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on tour

2020

17.01 with D.Grubbs, T.Lehn, J.Y. Kang for Luc Ferrari piece "Et tournent les sons dans la garrigue" GRM-104 / Paris . France
20.01 with trio Kimmig, Studer, Zimmerlin Moods / Zurich . Switzerland
24.01 with Harald Kimmig / Freiburg . Gernany
Tba 23.02 with Hanatsu Miroir perform . : Echoplasme piece :. / Monastir . Tunisia
03.03 solo & duet with Dieb13 L’Auditori / Bacelona . Spain
28.03 solo Mainoff festival / Palermo . Italy
14.05 with Nathalie Forget ::MicroWaves :: Festival les Musiques / Marseille . France
07.06 ::Pandore :: Helene Breschand Project - Le Lavoir public / Lyon . France
27.06 with Hanatsu Miroir perform . : Echoplasme piece :. / Strasbourg . France
13.08 with Nathalie Forget ::MicroWaves :: Le Bruit de la Musique #8 / Creuse . France
Tba 05.09 with Anthony Pateras Festival concepts of doing / Berlin . Germany
19.09 with Fm Einheit @ Sonoscopia / Porto . Portugal
Tba 16-18.10 with Gaudenz Badrutt StrømXX Le singe / Bienne . Switzerland
04.11 with Dieb13 "hotsetan" in azkuna zentroa / Bilbao . Spain
05/06.12 with Hanatsu Miroir perform . : Echoplasme piece :. / Nœux-les-Mines . France

forthcoming releases

Echoplasme

 • 2019

Special edition of a drawing book & cd
End of 2020
Bisou-records

Music Hanatsu Miroir
Ayako Okubo : Double bass flute
Olivier Maurel : Percussion
Erikm : Live electronics, Composition 2019 - not edit

I met HANATSUmiroir during my collaboration with the Percussions de
Strasbourg on Drum‐Machines in 2016. We decided with Ayako Okubo and
Olivier Maurel to explore the peculiar aspect of my work wich consist in
unbuilding and rebuilding the sound priorities of an ensemble.

This project is about amplified contrabass flute, percussions, sound
objects, electromagnetic lutherie, amplified electric streams, all going into my
idiosyncratic device.

We created Echoplasme during a long‐residency period, which allowed
us to apply a dynamic composition process : the instruments have transmitted
a corpus of instrumental and sound materials that I can organize differently in
their tessiture and time. This hybrid composition process looks more like an
on‐stage writing compared to a classical writing process which would be said
‘on the table’ in my case ‘on the mixing device’. I felt it was very pertinent for
me as a composer and a free improviser, to transpose my music in an
instrument‐augmented version. From this working process was born a more
free and complete musical relation between the composer and the interpret,
resonating with our time.
Erikm

ibride project & news online

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