Martin Archer – laptop, woodwind
Peter Fairclough – drums
Hervé Perez – laptop, woodwind
martin – email@example.com
Sheffield S10 3YR
hervé – firstname.lastname@example.org
Inclusion Principle was formed in 2006, released its first eponymous CD that year, and follows up with a second release ‘The Leaf Factory Fallback’ in March 2010. Subsequent releases include documents of performances: Inclusion Principle – Live at Showroom (2012) and Inclusion Principle – Live at Showroom (2013). Peter Fairclough joined as permanent third member in 2013.
Inclusion Principle operates in a space between electronics, nu-jazz, contemporary electroacoustic music and free improvisation tending towards a minimalist approach.
Both Martin and Hervé play a similar set up of laptop and woodwinds and yet have a different approach to their instruments. Put together, there is a chemistry that inspire and drive their improvisations towards a wide range of soundscapes.
The choice of instruments and sounds on their palette allows them to dramatically change their music between beat driven electro, minimal and microtonal improvisation via electroacoustic experimentation and nu-jazz.
Long time collaborator Peter Fairclough fills a space in the soundscape that was meant for him, bringing a range of sounds and acoustic instruments. His inventive use of hand percussion, cymbals sculptures and bells blend perfectly with abstract textures while establishing definite jazz grooves that sit comfortably amongst electronic beats.
There is something for all in their music. First and foremost, they share an enjoyment of sound and performance which touches their audience, no matter what style they may adopt.
We decided to base the name on a theory of the research physicist Wolfgang Pauli. We found a correlation in that we both worked with a digital scalpel on fields of microsounds; a science which took both our instruments and processed field recordings a little closer to the chemistry of natural sounds, complete with harmonic DNA sequences and rhythmical fragments quantum-jumping from cell to cell.
We were intrigued by the idea of the ‘exclusion principle’ and decided that Pauli was ‘not even wrong’ in his theory since Martin and Hervé successfully managed to sit together in the same room. In the end, our main source of inspiration will always be deep listening and a fascination for the science of the natural world.
Sometimes, sitting in silence for hours in the crest of birdsongs or in wafts of windy harmony is more profitable than practicing scales. And to a certain extent, each of our improvised performances plays itself as an unspoken intense inner excitement. And we leave it to rest, a little calmer, as if something had happened in the space between thoughts…
Inclusion Principle third release is available via the discus website.
Extracts from New Release – Third Opening:
live documents of the trio performing:
Out Front festival, 24 october 2016
Marsden jazz festival, 07 october 2016
Manchester jazz festival, 25 july 2016
bridge hotel, Newcastle, 03 april 2016
halton mill, Lancaster, 05 march 2016
jazz at the lescar, sheffield 02 dec 2015
church of sound, nottingham 19 nov 2015
safehouse, brighton 28 may 2014
tramlines, sheffield 20 july 2013
showroom cinema, sheffield 06 apr 2013
“This strange hybrid produces a world where the space is as important as what fills it. Oddly hypnotic, but far from meditative, Third Opening maintains the Discus tradition of sprawling double albums where time ceases to have meaning. The oft used electric piano and the nature of the beats puts this album firmly in a nu-jazz bracket, a pigeonhole that seems to me to have no boundaries, and is therefore more than fitting in this case.”
Roger Trenwith, Astounded By Sound
“What you are hearing are the results of initial meeting between the two. First hour, first day. Improvised. Minimal, detailed, immaculately recorded.
Not so much a sound installation as a room in which you finally get to hear the sound that were already there, but the very elements are broken down to their basic particles forming into glitch electrics where electrons reveal themselves from within the whole.
There’s something of the alchemical about it as nature’s music forms these things.
It’s a productive and worthwhile collaboration between two heavily experienced instrumentalists with an impressive sense of awareness.”
Hassni Malik, Irrational Arts
“I have not heard a better album from Martin Archer yet.”
Petr Ferenc, hisVOICE
“The sense of considered, focused interplay between the participants is undeniable. An hour or so of abstract noise passes imperceptibly, then, suddenly, everything feels shockingly different.”
Stuart Lee, Sunday Times
“A CD of intricate moments, steering away quite nicely from many of the clichés associated with the vague beast that is the improv genre. Both (players) do indeed seem to be on an extended nature trip, albeit a microscopic one…..It’s an album of abstract micro-events, none of which help pin the improvisation down, and it feels at times that we’re moving along with the musicians on a cellular level of sound…..What I hear is the deep thinking of stones and the beating hearts of young trees, the dying wishes of leaves falling to the ground and the absurdist symphony of a gently running stream…..Guaranteed to make even the most hardened sceptics want to smell new spring flowers and run naked through the fields.”
Aaron Robertson, Sound Projector
“The sound-construction/deconstruction works to a truly great effect here.”
Chuck Rosenberg, Aural Innovations #43
“This electroacoustic set retains the spontaneous qualities of a live recording, mashing up abstract textures, field recordings and extended techniques.”
Following an early career with 1980s jazz punk pell mellers Bass Tone Trap, followed by the fondly remembered and widely gigged Hornweb Sax Quartet, Martin disappeared into the recording studio for 15 years in 1994, from where he produced a series of highly acclaimed albums for his own Discus imprint. In recent years, as well as forging a three album creative partnership with veteran vocalist Julie Tippetts, Martin currently works with avant rock groups Orchestra of the Upper Atmosphere and Combat Astronomy, 35 voice experimental music choir Juxtavoices, minimalist improv to nu-jazz laptop duo Inclusion Principle, and most recently Engine Room Favourites, in which Martin revisits his AACM roots.
Sound artist/composer from France, now based in Sheffield, UK.
He works across genres, drawing from many influences in jazz, electro-acoustic, contemporary music, experimental electronics, free improvisation, immersive sound art and ancient techniques of sound therapy alike.
Hervé’s research approaches sound as vibration, the relation between sound and objects or spaces, architecture and the body.
His use of field recordings and sound design is concerned with frequencies and harmonic relationships found in nature, how they relate to the physical world, and how the sounds of natural elements connect to our own resonances.
He has developed a very personal way to process and sculpt location recordings to reveal their musical features and maximise resonance with the listener and their experience of sound.
1995 Peter Whittingham Award winner, Peter Fairclough, has played and/or recorded with Keith Tippett, Mike Westbrook, Ute Lemper, John Harle, The Bournemouth Sinfonietta, The Matrix Ensemble, Peter King, Martin Archer, Rod Hull & Emu and many others.
He has toured, mostly in continental Europe, and performed at many International Jazz Festivals. Peter has also recorded on several major labels including Decca and CBS.
He has 5 CD releases of his own; Shepherd Wheel (ASC CD1), Wild Silk (ASC CD8 with Keith Tippett), Permission (ASC CD18), Imago (JazzPrint JPVP132CD also with Keith Tippett) and Momentarily (pfcd0901 with Hayley Youell, Fred T Baker & Dave Bainbridge).
Peter teaches drums at Liverpool Institute for Performing Arts, Leeds College of Music and Barnsley College.
IP usually travels completely self contained including small venue monitor system. Your house PA however may enable us to travel lightly, which is preferred. Two tables are required for laptops and associated electronics. Atmospheric lighting is appreciated.
drums – 2/3 mikes + stands
martin – stereo out from laptop/DI box + mike + stand for woodwinds
hervé – stereo out from laptop + mike + stand for woodwinds
PA with speaker arrangement for true stereo output