impact – new release by pan y rosas discos

10 06 2017

impact cover art

 

impact

is a concept album based around a simple approach: work around peripheral sounds and extended techniques, extract the most unusual and unheard from my instrument using close miking techniques.

 

after many years of dedicating all my attention to the saxophone, i decided to revisit some of the techniques i used when playing prepared electric guitar, this time using the strict limitation of dry acoustic guitar. the architecture of the instrument is altered using props strategically placed along the strings. the instrument sounds radically different, and placing it flat on the ground makes the physical relationship completely new.

turned percussive, harmonic contents augmented, resonance shifted, the guitar sound is barely recognisable. the conventional effects and textures are abstracted and this allows for a new range of soundscapes and dynamics. the mike positioning deliberately picks up every sound, every detail in a raw and intimate way that makes this recording unforgiving and intensely present.

 

in a similar way, the soprano saxophone is explored from the inside and exploded with precise positioning of mikes in order to concentrate on fragments of sounds usually unheard. for the whole of this recording, not a single note is played, nor the instrument approached in a traditional way. instead, i focus on the tiny percussive sound of keys and bursts of air around the body of the saxophone. the harmonic contents is purely structural, and modulates in microvariations according to the air flow.

another type of sound here is drawing harmonics hidden in the white noise of full blow air through the saxophone tube. the sax is mostly played without mouthpiece.

in both instances, the close miking technique takes you inside the instrument, and the spatial arrangement expands the physicality of the instruments beyond our experience of their sound, into the acousmatic listening. i strongly recommend using headphones for the full spectral and spatial experience.

 

the composition is full of details and sonic events carefully placed, so that the listening experience is fully immersive, very physical and quite intense at times.

as expressed above, this piece is raw and unforgiving. i made a deliberate aesthetic choice to present known instruments in a very challenging way, highlighting sounds which are mostly never heard. to this, i added some field recordings that augment the already rich palette of textures and gestures. the very tactile and sensual quality of field recordings add another dimension of sonic experience. and yet, here again, our sense of comfort is thwarted by altering recognisable natural sounds through the use of digital processing, positioning and perspective.

 

while in the process of making this album, i came across a documentary film about the horrors of war in the current form of colonialism. this raw and deeply upsetting revelation somehow connected to the close affect and impact i was looking for in the sounds i was creating. so i decided to add some of the devastating accounts and interviews from the film in the form of samples.

 

this work was made in 2011. for years i focused on being creative and producing a large amount of compositions and recordings. i am now in the process of making public some of these. so i am very pleased that the net label pan y rosas has kindly agreed to publish this one.

you can hear and download the full album from pan y rosas:

http://www.panyrosasdiscos.net/pyr217-herve-perez-impact/

 

 

 

 

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She Flows Like Water… new release

10 05 2017

i’m very happy to announce the release of an album of early electronic compositions by picpack label. these are tracks that range from abstract glitch to slow moody grooves all the way to electroacoustic composition. most of the tracks feature field recordings and found sounds which were digitally manipulated and sculpted to produce a variety of textures. this selection gives quite a good feel of the type of work produced over a period of time when i was experimenting with processing techniques. often, a piece of music would be composed of one single sample recording processed in various ways to extract different aspects of the sound; harmonic, textural, rhythmical etc.

i hope you enjoy listening, as much as i enjoyed working on these. the album page can be found here. and you can hear the music on archive.org as well as from the player embedded below.

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Sounding Out returns to North Yorkshire

26 02 2017

Traveling to a short retreat in a secluded and wild area in the North of England, i stopped at a wonderful site i had visited before. Christ the Consoler church in Newby is quite a unique space of impressive presence. The architecture is both grand and intimate as it is a commissioned church on private grounds.

The acoustics are similarly subtle and elevating at the same time. The feel of the place and its sonic quality provide a very interesting balance to my playing. The space requires the usual reverence inspired by the religious sites i have explored, and yet, its private, quiet and somehow isolated quality provides a sense of freedom and adventurous exploration.

So on that day, my playing was similarly balanced between the soulful melodic approach that sacred architecture often inspire, but also featured contemporary angular aspects of my recent research which has started to come through in a more marked way. In a recent article, i have presented a series of simple composition ideas that act like a springboard for my explorations in symmetry. I am now starting to witness how this latter approach is blending with a melodic sensitivity.

This is good progress, and hope to see the technique develop into a smoother method for improvising narratives, free from predictable harmonic movements. At least, this is the aim, and i do play in this freeflow way most of the time. But right now, my fingers are particularly focused on trying things out. I just can’t wait for the time the exercises have sunk in (and the new approach to harmony is finally memorised – which takes a looooong time), and i finally can step away from the practice into a proper freedom of narrative development.

 

This is really exciting for me as i am developing a sound i like, with a coherent method, achieving freedom of creativity, all without falling into the pit of predictability, the usual jazz clichés and patterns, or going through the motions of playing changes, as is often heard. So the aim remains the quite lofty method of freely developing coherent melodic and harmonic narratives in improvisation.

And my experience of Newby Church was inspiring enough to trigger this modality of playing. The space was allowing for both contemplative moments and free flowing sections. The reverb was rich yet subtle, grand yet intimate, and in the flux of sound that traveled the spiritual space, i could place both fast and slow, single pointed melody and harmonic play, abstract and structured approaches. A well balanced session, and a very liberating experience.

So it was only fitting to once again return to the use of water footage i have filmed recently and use the metaphorical association of waves which when combined create complex forms. Obviously, this applies to both sound and water; and the video acts as a metaphor as it puts both together in a random way, forcing the mind to make associations. And of course, synchronous movements inevitably happen.

At times, the video montage looks like sound and inspiration are crashing and flowing across the space, through me and my instrument. This exactly how such experiences feel to me. So the juxtaposition of the video clips live in the performance space with water abstraction works perfectly.

 

By now, and having read the previous presentation, the theme that runs through the titles of this triptych will become quite clear a reference to Foucault’s most inspiring work “Les Mots et les Choses” (transl as the Order of Things), with the added layer of meaning taken from the buddhist understanding that forms are empty and therefore highlighting the irony of obsessive taxonomy of empty forms, projected meaning of the modern technological world. Indeed, attachment to forms lead to suffering or rather unsatisfactoriness (dukkha) in the understanding that there is chaos inherent in all compounded things. This association hints for me at the cultural drift towards decorporated abstract thought, symbolism and the virtual, and the dissociation from the experience of reality which starts with Language and a propensity for projection.

Now that i have thrown together Foucault, Saussure, Walter Benjamin, Lacan and Freud all into the same bagful of buddhist teachings, just in the space of one paragraph, let us get literal and on a lighter note. Presenting the light filled Church of Christ the Consoler and musical notes and sounds that it inspired…

 

 

 

 

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as usual you can hear the full audio:

the order of things
alto saxophone, 04 feb 2017
newby church, christ the consoler

 

 

 

 

 

contemplating circles
alto saxophone, 04 feb 2017
newby church, christ the consoler

 

 

 

 

 





Jazz beats and sax

21 01 2017

lately, i have revisited the idea of working with backing tracks using computer. I find it is a quick way to lay down a few musical ideas.

generally, i am really not keen on using software instruments, and i really dislike spending time on the screen tweaking midi information. i much rather get my hands straight into matter and sculpt into the immediacy of sound. but still,  it is fun to improvise to some groove and it provides a change to abstraction. perhaps that’s what i do late at night when entertaining my neighbours with the horn is not an option.

using ableton live, it is easy to get a few simple ideas down and quickly move on to recording sax lines. and as it happens, i have a few project files waiting for some attention. some are just quick sketches, some tracks are more arranged. and just now, i have been wanting to put to good use the time i have spent working on new ideas with the saxophone.

 

i have been focusing on ways to develop musical narratives in improvisation. and i have been trying out various ways to find melodic or harmonic paths to navigate outside of established structures while maintaining a sense of evolving melody.

this work has come out of a desire to expand narratives in longer forms. i felt tied down by shorter cycles that keep resolving to the root, and wanted to open up the possibilities of extended melodic development such as found in classical music. however, i did not want to fall into completely random root movements. i guest i wanted a method that would be suited to support free flowing improvised narratives without being tied to a structural approach or to the predictability of a specific, limited linguistic approach. (i really do not take on the idea of limiting musical expression to the form of a language and follow on this metaphor to expression in terms of a personal vocabulary, and the implied pitfalls of predictability. ok, let’s not get too political or philosophical here.)

so to sum up my idea in a few (but rather big) words… i felt i needed to free myself from limiting structures and find an open method for the free flow development of narrative in improvisation. so i had to look outside of cyclical forms that imply repeated return to a root and this sense of continually converging back to a fixed point.

for this, i started working with musical ‘sounds’ that dissociated ‘root’ with ‘tonal centre’. this is a very interesting and important distinction, and looking into Steve Coleman’s idea of negative chords helped a lot. and then, it was just a question of finding ways to detach from the informed habit of sequencing the tonal centre in predictable ways. the only way was to follow the logic of narrative development and of course not falling into the pull of following protocol. a very good bass player once said to me the very simple rule that applies to all music, ‘harmony always follows melody’. it had to be this way, and not the opposite.

so in the development of melodic narrative, i removed the anchor, this force of attraction found in tonal centers, and instead looked for ways to follow the logic intrinsic to improvised narratives, so that the melody would keep unfolding without being tethered. i had to rethink how i looked at musical forms (and even how one looks at form… is emptiness, emptiness is form… remember?).

so i started developing modalities (rather than scales), harmonic shapes (rather than chords) and considering axis (rather than tonal centre) and therefore orbits, pathways, nodal points between orbits. we’re not lost in space here, this is not music of the spheres, nor a nihilist chromatic hell, however, i had to detach from traditional approach to tonality and think in terms of interval relationships – in order to be able to move freely between paths, while retaining a narrative logic, that is without sounding completely aleatory, chromatic or just random.

of course, it takes a long time to assimilate all this method in my playing, to be able to improvise with it, particularly as i do not have a mathematical nor analytical approach when playing. free flow is essential to creativity i believe, and one way to detach from predictable structures is to ‘walk away from the expectations of the world’, as is expressed in another article you can find in this blog.

this approach also has taken a long time to develop, and i found that some aspects of it started to show in the solo work i have been documenting as ‘sounding out‘.

 

more recently, i have taken this to the studio, and we are now back to where this article started.

so here are a few pieces that i have recorded using sets of chords and beats, which of course are all arranged in advance using live, and then improvised saxophone lines over the top.

some of these were recorded a while ago and explore simple ideas and remain very melodic.

 

 

 

and i do like messing with beats and groove, even improvising bass lines on the keyboard of my laptop (yes, right…)

 

 

 

other tracks were developed differently; for example, the following piece actually started with a saxophone improvisation, to which i later added keys and bass, allowing me to leave much space, and follow the feel of the narrative improvisation.

 

 

 

and more recently still, the saxophone is now exploring new structures over simple tonal background. i quite like the wobbly feel of that nasty reaktor synth – this is a nice change to the traditional keys set up i have been using. this is not modal music, and perhaps more open ended, as it is closer to the drone on indian raga.

 

 

 

and coming back to the more traditional quartet sound, which a live group could be playing, with drums, bass and keys, but this time using harmonic shapes more suited for the structural abstraction of saxophone improvisation… an extract from a longer piece, this track is more of a demo in a single modality, with the multiplicity of harmonic options implied:

 

 

 

to finish with, a couple more pieces hot from the press…

 


 

 

as usual, i hope you enjoy listening to this work, and would love to hear your thoughts and reactions…

 

peace,

xrv

 





sounding out in the south of france 2016 ctd

18 06 2016

Auvillar1bAuvillar2bCieutat1bCieutat2bGedresbLuz1bLuz2bStMartory1bStMartory2b

 

During the second half of my stay in France, visits to locations were a little more leisurely and i took the opportunity to revisit other know locations.

The town of Auvillar towers over the Garonne river, located on the travel route to Compostelle, it features an old covered market square built with measures for grain and cereals – some of which are now rare.
It is a busy place with tourism and local trade, and similarly, the church is buzzing with bursts of activity. In between visitors and prayers, i managed to squeeze a little empty space with melodic overtones…

While travelling across the pyrenees, a few places punctuated the journey. in Barèges, spa town situated high up in the mountains, a powerful torrent crosses the town. After an energising meditation by the water, i stopped in the small local chapel to keep my practice fingers running along. And of course, inspired by the gentle yet powerful vibe, i recorded a couple of pieces.

In luz, it was a pleasure to revisit the 12th century building of the fortified Templar church. The solid outside wall are drenched in sun and exposed to wild elements while the inside, in contrast, is dark and completely still. This displacement mirrored a space i could feel between the force and gentleness of the natural elements, so present and powerful in the area.

My head still in the rushing waters of torrents and high mountain glaciers after a day walk. i stopped for meditation in a small town, on the road returning from gavarnie. for once, i did not have my saxophone with me and decided to put to use a brand new shakuhachi i had just finished making. Its frail and gentle sound filled the grand space of the church and suddenly echoed the force i’d felt while watching the creation of a new waterfall from snow melting.

The last day in the mountain area, i had to make a couple of stops, just to review an amazing church i remembered from my previous trip. In the small passage town of Cieutat, the church was still just as overwhelming, but the more active feel of that particular morning removed some of the mystical quality. These last two visits were punctuated with flower duty, water changes and general church bustle. As i settled into the feel of the place, i caught myself playing similar chord structures and colours to what i had played during my last visit there. Was this harmonic movement really in the stone? Part of this place… For a second, i had a weird flashback, and yet made no effort to repeat the material from memory. And of course the improvisation took me somewhere else, but i could sense that that same colour / feel / tone was in the music, only slightly different – like a person you know well and meet again further down the line of their personal history.

Rushing down the mountains and on the road back to civilisation, on the way to my next gig, another quick stop took me to St Martory church… The flower duty and water changing provided background and clear marks where the atmosphere was saturated with the underlying sound of the nearby river. At first, the drone of passing water merged with traffic entrained me to play long overtones and focus on the interplay between harmonics contained within the breath sound. Soon, a pulse developed, water rippled, melody splashed. gesture. movement and form.

 

 

 

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le repos des plaines
alto saxophone, 02 june 2016
église de st sardos

 

 

 

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jours de lente
alto saxophone, 02 june 2016
église de st sardos

 

 

 

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roads and waterways
alto saxophone, 27 may 2016
église de st martory

 

 

 

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new flowers
alto saxophone, 27 may 2016
église de st martory

 

 

 

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the journey of water
alto saxophone, 27 may 2016
église de cieutat

 

 

 

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crest lines
alto saxophone, 27 may 2016
église de cieutat

 

 

 

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ripples from falling pebbles
2.1 shakuhachi, 26 may 2016
église de gèdres

 

 

 

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contrepoint de rivière et vent
alto saxophone, 25 may 2016
église de luz

 

 

 

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courte descente libre
alto saxophone, 25 may 2016
église de luz

 

 

 

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road squiggles
alto saxophone, 24 may 2016
église de barèges

 

 

 

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torrent under a low sky
alto saxophone, 24 may 2016
église de barèges

 

 

 

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sarrasin champart
alto saxophone, 17 may 2016
église de auvillar

 

 

 

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millet avoine
alto saxophone, 17 may 2016
église de auvillar

 

 

 

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sounding out in the south of france 2016

14 06 2016

PBuff1bPBuff2bStSardos11bStSardos12bStSardos13bStSardos14bVerdun11bVerdun12bVerdun13b

This year, my trip to France has been much focused around a series of concerts with my friend Henry Herteman. And i will share many documents of these in a future post.

Sounding out is of course always active as i have my saxophone everywhere i go, and if not, some new shakuhachi is near at hand. So any opportunity, or rather, any possible place i encounter is always a pleasure.

But this time, only a few choice cuts are on the menu. i have instead concentrated my efforts on old favourite locations and a few surprise finds. Each recording is also shorter and more focused.

In this post i present the first half of my explorations while at the beginning of my journey. and it begins very early on, after driving through the night, and a coffee break after dawn, i found myself walking around the picturesque town of Pierre Buffière and discovered the church was open. So not quite into the first leg of my trip, and still in transit, i decided to make a morning call and enter the dark resonant space that offered a cool haven and a change of pace.

A sense of movement is still in me, slowly tuning in to the stillness of the place. A clash between the bright day starting outside and the dark interior. Feeling tired and displaced. My mind wanders and continues its journey into imaginary landscapes. Traveling light and swift.

Soon after settling down into my new home, i visited the local church that remains a favourite with its vast sound. St Sardos is a quiet village with outsized church design. Its magnificent reverb is inspiring and lifting while calming and instilling silence. A strange combination that seems to bring out of me the most gentle melodies and adventurous harmonic work made possible by the very long tail.
As soon as i started making a sound, i slipped into a timeless zone. all is suspended.

And finally, the third location i present today is the deep blue interior of Verdun sur Garonne. This place is so very poignant, it always had a deep effect on me.
The strange feeling of a known place. But a different one that has traces of memory so fine it escapes the touch.
There is no other way to describe this session, but with a quote: it is the time my saxophone gently weeps.

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paysage connu
alto saxophone, 06 may 2016
église st michel, verdun sur garonne

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mémoire augmentée
alto saxophone, 06 may 2016
église st michel, verdun sur garonne

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des phi au point de faille
alto saxophone, 06 may 2016
église st michel, verdun sur garonne

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cascade de blues
alto saxophone, 06 may 2016
église st michel, verdun sur garonne

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l’oubli
alto saxophone, 06 may 2016
église st michel, verdun sur garonne

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first shade
alto saxophone, 05 may 2016
église de st sardos

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painting in relief
alto saxophone, 05 may 2016
église de st sardos

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the convent
alto saxophone, 05 may 2016
église de st sardos

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if i knew
alto saxophone, 05 may 2016
église de st sardos

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raining red
alto saxophone, 05 may 2016
église de st sardos

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silent flower
alto saxophone, 05 may 2016
église de st sardos

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by night and by day
alto saxophone, 04 may 2016
église de ste croix, pierre buffière

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by vales and hills
alto saxophone, 04 may 2016
église de ste croix, pierre buffière

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WHM live in artsmith gallery

28 02 2016

had a smashing time with my trio WHM. with walt shaw on drums, matt harling on tenor sax and home design ‘saxobone’, we had guest lorin halsall on UEB, theramin and electronics. artsmith live gallery space is quite resonant but also a great place to play, with inspirational artwork. you can hear extracts from the two sets here

 

 

WHM live at Artsmith Live gallery, Derby, 27th feb 2016

walt shaw – percussion
hervé perez – saxes, saxobone
matt harling – tenor sax, saxobone
with guest
lorin halsall – ueb, theramin, el.