The Sonic Protest festival has been working to disseminate the singularities that sound since 2003, and is already manifesting itself at Le Générateur for the 6th time.
Cutting to the quick through notions of style that reduce sound and musical practices to labels, this event dedicated to the great arts-that-make-good also gives a chance to hear artists with a historical dimension as much as up-and-comers who are breaking new ground… through a sum of attempts and first times.
This nomadic, joyful and generous event creates, with each edition, a listening itinerary with stages as distinct as each other, in Paris, all around and even elsewhere.
A temporary spatial and sonic space like no other, Sonic Protest draws its map of the tender between noise, sound and music and presents a mini-panorama all subjective of the musical vivacities of scenes here and elsewhere.
Event co-produced with Instants Chavirés
Napalm Jazz
It’s been over twenty years now that Napalm Jazz has been spreading the noise on both sides of the Atlantic. First brought together for a weekly radio show live from Quebec City, a_dontigny, Érick d’Orion and Philémon Girouard have become accustomed to using anything they can get their hands on (record player, saxophone, computer, looped mixing board, synthesizers) to maximize the experience of collective, spontaneous and liberating improvisation. Using musical labels with a freedom that is never encumbered by politeness, they devour and digest pure noise, ghosts of death metal and traces of free-jazz… always with a spicy sauce.
Long as a Quebec winter, the list of collaborations undertaken by this gang of insatiable noise-makers leaves no doubt: from the original morceaux_de_machines duo to encounters with Martin Tétreault, Robin Fox, Alexandre Saint-Onge, Diane Labrosse, Romain Perrot or Otomo Yoshihide: more … is better!
L’Imperfectible Orchestre du Chair de Poule
It’s 110 AD Sun Ra. All of Paris is occupied by K-Pop… All of it? No! A small village bar packed with die-hards is still holding out against the invasion of the sequencers. This bar is the Chair de Poule. Its strength? Its imperfectible orchestra (sometimes called the Horrorchestra). Its method? Genial dilettantism. A boys’ and girls’ band that practices collective improvisation like no one else does. Decomplexed, united and full of flutials.
<!– /wp:paragraph:.Oto Ninski
Oto Ninski is an experimental musician based in Paris. Plural and raw in her practice due to her composite background, her explorations of contrasts and the spaces they reveal are rooted in noisy music and take many forms.
Using various sound sculpture techniques, from field recording to the wall of sound, in her work she seeks vibratory and emotional extremes aimed at an act that is both performative and narrative.
Lukas De Clerck
In the beginning was breath.
Not long after, in ancient times, a few Greeks had the bright idea of inventing the aulos, a double-reed (and double-pipe!) wind instrument, now extinct, whose only traces are drawings and sculptures. Nobody knows what it sounded like.
Nobody? Hhhmm, Lukas de Clerck probably has some ideas on the matter, since it’s on the reinvention of this instrument that much of his work is based. Going beyond archaeo-musicology, the empirical research of this inevitably self-taught artist has led him (in collaboration with Noir Métal and Jot Fau) to create a version of this age-old instrument, The Telescopic Aulos of Atlas. Noisy textures, microtonality, sneezes, whistles or psycho-acoustic effects… By extending the vocabulary of this unique instrument, Lukas de Clerck extracts himself from history to evolve entirely in the vibration of the present, in a remarkable tension between the extra and the ordinary.
His music has been published by KRAAK, blickwinkel or Beyt Al Tapes, soon by Ideologic ; he has performed in such recommendable grocers as Sonic Acts, STUK, UH Fest, l’Ancienne Belgique and la Cave12, and very soon for the first time in France, at Générateur…. for Sonic Protest !
Les Percussions de la Montagne Verte
As its name might suggest, les Percussions de la Montagne Verte is not just a percussion orchestra.
As its name suggests, some of the group’s members are residents of Montagne Verte, a neighborhood in the southwest of Strasbourg.
LPMV present themselves as a four-headed head-to-head, 35 machines, 185 cables and a drum kit (!) but it’s also a meeting space between the Great International Triple Alliance of the East and the collective Travail Rythmique.
Created four years ago by Cheb Samir, Manuel Zenner and Baptiste Filippi initially as an instrumental project, the group has since joined forces with Cristina Cusimano (AKA Maria Violenza), on vocals.
The quartet’s music derives from a motley assemblage of acoustic devices, augmented drum machines, vinyl turntables and other home-built instruments.
All these rudimentary devices interconnect, thwarting each other to shape narrative, abstract electronic material. Pop structures emerge and clash with sharp gestures like a shifting, tortuous and inevitably green psychedelia!
As mentioned above, members of Les Percussions can be found in various bands, formations that have forged and are forging this sound and approach so specific to the French East.
In bulk: Crack und Ultra Eczema, PPaulus & Frère, Delacave, Capputtini I Lignu, The Normals, Trans Upper Egypt, Groupe de Lecture, The John Merricks and… Maria Violenza!
Cristina Cusimano (vocals, keyboard), Cheb Samir (drums, keyboard), Baptiste Filippi (turntable CD, vinyl, K7, effects), Manuel Zenner (electronics/BàR, keyboard, effects).
