Two years after having recorded Aurora, which Gérard Terronès released on his Futura Records label in 1971, the Théâtre du Chêne Noir put on another show, Miss Madona, first at Avignon, and then at Ariane Mnouchkine’s Théâtre du Soleil. From this play, Gérard Gelas’ group took three sound extracts which they made, with no further ado, into a single.
Miss Madona is thus the second recording by Théâtre du Chêne Noir. The two sides (and three tracks) offer up an unbelievable instrumental theatre with something of a white magic ritual about it. The actors, so much better for the record, were also musicians; alongside Miss Madona, ex-star of the circus and now idol, were the piano and electric organ of Daniel Dublet, the saxophones of Pierre Surtel and Jean-Louis Canaud, and the trumpet of Gilbert Say.
But there are also the vocals of Beatrice Le Thierry, Bénédicte Maulet, Jean Paul Chazalon, Monik Lamy, Nicole Aubiat… which added to the mystery of what happened on stage. The sound of this particular theatre may remind us as much of John Coltrane as of Ravi Shankar, Pierre Henry or the Art Ensemble of Chicago. There are voices from beyond the grave, inspirational for future musicians: Steven Stapleton, for example who included Théâtre du Chêne Noir in his Nurse With Wound List.
On the occasion of Record Store Day 2020, Souffle Continu, who are just to reissue Aurora, can be proud of re-releasing this single, which is rare in more ways than one
First ever vinyl reissue
Remastered from the master tapes
Licensed from Le Théâtre du Chêne Noir
Le Petit Duc' [The Little Scops Owl] is a sound work by Danish artist Knud Viktor, made between 1978 and 1983. Viktor was classically trained as a painter at The Royal Danish Academy of Fine Arts in the 1950’s. In 1961 he moved to France to live and work, but was overwhelmed by the sounds of the wildlife in Provence, and instead of painting began listening to and recording his surroundings. With these recordings, he composed what he called sound images – images sonores – and throughout the rest of his career, sound was his main medium.
"Routine is a twitchy electro monster confronting the listener with a worked up a blend of AFX, Cabaret Voltaire and New Order. Routine is damming slight on the soulless electronic age in which Finlay spits a curse on the mundane repetition of existence over the top of a wild unfurling techno pop banger. The B-Side Perris propels itself as a crazed analogue drama that is as ambitious as it is unholy. Simultaneously a modern throwback to the brooding synth pop age and concurrently an absolute belter in the contemporary mainframe."
9,50€Original price was: 9,50€.5,00€Current price is: 5,00€.
To be considered a twin release of the previous For Ornette 7”. The single consists of two more short tracks - taken from the same Hayyam session - where the five-piece goes bebop, building some rhythmic and harmonic complexity filled by solo virtuosisms of core-members Korhan Futacı (saxophone) and Umut Çağlar (electric guitar).Limited one-time pressing of 200 copies on black.
The 7” it took 20 years to make: In 1997 Lasse Marhaug and John Wiese arranged to record a split cassette for Norwegian label Komkol Autoprod. The music was recorded on June 6th at the exact same time on opposite side of the Atlantic, as a form of musical telepathy. They also agreed to base the recordings on continous loops. The recordings were made, but the cassette was never released and the material remained forgotten until Marhaug found and digitized the master in 2014. It was agreed to wait until the recording was exactly 20 years and edit each other’s material down to 7” length, making it a 20 year long telepathic collaboration.
2013. There’s a riot goin’on”. One year’s exhibition.
A single with a locked groove on each side. The sound of a 1 euro coin spinning like a top. Very conceptual work creating a meeting between Karl Marx and Pierre Schaeffer !