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///// NEW ALBUM RIEN /////

RIEN LP/CD OUT SINCE MARCH 8 on LENTONIA RECORDS


by David McKenna | March 2016

“When she’s not being Perrine En Morceaux, one of Perrine Bailleux’s projects – aside from writing a book of philosophy for kids and leading sound-art workshops at the Philharmonie de Paris – is delivering what she calls a ‘conférence-concert’, where she sings a disquisition on a late painting by Russian artist Kazimir Malevich. Process and performance, theory and practice intermingle, and sometimes Bailleux likes to tell you what she’s doing while she’s doing it. So when she introduces Rien, her third album and the first on Parisian label Lentonia (EDH, Hypo & EDH, Alex June, Elmapi), with the salutation: “Hi, welcome to the surface of time.”
It’s issued as much as a disclaimer (just so you know, this is an album about time) as it is a challenge to anyone casually dropping in.
There are no breaks during which you can quietly slip out either since it’s a ceaseless noise for circa 50 minutes, each track chained to the next. Ceaseless but not seamless – there are seams everywhere. The opener, ‘Arbitrary Signs’, is made up of at least five distinct sections. “En morceaux” means “in pieces”, which speaks less of an emotional state and more of her habit of de-and-reconstructing fragments of sounds, thoughts, slogans and signs. ‘Private Property’ recalls Stereolab in its welding of Marxism to a mix of sweet melodies and avant-noise.
It does have its tidier moments, like the relatively four-square ’48 Heures Avant La Revolution’, but it’s at its best when it’s just short of breaking apart while still somehow keeping the ‘song’ somewhere in sight, and at its sonic extremities, either when ‘Anguish’ and ‘Contingent Continuity’ are smashed open by blast beats or on ‘Chop Chop’, the closest this album gets to tranquillity.
Above all, Rien , should be celebrated for the fact that, for all its wordiness and conceptual tricksiness, the conjunction of coarse beauty and industrial might taps into forces shifting beneath and beyond language. This might well be the point, for as Perrine also sings in ‘Arbitrary Signs’: “Words… they make us wonder less.”

Read PEM’s interview in The Quietus here
(interview)

RIEN RELEASE TOUR

31/03| Bruxelles, Café Central
01/04| Paris, Fondation Louis Vuitton w/ Thurston Moore, Ian Hatcher, C. Fiat & N. Fenoulliat et Olivier Cadiot
22/04| Amsterdam, Ruimte, with Knalpot
27/04| Heilbronn, Complex23, with Knalpot
28/04| Innsbruck, Treibhaus, with Knalpot
29/04| Paris, Super Sonic, RIEN RELEASE PARTY with EDH, La Féline [solo] and DJ Baba Electronica [DE/NL]
28/05| Tübingen [DE], Shedhalle, Electronic culture festival/lab GENERATE
03/06| Paris, Petit Bain with Canari and France
11/06| Nancy [FR], Stéréolithe Festival
17/06| Latina [IT], Circolo Hemingway
18/06| Ostia [IT], Ostiapalusa Festival
15/07| Viljandi [EST], Notafe Festival
22/07| Pau [FR], Festival L’Eté à Pau
30/09| Orléans [FR], Secret party in Secret place

//////////////////// OTHER NEWS

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pb, the website here

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PEM IN CITE DE LA MUSIQUE (Paris)
In Musée de la Musique, I plugg my machines on Mozart’s floor and sings a few songs | Upcoming dates: May 11 & 24 10h-13h | link |

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This week PEM recommends KNALPOT[NL] not only to listen to:

But also to danse with :