The Great Flood… new release by Hiss Noise Records

21 02 2018

i’m very pleased to announce the release of an album by the Japanese netlabel Hiss Noise Records.

The Great Flood is a one take improvisation of electroacoustic music recorded in 2007. as you probably noticed, I have been releasing music, selecting significant works that have punctuated my musical development over the years. each new album is in a very different style and conceptual approach to composition (please see the compositions page for other releases). hopefully, there will be many more to come, taking us closer to my recent practice. but for now, I am delighted to see this work made available for public listening.

this piece was recorded at a significant turning point in the development of my electroacoustic work. I had a few years of practice after my first laptop outing during my university years, playing solo, and in many collaborations. this included intensive training, performing improvisations live while I was hosting a radio show on Sheffield live every week for a period of time and later, performing regularly while in France with incredible musicians like my good friend Heddy Boubaker (in duo – see our live in theatre du ring – or in groups like H2C), or with the electro-jazz quartet nobi-nobi
and many others, for example, during the zieu m zic festival (see the chronological database of performances in my website). fresh from the festival in the summer of 2007, I negotiated my way over to Sheffield through disaster zones and amongst severe floods that hit the country at the time.

the album came out of this period of work and experiences. I tried to combine my attraction to minimal material influenced by the unessentialists, the traditional electroacoustic compositions, the noise and improv practices, and the sound therapy which had become part of my working ethos.

I hope you enjoy the journey.

many thanks to yoshinori for his enthusiasm and agreeing to take this work on his label, and for the fitting and very beautiful artwork.




hervé perez: laptop, field recordings, sound design, processing, electronics – live recording and mastering.

recorded on july 1st 2007 – mastered at nexttime studios

This recording is an improvisation performed with laptop. the sound materials comprise field recordings, sound design, live processing and electronics.
Field recordings feature sounds from the five elements, and are processed to highlight musical and vibrational qualities inherent in the elements. Location recordings also present a range of soundscapes of both natural and constructed environments, architecture and architectural spaces, all focusing on the principle of resonance.

The piece was performed during a time of great floods that hit the entire country and reflects on our complex relationship with the environment. The problem of climate change is ever more relevant today and this is reflected in the interaction between sounds natural and industrial, recorded and electronically produced.
The titles further this theme in reflecting on the very basic act of perception, our interpretation of what reality is and how we position ourselves in relation to it; The inner and outer realities as they come into contact.





impact – new release by pan y rosas discos

10 06 2017

impact cover art



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:










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 as well as from the player embedded below.