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Yannick DAUBY

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Book + CD

Yannick DAUBY
“Fushan & Taipingshan”

A project (Book+CD) by Yannick Dauby about sounds and stories of low and middle altitude mountains of Yilan, North East of Taiwan. The book (in English and Chinese) features interviews with five persons who have special knowledge and experience about the forests of Taipingshan and Fushan : Lue Kuang-Yang, Kacuzi Hacyo, Wu Chiu-Hsiang, Lai Chun-Piao, Lai Bo-Shu. Notes about listening and sound recording practice by Yannick Dauby. Identification of animal sounds with Chinese, English and Latin names. The 75 minutes audio CD contains field recordings realized in Fushan Botanical Garden and Taipingshan Forest Area between 2013 and 2015, edited and mixed in 2016.
15,00€
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CD

Yannick DAUBY
“Overflows”

“Yannick Dauby, originated from Mediterranean Alps and currently based in Taiwan. Sound and location, sound and community, sound and ecology, are the main topics of his projects. Overflows is a composition based on field recordings in natural, industrial and urban environments dealing with the overwhelming of listening. Fans of Francisco Lopez, Jean-François Laporte or Eric La Casa will be delighted.”
5,00€
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Out of stock

LP

Yannick DAUBY
“ló-kó -chhù : Penghu Experimental Sound Studio Vol.2”

Yannick Dauby returns to Discrepant for Vol2 of his ongoing study of the sounds and sights on the Penghu Archipelago, Taiwan.
ló-kó -chhù - means, in Taiwanese, Coral House. Penghu Experimental Sound Studio Vol2 uses interviews, field recordings, found objects and subtle electronic manipulation to transpose Yannick’s impressions of the island’s natural beauty.
All sounds, field recordings and improvisations on electronic instruments, are from Penghu, Taiwan.
Interviews of children extracted from the film “Childhood of an Archipelago”, by Yannick Dauby & Wan-Shuen Tsai. The second session of Penghu Experimental Sound Studio was located in Husi village, during Summer and Autumn 2015 whilst the album was assembled in the hills of Taipei, during the Spring 2016.
15,50€
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Out of stock

LP

Yannick DAUBY
“Tsit lâu tsui. Penghu Experimental Sound Studio Vol.1”

Tsit lâu tsui means, in Taiwanese, a cycle of tide. Yannick Dauby is a French sound artist based in Taiwan since 2007. He relentless explores the soundscapes of his adopted island through field recording, audio documentaries and community projects. He also composes electroacoustic music and he's often found performing live using found objects, analogue devices and digital processing. He has created soundtracks and sound environments for contemporary dance, public art and films as well as being involved in various ecological and local traditional activities.
Dauby stayed in Peng-Hu, an archipelago located in the Taiwan Strait during several months in the first half of 2013. His daily activities included beachcombing, study and documentation of the reef animals, field recording, some teaching and also composing musique concrète in a temporary and probably the first experimental music studio, settled in Shili, a narrow village just between the inner and outer seas. From this old building he hear the seashores and announcements of the itinerant sellers as well as the rituals from a temple nearby. Immersed in this natural and cultural environment, Yannick composed the two sides on this record, using the sounds of the underwater fauna, the omnipresent waves, soundscapes of harbours, music played during funerals, shortwave radio broadcasts , in-site or indoor improvisations using old artefacts collected on the beaches and various sessions using analog electronic instruments. This LP becomes kind of a aural sketchbook of his stay and wandering in these islands on the invitation of the Penghu Citizens Foundation.
Mastered and cut by Rashad Becker @ D&M. Pressed at Optimal. 300 units, black vinyl.
15,00€
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Out of stock

CD

Yannick DAUBY
“Echoes as Messengers”

This year 2015, Yannick Dauby and Wan-Shuen Tsai were part of a public art project at National Taiwan University. Yannick’s work was a creation project related to the sound universe of bats and led to a series of public events, including soundwalks and exhibitions in the campus. The blog chiroptera documented the activities of field recording and creation, some in collaboration with students. Here is a new output of this project, released as a CD. Echoes as Messengers is a kind of domestic sound installation, an electroacoustic composition which develop itself slowly and sparsely, a “Discreet music” inspired by echolocation. It has been composed with the ultrasonic voices of the Japanese House Bat (Pipistrella abramus) recorded in Taipei (Spring 2015), transformed and combined with the help of analogue electronics (notably the infamous Blippoo box by Rob Hordijk, the Sidrax organ by Peter Blasser and other modular synthesizers) and digital processing. Please try to listen to it at low volume, or at dusk, or windows open. This project as been informed and influenced by the remarkable works of Donald Griffin, Alvin Lucier, David Tudor and David Dunn.
10,00€
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Out of stock

CD

Yannick DAUBY
“Vescagne, Salèse”

Two compositions (Spring 2014) related to the landscapes in the Mediterranean Alps. “Lignite”. Also called brown coal, this mineral was extracted in the mine of Vescagne, located near Vence, until 1953. Recordings : Bézaudun-les-Alpes, France, January 9th 2014. “Caïre Archas”. The toponym of this mount, located in the Mercantour area, relates to its shape : steep and protruding. But aren't moutains all analogue ? Recordings : Col de Salèse, January 15th 2014.
10,00€
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Out of stock

2 CD

Yannick DAUBY
“Sounds of horse”

Publication by Atelier Hui-Kan and Horse Dance Company. “Since 2008, French sound artist Yannick Dauby is collaborating with Horse, a taiwanese male-only contemporary dance company. During these years, he created the soundtracks for the following performances : Bones (2008, National Experimental Theater, Taipei). Growing Up (2009, Theater of Taiwan University of the Arts, Taipei). I (2010, National Experimental Theater, Taipei and Theater in Tainan). Faceless by Chou Shu-Y (2011, National Experimental Theater, Taipei). The sound material used for these projects is quite unusual for dancers and it became one of the specificity of the shows of HORSE : recordings of animal voices, urban soundscapes, industrial textures, electroacoustic abstractions… sounds of HORSE is a glamorous publication documenting this collaboration. Its two CD contains more than two hours of sound works, organized and remastered for a domestic listening, and a double-folded booklet with high-quality photography of the dancers with texts by choreographers and dancers Chen Wu-Kang and Chou Shu-Yi, and Yannick Dauby. This double-CD has been published in collaboration with HORSE and Atelier Hui-Kan”.
14,00€
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4 CD

Cornelius CARDEW
“The Great Learning”

All seven Paragraphs of Cardew's The Great Learning by the Scratch Orchestra Strasbourg under Didier Aschour, an orchestra born from an open call and two years of shared practice: 4CD box with a 116-page booklet. 4CD box with a 116-page booklet. Shiiin's thirteenth release is a complete recording of Cornelius Cardew's The Great Learning, the seven Paragraphs written between 1968 and 1971 on the opening of the Ta Hio (Daxue, "the Great Learning"), the Confucian treatise on self-cultivation and the harmonious ordering of collective life, in Ezra Pound's translation. Mixing voices, instruments, objects and actions through graphic and verbal notation, the score prescribes relationships between the performers more than sounds, and shares out among them the responsibility for the form. The work is inseparable from the Scratch Orchestra, which Cardew founded in London in 1969 with Michael Parsons and Howard Skempton. The Scratch Orchestra Strasbourg grew out of an open call launched by the Musica festival in spring 2023, with no condition of level or background: amateurs and professionals, the self-taught and people with no previous practice. First gathered in September 2023, the group worked regularly under Didier Aschour, with members of the Dedalus ensemble and Strasbourg musicians versed in improvisation, graphic scores and open protocols passing on tools rather than imposing a reading. The aim was neither to reproduce a traditional orchestra nor to rebuild Cardew's, but to put his principle back into play: turning a diversity of skills into a shared resource. On 15 September 2024 the orchestra performed all seven Paragraphs in the Saint-Paul church in Strasbourg, a concert of nearly seven hours that opened the music programme of the 42nd Musica festival, in dialogue with Mode d'emploi, the exhibition of instruction-based works at the city's museum of modern and contemporary art. The group went on working on other pieces and came back to The Great Learning for this recording, made in the same church from 27 to 29 November 2025. What it fixes is an interpretation shaped by more than two years of common practice, not a line-up assembled for a single date, which brings it close to Cardew's own idea of the orchestra as a lasting space of practice, learning and collective change. Alongside Aschour play Lou Renaud-Bailly, Jeanne Barbieri, Stéphane Clor, Yannick Guédon, Jean-Philippe Gross and Thierry Madiot, with Jérémy Marchal on the church organ, the Pelicanto choir directed by Mathilde Mertz and the De-ci De-là choir directed by Cédric Dosch. Paragraphs 1 to 3 fill the first disc and Paragraph 4 the second; Paragraph 5 alone runs over an hour and a quarter on the third, and the fourth holds Paragraphs 6 and 7. The booklet opens with a text by Stéphane Roth and gathers two essays. Dean Inkster's, written for the 2009 Cardew exhibition at CAC Brétigny, places the work within the composer's aesthetic and political path and shows how the dispersal of the voices opens onto a shared freedom of listening rather than a fusion of the collective. Matthieu Saladin's, first published in Revue & Corrigée in 2020, examines the devices of each Paragraph as so many attempts to contain the relations of domination that form again within any group.
49,00€
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In stock

2LP

Eliane RADIGUE
“Occam XIII, Occam River XI, Occam V”

Occam Ocean is a series of acoustic compositions made for and with individual instrumentalists by the late French composer Éliane Radigue. Extending the interactive process pioneered in Naldjorlak (2005–2009), Occam Ocean employs a scoreless method of composing in dialogue with each performer. Dating back to 2011, the series has proliferated almost organically, growing out of a musical and social dynamic of combinatoriality and multiplication to a catalog of more than eighty discrete compositions. This body of work stands as one of the most extraordinary late-career outpourings in recent music history. The Occam series was catalyzed in part by a visit to the Natural History Museum in Los Angeles, where Radigue encountered a depiction of the electromagnetic spectrum—from radio signals to gamma rays—which impressed upon her the minuscule range of human hearing relative to the seemingly unlimited compass of universal wavelength and frequency. The Occam compositions seem to address this vertiginous confrontation with the infinite; each individual composition elaborates a radically reduced technique or sound process, frequently working outward from only a handful of fundamental tones, to expose the flickering, idiosyncratic spectral behavior of the instrument. The reference to William of Ockham indicates a principled commitment to parsimony; paradoxically, the reduction in material content makes possible an incommensurate richness in perceived acoustical detail. Notable in the Occam series is the inextricable identification of the composition with the performer for whom, and with whom, it was made. The particular sounds and techniques of each individual performer are thus indelibly stamped in the composition; the piece composes the playing of that musician, as much as the musician plays the composition. The time-honored division of labor between performer and composer is thus suspended and reconfigured, proposing a model for new music composition that has not yet been fully theorized or understood. Occam XIII, Occam River XI (presented here in two distinct readings, which reveal subtle variations in instrumental response), and Occam V feature two longtime collaborators of Radigue in solo and duo formations. Charles Curtis, the first instrumentalist for whom Radigue wrote an acoustic composition (Naldjorlak), performs on cello, while Dafne Vicente-Sandoval—whose parallel investigations into her instrument’s complex sounding properties led her to collaborate with Radigue—performs on bassoon. The works were recorded at Temple Saint-Théodule, La Tour-de-Peilz, Switzerland, during a 2024 residency at La Becque, a setting previously explored by the musicians for its distinctive acoustic properties.
45,00€
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Out of stock

CD

Eliane RADIGUE
“Occam XIII, Occam River XI, Occam V”

Occam Ocean is a series of acoustic compositions made for and with individual instrumentalists by the late French composer Éliane Radigue. Extending the interactive process pioneered in Naldjorlak (2005–2009), Occam Ocean employs a scoreless method of composing in dialogue with each performer. Dating back to 2011, the series has proliferated almost organically, growing out of a musical and social dynamic of combinatoriality and multiplication to a catalog of more than eighty discrete compositions. This body of work stands as one of the most extraordinary late-career outpourings in recent music history. The Occam series was catalyzed in part by a visit to the Natural History Museum in Los Angeles, where Radigue encountered a depiction of the electromagnetic spectrum—from radio signals to gamma rays—which impressed upon her the minuscule range of human hearing relative to the seemingly unlimited compass of universal wavelength and frequency. The Occam compositions seem to address this vertiginous confrontation with the infinite; each individual composition elaborates a radically reduced technique or sound process, frequently working outward from only a handful of fundamental tones, to expose the flickering, idiosyncratic spectral behavior of the instrument. The reference to William of Ockham indicates a principled commitment to parsimony; paradoxically, the reduction in material content makes possible an incommensurate richness in perceived acoustical detail. Notable in the Occam series is the inextricable identification of the composition with the performer for whom, and with whom, it was made. The particular sounds and techniques of each individual performer are thus indelibly stamped in the composition; the piece composes the playing of that musician, as much as the musician plays the composition. The time-honored division of labor between performer and composer is thus suspended and reconfigured, proposing a model for new music composition that has not yet been fully theorized or understood. Occam XIII, Occam River XI (presented here in two distinct readings, which reveal subtle variations in instrumental response), and Occam V feature two longtime collaborators of Radigue in solo and duo formations. Charles Curtis, the first instrumentalist for whom Radigue wrote an acoustic composition (Naldjorlak), performs on cello, while Dafne Vicente-Sandoval—whose parallel investigations into her instrument’s complex sounding properties led her to collaborate with Radigue—performs on bassoon. The works were recorded at Temple Saint-Théodule, La Tour-de-Peilz, Switzerland, during a 2024 residency at La Becque, a setting previously explored by the musicians for its distinctive acoustic properties.
23,00€
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In stock

CD

David GRANSTRÖM
“Echoes of Impermanence”

Echoes of Impermanence sees David Granström’s previously established strict hermetic minimalist musical topography undergo a major shift with the introduction of the electric guitar, which instigates a breaking of the sealed crystal walls of the composer’s previous work within music of long duration and precise digital synthesis, bringing forth a riff-laden spirit previously lingering below the surface. The album was recorded at the world-renowned Elektronmusikstudion EMS as well as in the composer’s own studio with the help of Mats Erlandsson and features a guest appearance by long-time collaborator and XKatedral co-founder Maria W Horn performing on the Hurdy-Gurdy on the title track. David Granström is a composer and musician from Umeå in the northern part of Sweden. His hometown is a stronghold of extreme musical expression and consequently Granström grew up playing guitar in a metal band and started to compose music within that context which eventually evolved into solo projects, having access to studio facilities adjacent to the rehearsal space. Granström initially found his personal musical voice within the context of electroacoustic composition utilizing his advanced programming ability to manifest a sound and formal structure governed by algorithmic processes. The resulting musical work is characterized by harmonic simplicity and spatiotextural complexity, employing sounds of synthetic and acoustic origin in combination with strict digital synthesis techniques.
17,00€
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Out of stock

CD

William BASINSKI
“Passing the Cup of Sorrows”

In the realm of past-life regression hypnotherapy, there is a concept known as “Life Between Lives,” wherein a sacred exchange of energy occurs between two souls in the spirt world, helping a spirit fully understand and forgive a being who hurt them in a past life. This exchange – called “passing the cup of sorrows” – became the unexpected inspiration for William Basinski’s first new album in six years. While sinking deeper into the daily abyss of our collective negativity bias, William Basinski stumbled upon a video describing the spiritual hypnotherapy exercise known as “passing the cup of sorrows.” Fixed on the glow of a screen that projected mounting anxiety and cynicism at a seemingly interminable pace, Basinski found the testimonials of this fascinating therapeutic practice to be profoundly moving. He sat at his piano, translating the transformation of those traumatic memories of past lives into cathartic tears of the present day. Channeling the quiet curiosity and asymmetrical patterns of pioneering 20th Century composer, Morton Feldman, Passing the Cup of Sorrows is a single 40-minute piece that employs a solitary piano and subtle electronics to truly haunting effect. It recalls fragments of traumatic memories and projects them as fractals in a slow-moving soft focus that’s as eerie as it is enlightened.
15,50€
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In stock

LP

Oren AMBARCHI
“Cooked”

With Cooked, Oren Ambarchi takes his adventurous sonic universe into gloriously unpredictable territory. Bringing together an extraordinary cast of international collaborators, including Eiko Ishibashi, Jim O’Rourke, Joe Talia and members of his Ghosted trio, the album unfolds across two expansive, side-long compositions. Blending hypnotic grooves, shimmering guitars, intricate electronics, jazz-inflected rhythms and surreal sonic detours, Cooked moves effortlessly between delicate atmospheres and exuberant experimentation. Meticulously constructed yet remarkably spontaneous, it reveals Ambarchi at his most playful, inventive and delightfully unpredictable. A dazzling journey through the outer limits of contemporary experimental music. Oren Ambarchi - Guitars and whatnot Hidden Tableau: Johan Berthling - Double bass Eiko Ishibashi - Piano Jim O'Rourke - Synth Konrad Sprenger - Voice synthesis, electronics & production Joe Talia - Drums Sleight of Hand: Johan Berthling - Double Bass Will Guthrie - Gamelan & drums Isak Hedtjärn - Whistling Michiko Ogawa - Shō Marcus Pal - Synthetic Sound Fredrik Rasten - Guitars James Rushford - Celeste, piano & portative organ Andreas Werliin - Drums
30,00€
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CORTICALART

Mail-order and distribution of experimental music (electroacoustic, improvised music, sound-art, noise, sound poetry), past or present, along with some books, magazines and DVDs.

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