étouffement, une résonance,  un glissement, un carnyx, une scie, des grouillements : le mouvement est rotatif, intensément rotatif. Ici, toute nouvelle inflexion enfante un nouveau territoire, chaque grincement s’invite symphonie. Ici, les sons se libèrent, s’intensifient, suivent leur naturel trajet. Circulaire, le trajet, mais je crois l’avoir déjà écrit.

Luc Bouquet © Le son du grisli


Mouture est le second disque du duo Dumont/Loubatière après un premier opus intitulé nervure, paru sur creative sources. On retrouve ici Olivier Dumont à la guitare et aux objets, et Rodolphe Loubatière à la caisse claire pour deux improvisations libres de quinze et vingt minutes.


Ce n'est pas très long, mais il n'en fallait pas plus. Dumont & Loubatière proposent ici un disque dans la "tradition" de l'improvisation libre post-AMM. Tout se joue sur les couleurs, les timbres et les textures. Caisse claire et cymbales frottées, jeu sur les micro-contacts de la guitare, e-bow et objets : Dumont & Loubatière explorent des idées abstraites et souvent rugueuses sur les instruments. Le duo se libère des codes et des normes pour explorer le bruit, le son pur - libéré des contraintes instrumentales. Le résultat est une musique linéaire et noisy, assez calme et brute. 
Des improvisations libres abstraites et bruitistes, basées sur une certaine spontanéité, qui ne se veulent pas forcément originales je pense, mais qui proposent des idées parfois singulières, toujours longuement tenues, et honnêtes.
improv sphere


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