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.





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.





get some jazz beats

3 07 2015

hello friends,

it’s been a while since i last wrote here, but do not despair, musical movements are continuously taking shape… so after a period mostly dedicated to collaborative work  (which has been very productive, with several albums and compilations released in the past few months, see previous posts), i decided that my own work and compositions had taken the back shelf for far too long.

i have so many project files with sketches, nearly finished tracks, ideas thrown around, i did not know where to start…

so to ease myself back into the swing (of things), i reacquainted my horn to the house mike, and i tell you, the luxury suite at nexTTime studios is sweet as ever.

two new pieces will perfectly accompany your summery meanderings. i posted these on soundcloud, so don’t hesitate to hit me and show some love, if you like it…


i decided to begin with my latest creation, which went like this. well, it was a warm day and…

ok, it’s not gonna be a once upon a time story, but there IS a happy ending, i promise.

bored with scales and having finished my practice routine, i wanted to play along to some track and have some fun. i discarded the youtube jazz scene and wanted to up-beat it. this is where live comes in.

sax in one hand, hitting some keys with the other, here goes a couple of chords. sax doodles ensue and i just had to get some ballzy bass in there. ain’t loops great. no, not really, but this one just hit the spot and man, i’m riding the wave so here goes, on the fly, some basic jazz kit ride along.

and it’s grooving down here with an added 808 kit, some pitch and granulation on the sax, even some spectral space-sines processing (that shadow the sax lines). i could swear i just heard an apparition from the great north, it’s like molvaer woz ere.


you know, i’m spoiled with much interesting and experimental music and so i have a very low threshold for cheese. and techno is right there with the cream of the cream. but take a listen, 4/4 can be fun AND interesting at the same time. i dunno, somehow it made some sort of sense at the time.

ain’t live great. spinning beats on the fly with one hand… and i got myself a track. a little sculpting and reshuffle later, i revisited the sax, keeping some of the processing, striping it right down, for a driving yet light feel. and the living is easy…

the phrase from plato, picked up by foucault, is one i keep referring to. the Techne Tou Biou is quite central i would say. and it resonates with me. with my current routine, practice and thinking processes – which include music and meditation – the perfect blend of science, art and spirituality just hits the spot. Techne Tou Biou refers to a science and craft of living. guidelines to a happy experience of our time on earth. this is where the buddhist teachings come handy. and well, it is common sense, logical principles that come up in many cultures.

so i think that this piece is somewhat fitting for a highly charged title. there is an easy-going complexity and beautiful depth in simple forms that touch on the concept. i hope this is how it feels anyway. do let me know!







following on the excitement, i revisited an older track. i had drums, bass and keys laid out. this is a format i have been using for a certain type of compositions. simple structures. realistic lineup. no frills. just an excuse to lay down some sax.

the live setup and software instruments is not my sound of choice, but it’s something more immediate than the finer work that goes into electroacoustic pieces. so for the times when i feel like playing notes, when i crave for beats, when i’m in the mood for some jazz cuts, this is the place i go. it’s quite a departure from abstract extended techniques and fancy electronic processing, but it still is my sound. and as you would expect, any of the tracks i produce are just not going to fit into any of the usual boxes.

i have many hats. none of them fit. but if you want some jazz, if you want some hip hop, electronica, improv, of whatever resonates, i hope you’ll dig this. it is indeed a meeting of opposites, an impossible combination, and it is seriously fun. had to be an ‘oxymore’.







so put on your red shoes, here’s some rainbow sax to tickle your dancing feet.




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

Mirror Shards EPK

15 09 2014


mirror shards:

joe formanek – drums, laptop
hervé perez – alto saxophone


sndsukinspook @
0044(0)114 2683719
info @


Mirror Shards is the project of Joe Formanek, multi-tasking on drums, live processing, electroacoustic techniques and DJing to perform a fluent orchestration of improvisation and composition.

Hervé Perez features on alto saxophone bringing a highly individualised style of jazz melody, extended techniques and contemporary harmonic rhythms in a single honed voice.

The group balances the use of technology and interfaces into the exciting movements of live spontaneous composition. The two strong voices of multidisciplinary artists and powerful improvisers performing with laptops keep alive the performative aspect of playing acoustic instruments.

Drawing from both traditional and non-traditional backgrounds, and a long experience of both composition and performance, Mirror Shards is an exciting reflection of new directions in jazz.







Mirror Shards started with Hawaiian composer / improviser Joe Formanek’s creation of two unique innovations: What he calls “Percussionist 2.0” and improvising with history using a database.  Percussionist 2.0 was the result of an attempt to create an instrument in which a percussionist could fluently express himself acoustically and digitally via DSP.  However, while doing the acoustic input and the digital output is usually done by two as common practice, the Mirror Shards apparatus is an attempt to do both actions simultaneously.  This new instrument proved to be more than just an instrument but a new way to play percussion. It now seems like the natural step in the evolution of percussion, as doing these functions at the same time -instrumental and digital manipulation – feels percussive.  After several layered improvisations a database of recordings came about, and within it an organized recorded history of all the improvisations which have been all based on older improvisations.  With it a sense of time, mood, and a progression of wisdom seem to all mix and blend with each new play, resulting in a constantly improving richness of the myriad of the Self.




joe-profile-01Joe Formanek


Improviser and composer, Joe Formanek employs an electro-acoustic apparatus, Mirror Shards, which is at once a drumset-laptop using digital signal processing and a history-database DJ station.

A large collection of recorded material are at a fingers touch during a performance. Central to the concept of Mirror Shards is a layering of samples and digital processing which confront the live sound with past events.

The experience of “driving” the apparatus is a surreal encounter with one’s previous stages of artistic development, forcing a critical reflection and interaction with one’s past.

Joe Formanek has been involved with Francisco Lopez (composer), Chris Formanek (composer), François Ducat (film director), Kouta (composer), and Hervé Perez (sax, composer).




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.

Sounding out, one of his current projects, is an exploration of architecture, outdoor acoustics and sacred sites. Documents of in situ improvisations, inspired by the spirit and the special characteristics of a location.

With a focus on collaboration and interaction, Hervé has performed with artists whose practice is immersed in free improvisation, closely working with Mick Beck (sax, bassoon), Martin Archer (winds, el.), Philip Thomas (piano), Jez Riley-French (el.), Ian Simpson (el.), Charlie Collins (drums), Constantin Popp (live processing, diffusion), etc. in the UK and also Michel Doneda (sop sax), Jonas Kocher (accordion), Simon Berz (dr, el.), Rodolphe Loubatiere (dr), d’Incise (el, objects), Cyril Bondi (dr), Heddy Boubaker (sax), Cia Barbet (dance), Joe Formanek (dr, el) in Europe.



current projects:
sounding out – explorations of outdoor acoustics, sacred sites with the soprano saxophone, investigating the nature of space and architecture, natural topography.
room harmonics – experimental recording technique using sound to represent architecture and spatial relationships
”The quartet”, contemporary jazz improvisation
“inclusion principle”, duo with martin archer (discus label) – electroacoustic improvisations with laptops, winds, objects
“Mirror Shards” EAi to melodic jazz with Joe Formanek (drums and live processing)
“weave/unravel”, duo with constantin popp – soprano sax, processing, multi-speaker diffusion
“WHM” minimal improv/free jazz trio.
“kipple”, free jazz/improv sextet
“Ethernet Orchestra” networked improvisations by Roger Mills
“Graphic Ships” generative graphic score for networked improvisations by Jesse Ricke



technical details / requirements:

drums – 2/3 mikes+stands
electronics – 2 channels stereo out
sax – 1/2 mikes+stands
optional: feed from saxophone into electronic setup via 1/4 inch jack


booking contact:



further links:








main website:

electroacoustic music:

acoustic sax:

further documentation of collaborative work:

other site with audio, visual and text work: