Inclusion Principle
Inclusion Principle
Discus 29CD
(2006)
Available formats: CD/DL

The first Inclusion Principle album, originally released in 2006.

“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

Hervé Perez – field recordings, laptop
Martin Archer – violectronics, software instruments, analogue synths

29CD - Inclusion Principle
110CD – Inclusion Principle – The 4, the 8, the 10
110CD
Inclusion Principle
The 4, the 8, the 10
38CD - Inclusion Principle
38CD
Inclusion Principle
The Leaf Factory Fallback
42dl
42DL
Inclusion Principle
Live at The Showroom, Sheffield - Vol 1
45DL - Inclusion Principle
45DL
Inclusion Principle
Live at The Showroom, Sheffield - Vol 2
49cd
49CD
Inclusion Principle
Third Opening
82DL - Inclusion Principle
82DL
Inclusion Principle
Arkiv series

Reviews

Martin Archer, a mainstay of Sheffield’s experimental scene, has released electroacoustic improvisations on his own Discus label since the mid 1990s. Here he takes up his violin, processing the results at source with computer software. Perez sits at a laptop, treating field recordings of natural sounds. “Playing a violin and manipulating a mouse at the same time is an interesting physical process” reads Archer’s press release, and though listeners searching for examples of conventional virtuosity will do so in vain, the sense of considered, focused interplay between the participanys 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

Découpé en quatre parties, l’enregistrement prône à chaque fois une abstraction de principe, assurant l’auditeur que si ce qu’il s’y joue réellement peut sembler mystérieux, il ne peut en ignorer longtemps la dimension : faite de souffles, grincements et frottements, larsens insistants (jusqu’à trop en faire sur Part 4), elle s’insinue lentement, et tire une profondeur inédite des field recordings récoltés par Perez. Hululements étranges et miaulements infimes, ruissellement d’une eau désormais perdue en méandres artificiels, ou percussions de bois, divertissent les constructions menaçantes. Balançant les effets de reverses agressifs ici, de réverbérations inquiétantes ailleurs. Jusqu’à trouver une stabilité inespérée à cette combinaison d’éléments épars et d’origines contraires. – Grisli, D Mute.

What you are hearing are the results of initial meeting between the two. First hour, first day. Improvised. Minimal, detailed, immaculately recorded. As such it’s natural and unforced. Perez’ field recordings use natural sounds as source- wood, fire, wind, rock and so on- rooting the session to nature and its counter-balance laptops and hi-tech digitals. The thrum and movement of objects appear natural and unforced, as if these sounds are physical objects placed on the table and have come to life as soon as Archer and Perez left the room. Good thing they left the microphones on. Things unscrew themselves, strain against the little bit of rusting, click and drop. From there there’s a trajectory that evolves and envelopes itself, growing and then falling back to the bare bones of the initial source. And off we go again, minor processing gives the occasional shift in understanding or perception of the familiar. 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. The pure resonating frequencies that lay at the heart of it all. During the final track, ‘Part 4’, a whispered, stuttered voice emerges from the electric field, as if these electrical charges have been given a voice. There’s something of the alchemical about it as nature’s music forms these things. It finally climaxes in a glorious Hallelujah of tones like car horns going berserk. According the bumf the title of the album was inspired by the work of Nobel Prize winning physicist Wolfgang Pauli’s research into quantum mechanics and the ‘Exclusion Principle.’ Micro-research adopted by musicians interested in micro sounds. It’s a productive and worthwhile collaboration between two heavily experienced instrumentalists with an impressive sense of awareness. – Hassni Malik, Irrational Arts

 

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