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.





Ecart de Sons EPK

29 08 2016





henry –

hervé –






Dialogique intuitive d’un duo d’improvisateurs.

Multi-instrumentistes, ils sculptent des idiomes imaginaires de forme acoustique et électronique, à la croisée du jazz et de l’expérimental.



Ecart de Sons

documents audio:

01 [Ecole de Danse, Cazères]

02 [Club 52, Prat Bonrepeau]

03 [A.I.R., Sarrant]

04 [le caméléon, Toulouse]




Le duo Ecart de Sons offre un dialogue d’affinités musicales et poétiques de deux personnalités expérimentées dont la vocation est l’expressivité concertée.


Le parcours individuel de chaque musicien, riche de collaborations diverses est ponctué de nombreux concerts, d’enregistrements et compositions.


Le désir de parfaire ce duo prend corps au cours des années, et évolue selon la recherche de chaque musicien. Cette rencontre s’illustre dans la pratique de l’improvisation libre et des musiques intuitives et nouvelles, dont les bases convoquent: des développement jazz ou free, des idiomes imaginaires, des échos de la musique contemporaine et de l’electro-acoustique.




Documents video du duo en concert :





Henry Herteman

clavier – trombone – mélodica – sax électronique


Musicien autodidacte, auteur de texte, il est attiré par la maîtrise du langage de divers instruments: piano, clavier, trombone, mélodica, percussion, Valiha Malgache.

Une orientation marquée par les rencontres d’improvisation avec lecteurs, poètes, musiciens, danseurs, peintres, performeurs. Engagé dans les courants d’échanges spontanés, de rencontres croisées. Il revendique le concept d’improvisation libre ou compovisée et musique intuitive avec des incursions dans les climats du jazz, du rock progressif, de la musique ethnique voire contemporaine. Ne rien s’interdire est son fil conducteur.

Il participe et organise de nombreux événements sur les scènes régionales de la musique improvisée. Participe aux ateliers de l’IREA, aux Sonofages, intervient aux «Nuits de Lauzerte» dans une performance «Passages croisés». Concepteur des journées de musique intuitives, des concerts rue des fleurs.

Il sort en mai 2015 un CD solo, Roule ta Salive chez Improvising Beings. Un travail qu’il présente au théâtre du pavé.


Sur son trajet, il croise nombreux musiciens:

Didier Laserre , Nuch Werchowska, Le Fil, Grand Piac, Zoubooo, Synapsis, Gilles Dalbis, Naoto Yamagishi, Laurent Rodriguez, Heddy Boubaker




hervé perez

saxophones – shakuhachi – laptop


artiste, compositeur, improvisateur.

Participant actif sur la scène Européenne depuis 2000, en collaboration avec d’autres formes artistiques tel la danse, l’art visuel et l’écriture, il s’intéresse principalement aux modalités d’improvisation et aux relations entre musiciens, audience et environnement.

Travaille dans différentes formations de free jazz et d’improvisation libre, électroacoustique et musique contemporaine, ainsi qu’en performances solo. Il présente aussi son travail audio-visuel en installations in situ.

Il poursuis une recherche du son et sciences vibratoires d’une part, et aussi développe une approche très contemporaine de l’harmonie et de la mélodie. Inspiré de techniques anciennes de guérison et par la pratique de la méditation, il intègre science et spiritualité au sein de modalités de performance de la composition spontanée.

Le travail sur la résonance, la relation des formes vibratoires à l’architecture et au corps, la pratique du deep listening font alors partie intégrante du processus créatif qu’il chemine hors des enceintes stylistiques.




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.


The Bridge – album release

19 05 2015


Hervé Perez & André Darius – The Bridge



06 May 2015

building bridges is a tricky business. the rivers we cross are never the same. as we leave the shore behind, we do not know where we will land.




it is with great pleasure that i announce the release of the album The Bridge.

this work is a collaboration between bass player extraordinaire André D and Hervé Perez.


i have been working with andré for a while and we have collaborated in various projects. we have released an album together with guitarist christophe meulien published by french label Nowaki.

we both participate in an ongoing real-time improvisation online following visual scores and queues generated by a max-msp program designed by jesse ricke and lisa lee

working online and collaborating using file exchange is becoming a strong feature of my work. and andré is a master at this. you can find here a discography of his diverse work.

i am very excited by this collaboration. and working with andré is an honour and a real pleasure. i think we cover a really eclectic range of material and yet our sound remains coherent throughout. i see this as a concept album where we experiment with different composition methods, with a common approach. some of the playing is very abstract, some is rather melodic. there is pure improvisation. there is digital sculpture. there is even rhythm. there is complex arrangements. there is noise. there is groove.

the starting point was a recording of me playing drums. yes, right, drums. and i am no drummer, by all means. i just had an opportunity to spend some time with a kit a while back and played around. just enjoying the movement, enjoying the flow, my inability to keep a rhythm, but my interest in tone and timbre. all right, i will admit at this point having practiced snare rolls in the past. it was at a time i was experimenting with recording techniques on a Fostex 4-tracks, discovering improvisation and making sounds with anything i could get my hands on. i had various hand percussion, and my set included three large metal tubs collected when i worked in a paint factory. i had two toms with microtonal differences and a makeshift snare on which i did the notorious “papa-maman” exercise. and i could march the hell out of a military roll.

so here i am dancing around the drumset while my friend’s out of the house, recording this on my zoom. turned out pretty good for a non-drummer. even better, when later, i discovered some cool effects accidentally processing the recording in ableton live. this unleashed the beast, and i started hacking, chopping, sculpting the heck out of this drum track, using a mixture of plugins and painstaking cut and paste, chop, chop by hand and precise placement.

as we had been talking about doing a duo project, i sent andré the drum sculpture. a long track of a messed up, choppy crazy noise full on drums. of course, andré recorded some amazing improvisation that gave sense to the noise and gave it life. this was the basis for the two longer pieces in the album. i then re-cut and refined the drum part. and gradually, i added my signature mix of field recording sounds, some harmony and sax improvisation. somehow, it just worked.

we decided to record some new tracks with a closer more intimate feel, focusing on timbre and closer to the spirit of improvisation. this time, andré started off with bass and eub and we produced two shorter tracks that are more stripped down and purer.

a while later, we thought we’d need more material and yet another method. andré recorded two very short melodic improvisations which i cut up and processed. i wanted some drums to refer back to the original tracks and decided to use samples from a recording session with peter fairclough. one piece is heavily processed, in keeping with the original pieces, another has a real groove to it. in both cases, i used a range of bass samples, some direct sound, some processed, spread out sparsely across the drum tracks. and finally, recorded some sax improvisations in two different styles.

throughout the project, we have used different methodology, approaching composition in different ways from simple takes to complex arrangements, from dry sound to very processed and cut up samples. with each approach, we produced tracks in pairs. and within each pair, we covered very different styles of playing. and yet, the overall sound remains coherent. it is as if the group had instantly developed a signature sound. and yet, this is very different to whatever we both have done individually.

i must say, i am very excited by this work, and i am delighted that we are now releasing it, hoping to share this with as many people as possible. not just because of the sheer volume of hard work and time put into it. but because i sincerely believe there is something of great value here. we have undoubtedly put our heart and soul in these recordings, and even after many hours of work and listening to the pieces over and over again, i can still feel it. i still enjoy listening to the work. and i really hope you will too.

please help us make more, and support this work by donating generously. but most importantly, sit back, relax and… enjoy…:

andré and hervé are pleased to give you, The Bridge



Some Some Unicorn and The Golden Periphery

31 12 2014

i am very pleased to be part of a project generated by sean blezzard. the cd has just been released and is available in hard copy and download from the man himself.

these are very exciting compositions involving many musicians from various backgrounds, using a range of instruments both traditional and electronic, as well as spoken word/poetry.
sean first submitted a series of sketches – which we used as a basis for improvisation – and then re-arranged all the participants’ responses into completely new compositions.

please have a listen and order your copy following the links…

What Is Some Some Unicorn?

Some Some Unicorn is an experiment in communal music making.

Working on the border of composition and improvisation this work has drawn together 30 artists from the fields of improv, electronics, jazz, poetry and popular music. Some names you will know, some you don’t yet, but all have given time and talent to become Some Some Unicorn.

The concept originated during my time as a New Voice composer with Sound and Music after many conversations about what a composer is. Are you a composer if you improvise? So I decided to make an album that was composed from a variety of improvisations. I recorded a couple of hours worth of improvisational ‘sketches’ on iPad which were uploaded to the cloud and an open call went out for others to work with the material, playing along or playing with it. This completed part one, twelve tracks of dense work that was put out again for ‘overdubs’.

When I got the second versions back the hard work began of getting an album that was coherent and still featured everyone. It was now called Some Some Unicorn and The Golden Periphery and I’ve slowly mixed and edited it down to an album length. There were around 30 musicians and artists involved in this part of the process all bringing their own talents, but a special note to poet Ann Wilson for the words and artist Ruth Green for the original artwork – they really have pulled the concept together 🙂

Shaun Blezard 2014

Thanks to Sound and Music for the tremendous support during my time as a New Voice composer.
released 13 December 2014

Music: Shaun Blezard with Aardvark, Martin Archer, Jamie Barnes, Alex Botten, David Browne, Adrian Carter, Matt Cowe, Alexander Cutteridge, James Darrington, Pete Dent, Anthony Donovan, Graham Dowdall, Dave Fleet, Simon Fox, Samuel Freeman, Phill Gregg, Stephen Grew, The Kendal Mintcake, David Wright LaGrone, Alexx O’Shea, Herve Perez, Stuart Russell, Ian Simpson, Stephen Shiell, Jim Tetlow, Roger Vaughn, Jonathan Watt, Steve Wharton, Hannah White and the SSU Choir of Hope

Words: Ann Wilson

Original artwork: Ruth Green

nada EPK

3 10 2014



hervé –

roger –

the duo live on opposite sides of the world and started working together through the networked music ensemble ethernet orchestra.

over the past 18 months, roger and hervé developed a strong working rapport based on common aesthetic and approach. they have become nada as a realisation of their unique collaboration.

the duo explores an area between jazz and electroacoustic music, taking influences from  scandinavian new jazz, ethnic musics from asia, and acoustic ecology… both rooted in the use of technology and in traditional forms, the music has a deep respect for space and silence.

central to nada’s improvisations are ideas of deep listening, the japanese concept of Ma and meditations on silence from buddhist traditions which gave rise to the group’s name.
while on tour in Germany in November 2014 the duo documented performance and residency research with both roger and hervé playing acoustic instruments, in the same room, for the first time. these recordings have been issued as nada’s first release ‘mirror image’, by netlabel Linear Obsessional.

nada is currently working on the release of new material which revisits electroacoustic networked improvisation.

audio documents:

01 [07’38]

02 [11’34]

03 [05’28]

04 [04’36]

05 [04’06]

06 [08’40]

edits from networked improvisations recorded ‘live’ over the internet.







roger mills

Internationally acclaimed trumpeter, composer and sound artist working in the field of experimental and improvised music and sound.
He is founder of the tele-improvisatory ensemble Ethernet Orchestra who perform to co-located and networked audiences through the Internet.
While he is now based in Sydney, Australia, Roger spent most of the 1990s in the UK recording and performing with Bristol trip hoppers Statik Sound System, and the free jazz ensemble Spaceways.
His methodology focuses on breath and extended techniques with an attention to timbre in slow evolutionary loops and drones.



hervé perez

Sound artist/composer/performer from France, now based in Sheffield, UK.
Hervé has been composing music and performing live around europe for 20 years. Playing solo and in various groups, he draws from jazz, electro-acoustic, contemporary music, experimental electronics, free improvisation, immersive sound art and ancient techniques of sound therapy alike.
His research approaches sound as vibration, the relation between sound and objects or spaces, architecture and the body.
On the soprano saxophone, Hervé focuses on extended techniques and abstract peripheral sounds structural to the instrument as a physical resonant object. His work on alto merges traditional and jazz harmonic approaches with extended techniques and multiphonics.



technical details:


PA with speaker arrangement for true stereo output

roger –  mike + stand for trumpet / stereo out from effects via 1/4 jacks

hervé – mike + stand for sax / stereo out from laptop via 1/4 jacks / table for laptop and mixer




further links:


roger mills


hervé perez



download a pdf version of the EPK



Inclusion Principle EPK

16 09 2014




Inclusion Principle

Martin Archer – laptop, woodwind

Peter Fairclough – drums

Hervé Perez – laptop, woodwind





martin –

Box 658
Sheffield S10 3YR

hervé –



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





label home:

inclusion principle released by discus





“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.”






martin archer

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.


hervé perez

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.


peter fairclough


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.



technical details:


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



 published recordings:






















hervé perez


peter fairclough