Entre Vifs - Art of Noises - 110th Anniversary

 

Entre Vifs – Art of Noises – 110^th Anniversary – Vinyl LP – Aussaat – Aussaat 30 – 2023

https://entrevifs.bandcamp.com/music 

                Side 1 – Session 57A -1

                Side 2 – Session 57A – 2

I’ve become increasingly familiar with the works of Entre Vifs through continual reviews for the label Aussaat.  Each of their sessions are recorded at the project’s Noisecraft Workshop, in the Maisons Alfort suburb of Paris, these particular sessions were recorded in November 2019. The theme of this lp is Luigi Russolo’s 1913 Book ‘The Art of Noises.’ I found the first essay in the booklet by Zorin on Noise to be exciting, I liked how he talks about the context of Entre Vifs “Joy Through Noise”. Zorin was active in Le Syndicat since around 1982 so in the booklet he also talks about his reaction to SPK and Throbbing Gristle. The whole booklet could have been this essay expanded as I started to want to know more about the history and present of Industrial Music in France, you know all that stuff Tape Mag site publishes! The text and featured artwork also made me think how I approach my own painting in relation to all this music. The second essay Lyrical Brutalism as Cognitive Art contextualises the work of Entre Vifs beautifully. When releases come with essays, I can be dismissive as I’m not often convinced, but here, I am glad I read through the booklet that comes with the album

Session 57A – 1, scrapes, clangs and sonically barks into life. The wailing of Entre Vif’s homemade instruments is like the sound of a familiar friend as they begin their fractured dialogue. The metallic resonations and clanging echo ricochet around as under-drones hum underneath the work for short time and disappear as if they are a rug pulled from underneath the feet of the main body of noise, leaving a raw, honest rhapsody of noises. That leads to other noises entering and starting to thicken the texture of the session as it shifts into a busier overload of violent joy. As with any piece by Entre Vifs, the movement of the track shifts between fractured and fluid and a wide range of sounds seem to come out of each instrument, they wail and feedback against other noises as if pushed way beyond their own limits. The noises do sound like voices wailing and arguing at times.

The sound on the second side Session 57A 2 is immediately textured, not as densely as the first side, but in away that allows space between all the sounds that are being made. As I have often said the sophistication of what’s happening is evident as new noise language comes into the work, it shifts the flow of the session into other directions. As it breaks off into less noises and eventually one noise wailing off, the shift in density from busy to solo is an impressive contrast to the earlier busier combustion of the session. The work does sound dark at times, without even trying too hard, it doesn’t need any imagery to do that, the instruments shift mood a lot from pained to joyful and anywhere between within a move.

As ever, Entre Vifs has never made a bad album. This vinyl debut is beautifully presented by the cover and large booklet, the sound is sophisticated and outstanding. To be honest I wouldn’t expect any less.

Army of One 2024.

Entre Vifs - UB10

 

Entre Vifs – UB.10 – Aussaat – Aussaat 21 – CD – 2022

https://bruitiste.tumblr.com/

https://www.facebook.com/EntreVifs

https://www.facebook.com/Aussaatundernte/

        1.         Session 57B-1.

        2.       Session 57B-2.

        3.       Session 58A-3/a.

        4.       Session 58A-3/b

UB.10 is the 11^th Entre Vifs album since their debut release in 1989, the acclaimed French noise unit has always been centred around Zorin. The album is composed of four live sessions from their Noisecraft Workshop studio that were recorded in 2019. The CD is adorned with bold Brutalist artwork (The label Aussaat does great enamel Entre Vifs badges in this style too), there is also a detailed diagram on the inside that shows what components are used to create the sound. Entre Vifs historically ties in with Le Syndicat, this goes back as far as 1984 (There is a definite Noise OG feel to the work because of these facts). UB10 is limited to 200 CD copies.

The chaotic, manic sound of Entre Vifs is like a familiar friend, the noise screams and yells its hellos at me whilst going to war with its surroundings. Everything grates, drags and accelerates – sometimes all together or at different times to create a shifting tension within the sound. I feel as if I am stuck in an evolving Sci-fi nightmare as shards of sound shoot out around me. When I put this album onto headphones, I noticed a complexed use of distortion that underlies the harsh gasping and choking of the noise. The distortion adds a muddy density that is reinforced by the sharper noise, giving a bigger sound. Distortion barks as it is shifted around and forced into screams, which often leaves me unsure if it is a vocal. When I fall into this thinking, the work’s violence increases massively. Rapid and sophisticated are words that always come to mind when I hear Entre Vifs, I feel that there always solid control behind the apparent chaos given off in each track.

The shifting power of sound is consistent across the album. UB10 is another strong addition to their body of work, Entre Vifs remain a powerful force within today’s ever shifting boundaries of experimental Noise.  

Army of One - 2022.

Entre Vifs x L'Eclipse Nue - L'eclipse Vive.

Entre Vifs x L’Eclipse Nue – L’Eclipse Vive – CD – Aussaat – 2020 – Aussaat 12.

https://www.facebook.com/Aussaatundernte/

https://leclipsenue.bandcamp.com/music

https://bruitiste.tumblr.com/

1.    Entre Vifs – Incidents (Session 50A-1)

2.    L’Eclipse Nue – The Same Eyes Leading To The Same Peace.

3.    Entre Vifs – Incidents II (Session51B)

4.    L’Eclipse Nue – Each One A Witness.

5.    Entre Vifs – Spasmotronics (Session 34A)

6.    L’Eclipse Nue – Copper and Spit.

7.    Entre Vifs X L’Eclipse Nue – L’Eclipse Vive.

Both acts featured on this disc have been featured on North Fuller Avenue before, so they need no introduction. The album features three separate tracks by each artist and a collaborative piece, all were made by exchanges of sound files. The booklet text -One- is by Zorin, it is cut up from texts of Rueigo (1982) and photos of different landscapes fill the inner pages. I read the text before playing, it seems to me to be about Art and life; how the two can be hard to combine or co-exist.

The clang of the self-made instruments of Entre Vifs kicks in, I find the opening session (50A-1) to be confrontational and raw in its language. The rawness comes from it being a lot more cut up than other tracks (or cut into with stops and starts), like the text. The usual complex sophistication of the sound eventually grows and builds up. Session 51B is abrasive like the first track yet the noises contrast each other massively, the exchanges are tense and form a fractured sound. As the busyness caused by build ups of noise increases and decreases the tension of sound is always shifting separately to this. The oddness of the primal sound, dynamics and tension also create a rich atmosphere to the sound throughout each session, Spasmotronics is a key example of this as it shifts and changes. The cuts in the sound occur via a deep, farty, vibrating sound that goes off throughout the track as if to break the flow of the scraping noises. Throbbing noise and explosive distortions combine to make a choppy barrage of noises.

L’Eclipse Nue take the cut-up approach even further on The Same Eyes as broken distortion and unbroken dialogue play off each other. As the array of sounds grows, things still stay broken and fractured, but the build is immense and big noise is what L’Eclipse does best, but the long breakdown and minimal passages of sound here are strong too using the space in the sound for a dialogue of sound. In the past I have felt the quieter passages of sound are the project’s weakness, here this is the opposite, the experimentation and subtle interplay are solid. This is most prominent on Each One A Witness, the build-up is slow and elements of sound interact as if in constant experimentation. As more abrasive elements come in, even on a quieter level the impact is significant. Copper and Spit is the most aggressive offering from L’Eclipse, the use of restraint is impressive as this is varied throughout the track and creates good tension and control. As the restraint is loosened the sound is immense.

The finale L’Eclipse Vive gets its own paragraph; this is where our Aussaat heroes combine to become one. The low-level noise passages are good, there are dramatic build ups and explosions of sound going off. The sound continually seems to change and not stay in one place too long making for an ever shifting landscape of sound. Both artists enhance the others qualities.

Each track follows on from artist to artist very smoothly and all works tie in well with the other – it flows perfectly. The consistent strength of Entre Vifs work is a hard act to match, but L’Eclipse does this effortlessly with strong work. Looking at the cd before playing, it seemed impossible for two so seemingly different artists to match up, but they do, the tracks are clearly thought out and considered making for an airtight, excellent release. Out soon on Aussaat.

Nevis Kretini 2020.

Nevis Kretini/Choppy Noodles - 2019 Best of list.

Choppy Noodles > Nevis Kretini – Best of 2019.

This has been an amazing year, so many ace releases. Too many names to mention, it was impossible to limit to 10,so here are my 12 favourites.

Rusalka – Base Waters. Absurd Exposition – LP – 2019.

I knew of Rusalka, but this was the first time that I really listened - I reviewed this on first listen. Base Waters shifts through a lot of changes in Sonic Language over two tracks to create an album of powerful conceptualised effect. The sound builds to massive proportions as the language shifts and I am now very aware of this top tier project.

Nacht Und Nebel – Limitations – Self Released Cassette and Download– 2019.

I’ve gradually accumulated a lot of Nacht Und Nebel releases over the years through seeing the project play live. Both live shows and releases are always consistently strong with the project playing with acts like Ramleh, Blackcloudsummoner, Vampyres, Culver and many more over the years. However, this release really does stand out against the others, here the project really ups its game. Sounds are all sourced from a Cello and treated to varying degrees, overlaid to make epic compositions.

Ordeal by Roses – A Petty and Childish Obsession – Outsider Art – Cassette andDownload – 2019.

Both releases by Ordeal by Roses on the Outsider Art label this year have been very strong, I could have picked either of them. I’d call this a stand-alone, outsider project based in Cardiff, Wales that has come from trauma to the self. This took me by surprise, and I see this as a standout project amongst newer artists.

Niku Daruma – She Gets What She Wants – Black Ring Rituals – 2019.

Niku Daruma have been prolific this year, they featured on a lot of great split releases as well as their own. They all do other noise related projects, but this one really stands out. Some of the releases are base raw and work even better and I could pick from a few of their releases. They seem like nice people who turn into hysterical, violent monsters when performing, making amazing Harsh Noise whilst erupting everywhere.

Suffer In April – Pomona. Corde Raide Productions – Cassette – 2019.

I met this guy as he runs a tribute page to another noise artist, we got chatting and he said he had his own project called Suffer in April. The first release Femme Fatale is what I would call forward thinking Power Electronics, in contrast Pomona carries on these methods yet goes elsewhere and radiates immense beauty.

Entre Vifs – Offrande et Partage - Aussaat und Ernte - 2019.

This is a beautifully presented cd that cases the angrier side of Entre Vifs. I liked the previous album Ontologie a lot, but Offrande seems to go to much higher levels of intensity. Entre Vifs use their own self-made instruments to create an elaborate sound that is simultaneously structured and chaotic, yet to me they remain one of the most brutal noise acts of the present day.

Wolvestribe – Understanding the Ecological Role – Aaarrrg.

Wolvestribe came to my attention when a label called Harsh Noise London sent me some of their releases. HNL tend to put different artists on compilations together on recycled audio cassettes – Wolvestribe were part of a 4-way split. I was very impressed and had to investigate further and I was suitably convinced that we have a new heavyweight amongst the newer UK noise crop. Wolvestribe release their own lathe cut 10” records and frequently produce new material that is consistently of a high standard.

Testing Vault – Amnesia Milk. – Looney Tick – 2019.

I’ve followed Testing Vault for over a decade now, the project has changed and shifted gradually – with side projects that experiment in other areas of sound. The output by the project has been consistently strong, but Amnesia Milk seems to take the sound of reeds and drones that have been lurking in recent releases and take a massive leap forward with them to perfect things. Amnesia Milk eclipses Complete Shit Exorcism as the best Testing Vault recording so far.

S.T.A.B. Electronics – Enemy of Pigs – Unrest – 2019.

S.T.A.B. grabbed my attention as a strong modern-day project. On ‘Day of the Male’, the vocals were next level. ‘Mother, Mother, Mother please’ as a repeated opening sample opens Enemy of Pigs, this album is just bleak violence and pushes the project forwards to new levels of intensity and quality. Seeing the project live at the opening party for the release was something I will never forget. This album is strong on every track, a consistent, impressive step up.

Satori – The Braver the Bull, the Better the Bullfight – Outsider Art – 2019.

Outsider art often releases Knifedoutofexistence and does batches of four cassettes, all by different artists. The acts featured are often newer artists on the UK scene, however this time veteran project Satori was featured. It’s a repeated rule in PE that newer artists are where it is really at and older acts are often seen to be not what they were once. When I saw Satori live this year, that wasn’t the case, Dave Kirby was an unnerving presence which made for an effective show. Satori has this distanced rage that I see come through in other Outsider Art acts of the present day such as Ordeal by Roses and Knifedoutofexistence to a point where I see it as being influential. To top it off this cassette is excellent – clear evidence of an older act at the top of its game.

Active Denial – What Dreams are Made Of – Outsider Art – 2019.

Both releases by Active Denial are powerful, but this one is the best one, the sound is stripped down, raw and intense. Horrible noise and ranted sermons of bile. Active Denial are a name to watch as recordings and live performances are amazing. Get both recordings if you can, this was so popular it was gone in the blink of an eye and Research Laboratories reissued it. Thomas Laroche (one half of AD) has a whole bunch of stuff on there that is a whole new nightmare running parallel to this. I’m still not over the Summer of Hate, don’t know if I ever will be – you’re still it.

Detrimental Effect – Your Truth – Tesco – 2019.

I often talk about distanced Power Electronics; this however uses restraint in its sound – the tension that builds up as a result of this on Your Truth is enormous and makes for an effective, powerful release. Noise and samples play off each other, things pushed a hair’s length from their breaking points. This depiction of the lies used in politics and media is the soundtrack of today.

Nevis Kretini 2019. 

Entre Vifs - No Signal.

Entre Vifs – No Signal – Impulsy Stetoskopu – 2015 – CD – 046

https://www.discogs.com/label/121961-Impulsy-Stetoskopu

https://bruitiste.tumblr.com/

https://www.facebook.com/EntreVifs/

Tracklist.

     1.    Session 29B Reveal.

     2.    Session 30-2 Straighten.

     3.    Session 32A Embody.

     4.    Session 17-2* Radiate.

     5.    Session 32B-1 Condense.

     6.    Session 32B-2 Perpetuate.

Bonjour! What a great time to do a review, as you all know I love listening to Entre Vifs as I am still, very much in the mindset that the French make very sophisticated noise. Playing this album over the last few months ensures I won’t be changing that viewpoint anytime soon. Brutalist noise project Entre Vifs has been actively releasing since 1989 and Zorin of Entre Vifs goes back to 1982 and the early years of Le Syndicat, whether his involvement was just visual or in the sound is unknown.

No Signal comes in a metal case with an extensive booklet with visuals and text. Inside the booklet are photos of the bands self-made instruments, with detailed descriptions of all of them. All Sessions were recorded live at their Noisecraft Workshop between 2012 – 15. The members at this time were Zorin and Shirubee, there is also a good picture of them playing live.

As an album I can’t fault this, as now knowing more about the Entre Vifs instruments makes me fascinated as to which instrument creates each sound - this is an added new dimension to my listening. The sound is choppy, metallic, dense and scratchy throughout – the language and communication between instruments is complex. I find myself amazed and lost in the massive sound that it gives off. Certain sessions pull back from being so full and allow space into the sound so there is communication and a bigger dynamic occurring between instruments for long periods of time. The shifts in the overall sound are spontaneous and effective, things don’t stay quiet of full for too long and it never gets boring.

This is another excellent Entre Vifs album, I can’t praise this project enough.

Nevis Kretini 2019.

Entre Vifs - Offrande et Partage.

Entre Vifs – Offrande et Partage. CD. Aussaat. 2019. Aussaat 10.

https://www.facebook.com/Aussaatundernte/

https://bruitiste.tumblr.com/

https://www.facebook.com/EntreVifs/

     1.   Holidays in Stahlstadt.

     2.   Red Fruits.

     3.   A Benevolent Storm Front.

     4.   Chaorgia Pantomachia.

Bonjour mes amis français, merci de m'envoyer un autre album d'Entre Vifs sur Aussaat Records !!!! (Google Translate est génial !!).

After the excellent Ontologie, I was converted to the work of Entre Vifs; their work remains some of the best I’d heard this year. The booklet to Offrande contains images of landscapes, architecture and shots documenting Entre Vifs amazing self-made electronic devices that make up their sounds. This album refers to recent legal fights by the project and a resurgence of activity in 2018. Offrande et Partage references Leonard Cohen’s Anthem (The Future) in its’s sleeve notes. The work was performed live in their Noisecraft Workshop in March – April 2018, these are excerpts of sessions 49B, 50A, 50B and 51A.

The opening track Holidays in Stahlstadt builds through ambient echoes in its’ slow creepiness that drags itself out, it’s doesn’t have the immediate massive attack of the last album. It’s heavy on haunted atmospherics and seems to wind itself back and down sometimes to a reduced palette of sound in order to grow again. Although I am immediately aware that the sounds are those of Zorin and Kobaian that make Entre Vifs, the track drags in sound, creating a very different type of brutality. It also seems to throw sounds around the room demonstrating epic dynamics to the point where I thought there was background noise around me, this builds to sonic hysteria - this long death of an opening track demonstrates the sophistication that exists and excites me within the sound of Entre Vifs.

Red Fruits seems to build on the Slow Death of sound. It attempts to form a sense of percussion within itself only to start dragging and barking out choking sounds as if it is in combat within itself only to then project that combat as sound towards the listener, this frequently happens throughout the album. There’s a wide scope of distance that’s played with, some of the track exists in the distance and projects to the forefront through steps of sound. It addresses its own failure by the recurrence of noise as percussion/beat and how it doesn’t become a noise artist using beats and making pointless EBM/techno stuff is again impressive. The work drags itself down to chokes, croaks and echoes; it splutters and fades.

The dragging and the dying seem to become intensified for A Benevolent Storm Front, the sound seems to pull itself and explode continuously, strip back suddenly and converse with itself – it’s very brutal, not settling on a formula, it seems to reformulate and reshape itself. The haunted sound echoes and resonates in its full form. Things shift non-stop, background and foreground communicate with each other continuously. Brutal interruptions lead new sonic formations, sometimes a rhythm tries to start, but that is warped and flattened to noise.

They save the biggest until last, Charargia Pantomachia (Your Attention Please) scrapes itself into action and all hell breaks loose. Low-level and High-Level assault share shifts in full distorted metal abuse.  Charargia does seem to shift into even more territories of sound than the others, it has the same yet even more exaggerated parallels in sound but never stays in one place for too long. I like the injections of Harsh Noise blasts put into the sound, they scream and interrupt.

This is an angrier album than Ontologie, it doesn’t let you zone in on the massive assaults of electronic and metal noise, it shifts around too much, you’re frequently pulled in and moved around with the work. The destructive qualities of the album literally create cracks to let the light in. I want more Entre Vifs in my collection, I will have to go backwards and get it all because I want to know, were they always this good, or did it take decades to get this good? Epic album, ace progression, do get it.

Choppy Noodles 2019.