After one previous solo album and the collaboration with Cyrill Bondi & Cristian Alvear, D’incise returns with a new solo album Assemblée, Relâche, Réjouissance, Parade

On this new album d’incise presents two new electro-acoustic works, spread over a total of 6 tracks. The first composition takes the traditional French dance music “Mazurka” as a starting point to create drones with quasi-melodic lines. The second composition is for live improvisation which evolves around electronics (detuned organs) and bowed metals sticks tuned in relation to the electronics.

Assemblée, Relâche, Réjouissance, Parade is presented on CD and digital designed by D’Incise and is a collaborative release with INSUB.records.

You can order the CD through our webshop.

Or find the album on your preferred streaming service:

About the album

D’incise performing Le désir

“Assemblée, relâche, réjouissance, parade” or another long, unspeakable, French, title (that would somehow translate as ” Assembly, pause, rejoicing, parade”). 
Words that conjure ideas of music used in public, and social rituals. 

The two distinct pieces experiment with the “bringing back” (re-injection?) of music into the experimental area. Do not see anything pretentious about it, it is rather a very personal path, 
in the sense, among others, to not forbid certain aspects of music to make appearances, making bridges between conceptuality, and simplicity. 

The first part, “L’Anglard de St-Donat”, is constructed around a mazurka tune, a traditional dance from Central-France, played by Alfred Mouret, after his father François “L’Anglard”. 
But the four short “songs” are not to be seen as a reinterpretation (they’re certainly not danceable), rather as a basis for d’incise’s own research. 
Solid drones and recurrent structures are built with recordings of bowed and struck metal objects and (sounds of various) instruments make counterpoints and quasi-melodic lines. 

Then in “Le désir” the strategy is mirrored, electronics (detuned organs) make the rigid, and slightly awkward, context for the bowed metal sticks, tuned in relation to the electronics, to be played semi-improvised, and take a sort of soloist position, instabilities of both the objects and the gestures suddenly become open to interpretations and expressions. This piece is one of d’incise’s actual solo live performances. 


Vital Weekly

As I was listening to this new release by Swiss-based musician D’Incise, and thinking about the instruments he uses (it seemed wind instruments, objects and organs; more later), I realized I have not much idea about his work. I first heard him as part of a group called Diatribes and in Vital Weekly 686 I reviewed his first solo release, which I described as ‘one guy armed with a sampler’. 

Over the years I heard quite a bit of his releases, and there seems to be a constant drift and shift when it comes to choosing instruments, styles and partners. He certainly keeps the experimental drift alive in his work. I read in the press text that for the four parts of ‘L’Anglard De St-Ondat’ he uses recordings of “bowed metallic objects, electric organ, harmonium, banjo & double bass”, while for the two parts of ‘Le Désir Certain’ there are “bowed metallic sticks, performed live, over detuned/retuned organ backgrounds”; no wind instruments. The last two pieces take up twenty-eight minutes while the other four about twenty minutes. The first four are loosely based on the Mazurka (a traditional dance), which in D’Incise interpretation is no longer a dance. Somehow in these pieces he retains a more song-like structure, stretching out sounds just a little bit, and use them in different configurations, moving around in the mix, which gives the idea of a slow, solemn 
song. The drone, which seems a constant idea within the music of D’Incise is not far away. It is quite an interesting different approach there. The two longer parts of “Le Désir Certain” have also that drone-like sound, based mainly on the use of detuned organs and on top of that he plays his bowed metal sticks in a bit of an improvised manner. The organ is looped and layered but not in a very repetitive way throughout; it shifts back and forth in changing patterns and has some crude feel to it.

It is this raw approach that can still bring relatively delicate music.


Just Outside

d’incise – Assemblée, relâche, réjouissance, parade (Insub/Moving Furniture)

As has generally been the case in the last ten or so years, a new release from d’incise comes as a gentle and intriguing surprise. The disc is in two sections: a four-part suite titled, ‘L’Anglard de St- Donat’ and a two-part work called ‘Le Désir’ (‘certain’ and ‘serein’). ‘L’Anglard de St-Donat’s four to six minutes portions are apparently based on the mazurka form, though this listener couldn’t discern that relationship. Instead, we hear ringing, sometimes subtly piercing sustained tones derived at leas in part from bowed metal. As intense as they are, they’re never without some kind of tonal basis, sometimes, as in the second part, even appearing in sequences of notes that might just about qualify as a melody (I imagine this is one evocation of the mazurka). The third has organ like chords billowing up gently and acquiring a bristly layer of fuzz before being responded to with patient, deep string plucks while the final section has clearer organ tones accompanied by a worried seesaw from bowed metal or string. The whole suite is heady, contemplative and absorbing.

‘Désir’ is a very different creature, performed live on “detuned/retuned” organ along with bowed metal sticks. On the first part, a steady, almost lilting three-note melody/rhythm is heard, a sequence that turns oddly queasy with the introduction of slightly off-pitch metal. One feels as though on a rocking boat, nausea filtering in around the edges. d’incise switches to a different three-note pattern a third of the way through, more propulsive, the music acquiring something of a Tony Conrad aura, the bowed metal sounding like axles struggling along under a heavyweight. The rhythm shifts once again in the final third (the pice runs 15 minutes) into a more sing-songy, stationary mode, content to wobble back and forth beneath the soft moans until cutting out entirely. Excellent work. ‘Serein’ is indeed serene in the sense that a consistent, single note is struck, about once every two seconds, over a steady reed bed, but the keening tones of the metal are more splintered, even anguished, writhing. Over the last minute, the organ disappears, the metal curling smokelike and acrid, into the sky.

Het schaduwkabinet: week 24 – 2019

D’Incise is 2005 het project van de experimentele Zwitserse muzikant Laurent Peter. Daarnaast vind je hem terug in Diatribes, Insub Meta Orchestra, Insub.8tet, Karst en La Tène, allen overigens met Cyril Bondi waarmee hij het label INSUB.records runt en ook met D’Incise veelvuldig heeft samengewerkt. De afgelopen 14 jaar heeft hij een indrukwekkende discografie opgebouwd met experimentele muziek, die ergens tussen abstracte muziek, drones, neoklassiek, minimal music en improvisaties uitkomen. Het interessante is dikwijls dat hij met minimale middelen een maximaal effect kan bewerkstelligen. Dat geldt zeker voor zijn nieuwe cd Assemblée, Relâche, Réjouissance, Parade, die uitkomt op het innovatieve Moving Furniture in samenwerking met INSUB.records. Het album start met repeterende geluiden, die wel wat weg hebben van toeterende auto’s in een file, zij het dat er ook meteen een zware, indrukwekkende basdrone onder zit. De geluiden veranderen subtiel en er verrijst op wonderlijke wijze een soort abstract orkestrale composities, die op niet te beschrijven wijze weet te fascineren. Je wordt als het ware meegezogen in een wonderlijke microwereld, waarbij de muziek zowel voor bezinning als spanning zorgt. In de composities erna gaat D’Incise nog subtieler te werk en worden die veranderingen kleiner, maar de aantrekkingskracht groter. Met ondefinieerbare en tevens herkenbare geluiden creëert hij een prachtig patchwork dat zich niet aan genregrenzen houdt en je meevoert naar imponerende onontgonnen gebieden. Magnifieke muziek van de broodnodige buitencategorie.

Jan Willem Broek

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