Okraïna #11 : Delphine Dora & Mocke Le Corps défendant

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DELPHINE DORA & MOCKE
Le Corps défendant – okraïna #11 – double 25cm

Souvent, on croit dialoguer et on soliloque, on tire la couverture à soi, on empêche l’autre parole, on est trop bavard ou trop taiseux. Et puis parfois, comme miraculeusement, on y parvient : on se met à savoir parler parce qu’on sait écouter. Mocke et Delphine Dora, dans la lente impatience de ces conversations musicales qui ont donné Le Corps défendant, ont cherché à tisser ce drôle de lien qui unit ceux qui construisent ensemble.
Des deux singularités (l’évidence même d’avoir affaire à deux artistes qui ne ressemblent à personne), ni l’une ni l’autre ne l’emporte. Au contraire, ce qui advient de ce dialogue n’est pas seulement l’addition des deux mais l’apparition de ce que chacun est capable de révéler de l’autre et qu’on avait pas encore entendu. On les retrouvent tous deux, on les reconnaît bien sûr, mais ailleurs, là où le même est déjà autre. C’est une étrange arithmétique où 1+1=3. Comme dans toute conversation il faut quelqu’un qui rompe le silence sans savoir à l’avance ce qui adviendra. Le silence doit se rompre comme le pain. La guitare s’y essaie ici, le piano là. Il ne faut pas trop chercher ses mots même si on les pèse parce qu’ils entraînent le reste. Comme dans toute conversation il faut savoir prendre une place mouvante pour que l’autre puisse trouver la sienne. Parfois la guitare de Mocke commence, sidérale, dévale les pentes, se fait liquide, et trouve dans le piano de Delphine Dora son nécessaire contrepoint, sur quoi s’arrimer. D’autre fois c’est l’inverse, la guitare électrique évite que le sol se dérobe. Tout semble venir sinon de l’improvisé du moins de l’intuitif qui les surprend eux mêmes. Parfois ils jouent sur des harmonies différentes, comme s’ils étaient encore loin, d’autres fois commencent ensemble et se séparent sans violence pour au final se retrouver au moment où on ne s’y attend pas. N’importe quand peut être mais pas n’importe où. Ils se rejoignent dans la césure, la pure parole, l’éclair, l’inexpressif. C’est à dire dans ce lieu que le disque invente. L’inexpressif ce n’est pas l’insensible, au contraire. C’est le monde d’avant le monde (ou après ce qui revient au même), où le sens se déploie dans sa nouveauté, où on invente une langue qui, dépourvue de signifiant connu peut tout signifier. C’est, plutôt que ce qui s’exprime, ce qui s’imprime avant même qu’on ait pu le ramener au déjà entendu. D’ailleurs quand Delphine Dora chante, elle le fait avec les mots qui viennent juste avant l’articulation signifiante, en chuchotant ou en inventant une drôle de langue sortie tout droit de contes étranges. La langue d’une pythie qui saurait se rire d’elle même et qui se moquerait bien des oracles. Piano, voix, guitare, tout se rejoint et c’est bouche bée qu’on assiste à ce moment où les choses s’assemblent. La musique prend en charge l’organisation des polyphonies qui nous constituent, aucune voix ne doit écraser l’autre. Et la beauté surgit, au corps défendant de Mocke et Delphine Dora, comme elle surgit toujours, dans les interstices du jeu risqué du funambule qui ne s’interdit rien parce qu’il refuse de choisir sous les injonctions de la séparation. Un jeu tout à la fois quiet et inquiet, consonant et dissonant, drôle et mélancolique, proche et lointain, savant et populaire. On a pas à choisir et on ne choisira pas. Tout ici se retrouve assemblé. Et même, au bord de la cassure, la voix de Delphine Dora semble convoquer à la fois les vivants et les morts comme sur le déchirant L’Absent était parmi nous qui clôt le disque. On le cherchait depuis tout ce temps et il était là, assis à la table. C’est bien l’ambition, que tout ce qui a disparu nous réapparaisse.
On pourrait les croire seuls. Mais de cette solitude particulière qui a les moyens de se confier. Des insulaires sans doute comme le dit le titre d’un des morceaux. Mais des insulaires qui rêvent de ponts et de navires. De voyages intersidéraux où même la lointaine Pluton s’éloigneNous voilà embarqués. »

Delphine Dora: voix, piano, piano préparé, claviers, célesta, glockenspiel, cordes de piano et de guitare, violon, shruti box, field recordings, objets

Mocke: guitare

composé par: Delphine Dora & Mocke
enregistré par: Delphine Dora & Mocke
mixé par: Mocke

mastérisé par: Harris Newman (Grey Market Mastering, Montréal)

illustré par: Gwénola Carrère



15 euros

+ port

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Okraïna #11 : Ned Netherwood about Delphine Dora & Mocke’s Le Corps défendant

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DELPHINE DORA & MOCKE
Le Corps défendant – okraïna #11 – double 10inch

There is something special about when artists like these collaborate. Two independent talents, both completely self-sufficient choosing to come together and see what happens, to let the muses mingle and share the results with the rest of us. What we have here, however, is not some quick jam caught on tape but a long distance collaboration carefully put together over three years. The result is something that gives us a broad overview of the two talents spotlighted here, showcasing many different moods, sounds and styles. Created like an exquisite corpse story they sent each other music to work on with no instructions or suggestions, just some inspiring mix tapes of everyone from Duke Ellington to Harry Patch. They clearly found their way.

As well as her own music (which ended up on Pitchfork’s best of 2015 list), Delphine runs the excellent Wild Silence record label. As well as being a solo artist, Mocke has played with the likes of Arlt, Holden and Midget !

On this record, Mocke plays the guitar and Delphine sings and plays everything else. He’s one hell of a guitar player, bringing to mind Loren Connors, John Fahey and anyone who ever took a six string and mastered it their own damn way. Delphine sings sweetly, sometimes from classic texts or as a glossolalia (divinely expressing without words), though to a non-French speaker you would swear was some lost classic pop song reinterpreted in her own style.

Both Delphine and Mocke are originally from Paris but both have long since left, Mocke for Brussels and Delphine for the deepest French countryside. That difference can be found in their music. Mocke’s music is urbane with a touch of inner-city paranoia. Delphine’s music always sounds isolated in a big landscape. They compliment each other as opposites.

Like all Okraina releases, the stunning artwork is by Gwénola Carrère and I can’t think of anyone better suited to try and encapsulate this stunningly varied and vivid album. The title does not translate to English as it is a poetic corruption of a common phrase. I think something similar happened to common music on this album.

Ned Netherwood
Was Ist Das?

 


 

15 euros
+ shipping costs

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Okraïna #8 : Greenberger Jones Corsano An Idea in Everything

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DAVID GREENBERGER, GLENN JONES, CHRIS CORSANO
An Idea in Everything – okraïna #8 – double 10inch

“David Greenberger meanders around America, lovingly collecting the life stories of old people like fireflies in a jar. In an America that seems increasingly dominated by amnesia, and the erosion of its history, it’s very heartening – and poignant – to hear these fragments of lives as they draw to a close. The matter-of-fact tone that David uses in these vignettes is partly what makes them so emotional.” – Robyn Hitchcock

“When newcomers hear that I have regular conversations and interviews with elderly people, they assume I collect oral history. What that assumption implies is that when one grows old we become solely a repository of our past. From the start, my mission has been to offer a range of characters who are already old, so that we can get to know them as they are in the present, without celebrating or mourning the loss of who they were before.” – David Greenberger

When David Greenberger first embarked on what has become a life-long journey, drummer Chris Corsano was not yet five years old!

In 1979, after graduating from art school in Boston, Greenberger took the job of activities director at the Duplex Nursing Home, an all-male elder care facility in Jamaica Plain, Massachusetts, and began collecting the stories, poems and music reviews of its aged patients for what became his Duplex Planet project, and undertaking that would eventually encompass nearly 200 issues of a digest-sized magazine, a series of CDs, books, comics, and performance art. Eventually the nursing home closed, but David has remained engaged in what has become the central art form of his life: the “art of conversation.”

Three decades later Chris Corsano set in motion the project you have before you. With guitarist and banjo player Glenn Jones, a longtime friend of both Greenberger and Corsano, the three began recording in Greenberger’s living room in upstate New York. In just three days, with no advance preparation, they recorded the 28 tracks that make up An Idea in Everything. Corsano improvised, Jones invented new tunings for his banjo and guitar on the fly and Greenberger selected and read stories in direct response to the music. Everything was spontaneous and live.

Despite the dark and sad feeling of some of the texts (dealing with aging, memory loss, etc.), there is also humor, joy and grit. Jones recalls the recording session as fun, playful, excitingly engaging.

The resulting album is a rollercoaster of emotions, a glittering patchwork of sonic atmospheres and an oral encyclopedia on dozens of subjects (coffee, cigarettes, planets, art . . . life . . . and death) convincing us that, indeed, there is An Idea in Everything!

David Greenberger
: voice
Glenn Jones: guitar, banjo
Chris Corsano: drums, melodica

Mastering: Matt Azevedo

Illustration: Gwénola Carrère

15 euros
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Okraïna #8: the making-of (interview with Glenn Jones)

jones-greenberger-corsano-c-photo-by-barbara-price-640Glenn Jones (first left) w/ David Greenberger and Chris Corsano
An Idea in Everything recording sessions (Greenwich NY – February 2013) – photo by Barbara Price

– Glenn, how did you first discover The Duplex Planet ?

Glenn Jones: A mutual friend introduced me to the magazine, around 1980 or so if memory serves. You could find it in some hip stores, but it was mainly available by subscription. Along with David’s interviews, there were poems and music reviews and photos — its arrival in the mail every other month was something I so looked forward to — I loved the magazine so much I took out subscriptions for my mom and for friends!

– Did you also meet David Greenberger then? You were both living in the Boston area at the time, no?

Yes. I knew of David because of his band Men & Volts, who at the time was strictly a Captain Beefheart cover band — I’d seen them live a couple times. But I didn’t actually meet David till after I’d discovered the magazine.

– But you never really recorded together before. So how did this project with Chris Corsano come about?

It’s kind of funny. At first David was only publishing the magazine. But after the Duplex Nursing Home closed, David moved to upstate New York and began working with various musicians and bands and crafting real performances built around his interviews. These were wonderful events and I caught as many as I could.For me the series of four shows he did over the span of a month or so, each with a different theme, at St. Anne’s in New York City were the most impressive. (I took my mom to the Mother’s Day show.) David had an amazing coterie of musicians working with him, including members of NRBQ and the Sun Ra Arkestra, among others. Any musician sympathetic to what David was doing would have asked himself or herself, “What would I do in this situation? How would I support these stories musically?”

Now, at the time this record came together, David and I had been friends for some 30+ years. And while I had contributed music to several of the Lyrics of Ernest Noyes Brookings albums, those were things I did for David, not with him.

I’d first heard Chris Corsano play at the Brattleboro (Vermont) Free Folk Festival, which was such a watershed event for so many people — it was there I also met Jack Rose, Tom Carter, MV and EE and so many others.Well, in the summer of 2012, David, Chris Corsano and I all happened to meet up at our friends Bryon Coley’s and Lili Dwight’s annual July 4th barbecue in western Massachusetts. Chris had played on my album The Wanting. I‘d sent a copy to David and when we met at the barbecue the first thing he said to me was, “Thanks for the album. That drummer on Side 4 – man, oh man!” I said, “Oh, he’s here; I’ll introduce you.”

Lire la suite

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Okraïna #9 : Léonore Boulanger + Maam-Li Merati La Maison d’amour

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LÉONORE BOULANGER et MAAM-LI MERATI La Maison d’amour
okraïna #9 – double 25cm / double 10 inch

Léonore Boulanger et Maam-Li Merati se rencontrent à Paris en 2011 au concert du maître azéri Alim Qasimov et de sa fille Ferghana Qasimova. Maam-Li Merati musicien iranien né à Kermanshah près de la frontière irakienne, docteur en musicologie, ayant collaboré avec de nombreuses personnalités – notamment Shahram Nazéri, en Iran, et Jean-Claude Carrière (pour un projet autour de l’œuvre de Rûmi), en France – va transmettre à Léonore Boulanger – auteure de trois albums parus sur le babélien label Le Saule – l’Art de la musique classique persane.

Au printemps 2015 ils commencent à enregistrer pour La Maison d’amour de premières odes lyriques, des dastgâh-s à deux voix et instruments traditionnels (les futures faces A et C du double 25cm sur Okraïna), avant d’être rejoints par Matthieu Ferrandez, musicien d’église mais aussi chercheur en musiques électroniques, pour des Face B et D aux lisières sidérales, toutes en soupirs d’harmonium et orgues analogiques.

« Toi tu m’as échangé pour rien
Moi je décide encore que je n’échangerais
pas un seul cheveu de toi avec le monde entier
« 

Sa’di (XIIIème siècle)

Dans les modes anciens du Radif – le répertoire classifié à la cour des rois Qâjar entre 1840 et 1920 – se rejoue la poésie amoureuse des XIIIe et XIVe siècles. Singulière extase, enlacements des voix, houle du kamântche, souffles du vieil harmonium, tintinnabulum de l’orgue sous les doigts du maitre de chapelle – explorent et implorent ça qui fait voir le cœur et tous ses grands pouvoirs.

Léonore Boulanger and Maam-Li Merati met each other in Paris in 2011 at a concert of Azerbaijani Master-Musician Alim Qasimov and his daughter Ferghana Qasimova. Maam-Li Merati is an Iranian musician that was born in Kermanshah, near the Iraqi border. In addition to having a Doctor in Musicology, he has worked with artists such as Iranian singer Shahram Nazeri and French novelist and Luis Bunuel’s screenwriter Jean-Claude Carrière (for a project devoted to 13 th century Persian poet and Sufi mystic Rumi). Shortly after their meeting, Maam-Li Merati started to teach the art of Persian classical music to Léonore Boulanger, a young French musician that released three albums on the multi-faceted label Le Saule.

During the spring of 2015 they recorded some first lyrical odes, some dastgāhs for two voices and traditional string instruments that would later become the sides A and C of the La Maison d’amour double ten inch on Okraïna. Later, Matthieu Ferrandez, church organist and researcher in electronic music, joined them for sides B and D weaving a cosmic lace, with the sighs of harmonium and acoustic organs.

« You, you traded me for nothing
Me, I still choose that I wouldn’t trade a single hair yours
for the entire world »
Saadi Shirazi (13th century)

In the ancient modes of the Radif – a repertoire classified during the Qajar dynasty between 1840 and 1920 – the love poetry of the 13th and 14th century is replayed, brought back to life.



Léonore Boulanger
: chant / voice

Maam-Li Merati : chant, kamânche, setâr / voice, kamancheh, setar
+ Matthieu Ferrandez : harmonium, orgue (faces B et D) / harmonium, organ (sides B & D)
+ Jean-Daniel Botta : bendir, n’goni / bendir, ngoni

Enregistrement / Recording
Jean-Daniel Botta, studio Abermarle (Bourgogne)


Mix
Cyril Harrison


Mastering
Harris Newman, Grey Market Mastering – Montréal


Illustration
Gwénola Carrère – Bruxelles

 

15 euros
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Okraïna #7 : Rev Galen Rev Galen

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REV GALEN Rev Galen
okraïna #7
simple 25cm / single 10 inch
>>> date de sortie: janvier 2016 / release date: January, 2016 <<<

En compagnie de Gilles Poizat (guitare, trompette, voix), Catherine Hershey chante les poèmes de son grand-père Galen E. Hershey, pasteur-fermier à Pontiac (Michigan).

In the company of Gilles Poizat (guitar, trumpet, vocals), Catherine Hershey sings the poems of her grandfather, Galen E. Hershey, pastor / farmer in Pontiac, MI.

Face A / Side A

1- Irony – 4’58
2- Warm August Wind – 2’13
3- Heart Lyric – 3’20

Face B / Side B

1- Do You Hear ? – 3’02
2- Lulllaby – 1’11
3- Dilemna & Decision – 3’12
4- Dreams – 1’32
5- To Whisper – 1’42

Rev. Galen E. Hershey  : poèmes / poems

Catherine Hershey : chant / vocals
Gilles Poizat : chant, trompette / vocals, trumpet


Enregistrement / Recording

Enregistré en 2013 au Reykja Studio par Mathieu Ogier (A1, B4-B5), à la Maison Henry IV par Guillaume Médioni (A3), à la Banana House (A2, B1-B2) et chez Taziop (B3)

Mix
Gilles Olivesi

Mastering
Harris Newman, Grey Market Mastering – Montréal

Illustration
Gwénola Carrère – Bruxelles

Typographie feuillet / Leaflet
Pauline Nuñez – Paris

12 euros
+ port (/ shipping costs)

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Okraïna #6 : Éloïse Decazes & Delphine Dora Folk Songs Cycle

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ÉLOÏSE DECAZES & DELPHINE DORA Folk Songs Cycle
okraïna #6
simple 25cm / single 10 inch
>>> date de sortie: 20 juin 2015 / release date: June 20th, 2015 <<<

Éloïse Decazes et Delphine Dora  jouent et chantent Luciano Berio

Folk Songs (1964) est un cycle de chansons traditionnelles (ou d’inspiration traditionnelle) collectées en différents pays, rassemblées et arrangées (ou composées) par le compositeur italien Luciano Berio pour sa femme, la chanteuse Cathy Berberian. Presque cinquante ans plus tard, Éloïse Decazes et Delphine Dora ont pris la liberté de les ré-enregistrer à leur manière.

Éloïse Decazes and Delphine Dora  sing and play Luciano Berio

Folk Songs (1964) is a cycle of traditional songs (or songs of folk inspiration) from various countries collected and arranged (or composed) by the Italian composer Luciano Berio for his wife, American singer Cathy Berberian. Almost fifty years later, Éloise Decazes & Delphine Dora took the liberty to re-record them their own way.

Face A / Side A

1- Black is the Color (of my True Love’s Hair) – trad. États-Unis + arr. John Jacob Niles
2- I Wonder as I Wander – trad. États-Unis + arr. John Jacob Niles
3- Loosin Yelav – trad. Arménie
4- Rossignolet du bois – trad. France
5- A la femminisca – trad. Sicile
6- La Donna Ideale – comp. Luciano Berio d’après un poème trad. Italie

Face B / Side B

1- Ballo – comp. Luciano Berio d’après un poème trad. Italie
2- Motettu de tristura – trad. Sardaigne
3- Malourous qu’o uno fenno – trad. Auvergne + arr. Joseph Canteloube
4- La Fiolairé – trad. Auvergne + arr. Joseph Canteloube
5- Azerbaidjan Love Song – trad. Azerbaidjan

Éloïse Decazes : chant (A1-A2-A3-A4-A5 / B3-B4), harmonies vocales (A6 / B2), piano (B3) / lead vocals (A1-A2-A3-A4-A5 / B3-B4), harmony vocals (A6 / B2), piano (B3)

Delphine Dora : piano (A1-A2-A4-A5-A6 / B1-B2-B4-B5), harmonium (A3), field recordings (A4-A5 / B2), chant (A6 / B1-B2-B5), harmonies vocales (A2-A4 / B3) / piano (A1-A2-A4-A5-A6 / B1-B2-B4-B5), harmonium (A3), field recordings (A4-A5 / B2), lead vocals (A6 / B1-B2-B5), harmony vocals (A2-A4 / B3)

Mocke : guitare (A4-A5 / B1) / guitare (A4-A5 / B1)

Enregistrement
Éloïse Decazes, Delphine Dora – Valuejols (Auvergne), juillet 2013

Mix
Éloïse Decazes, Mocke – Bruxelles, janvier 2014

Mastering
Harris Newman, Grey Market Mastering – Montréal, décembre 2014

Illustration
Gwénola Carrère – Bruxelles, janvier 2015

12 euros
+ port (/ + shipping costs)

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