Your cart (4 items)
ETANT DONNES — Les Cent Jour Clairs
More Info
Das sechste Studioalbum (1984) des franzsischen Experimental- / Performance-Duos Etant Donnes Cinq Portes Soudes erscheint erstmalig als CD im Digipack-Format und mit Bonustrack auf Klanggalerie. 1980 in Grenoble von den beiden Brdern Eric und Marc Hurtado ins Leben gerufen, legte das nach einem Werk des franzsisch-amerikanischen Dadaisten und Surrealisten Marcel Duchamp benannte Experimental- / Performance-Duo, das seitdem mit Genregren wie Genesis P-Orridge, Alan Vega, Michael Gira, Mark Cunningham und Lydia Lunch zusammenarbeitete, schon ein Jahr spter sein Albumdebt LOpposition Et Les Cases Conjugues Sont Rconcil vor. Les Cent Jours Claires, ein zeitlos spannender Mix aus Industrial / Noise, Avantgarde- Klngen und Musique Concrete, war das sechste Album der Band aus dem Jahr 1984, das ursprnglich auf dem franzsischen Label Bain Total (unter Leitung von Philippe Fichot von Die Form) verffentlicht wurde. Fr diese CD-Erstauflage wurde ein langer Bonustrack hinzugefgt, der nicht auf dem Originalalbum enthalten ist (Music From The Film Des Autres Terres Souples Part 5).
"Over the years I didnt keep up with the re-issues of the French duo tant Donns, the Hurtado brothers. I know theres a box set on Vinyl On Demand, and Cing Portes Soudees was part of that. Initially, this was a double cassette on the Bain Total label, along with Les Cent Jours Clairs; Im not sure why it was decided not to do this as a double CD. I remember seeing the original Bain Total cassettes for sale back then, at Staalplaat, for instance. Still, they came with a price beyond my wallet (although I had a few, such as works by Die Form/Fine Automatic and Krylon Hertz). At the time, 1984 or thereabouts, tant Donns was also present on a few compilations, and their rapid-fire cut-up work sounded great. It was only much later I realised that before the more musique concrte-styled cut-up, the group sounded quite different. Radical also, but massively different. In these old works, real instruments play a significant role. Guitar and bass, but played not always very traditionally, in a no-wave, early post-punk fashion. This is quite interesting as, according to the cover, these recordings are from 1977 and 1978, and in those days, this kind of no-wave playing wasnt worldwide spread. Along with this, the two brothers also use all sorts of objects as percussion, sometimes leaping off into a wild ramble of drumming. There are also early signs of using tape manipulation, loops and cut-ups, even when not as strong a presence as in the releases of the mid-1980s. As far as I know, these are the earliest (released) recordings by them, and they show an interesting take on their interest in radical music, which, in these early stages, is linked to influences from no wave to tape composition, all recorded very loud and very direct to tape, without overdubs or post-production. The title piece is a two-part work, each about 30 minutes, consisting of individual, shorter bits, which one can call songs. As a bonus, theres a short extra piece, Music From The Film Des Autres Terres Couples Part 4, of which the cover has no information but sounds like it was recorded a bit later, with more loops and tape manipulation. Its a great historical document!" [Vital Weekly]
"Over the years I didnt keep up with the re-issues of the French duo tant Donns, the Hurtado brothers. I know theres a box set on Vinyl On Demand, and Cing Portes Soudees was part of that. Initially, this was a double cassette on the Bain Total label, along with Les Cent Jours Clairs; Im not sure why it was decided not to do this as a double CD. I remember seeing the original Bain Total cassettes for sale back then, at Staalplaat, for instance. Still, they came with a price beyond my wallet (although I had a few, such as works by Die Form/Fine Automatic and Krylon Hertz). At the time, 1984 or thereabouts, tant Donns was also present on a few compilations, and their rapid-fire cut-up work sounded great. It was only much later I realised that before the more musique concrte-styled cut-up, the group sounded quite different. Radical also, but massively different. In these old works, real instruments play a significant role. Guitar and bass, but played not always very traditionally, in a no-wave, early post-punk fashion. This is quite interesting as, according to the cover, these recordings are from 1977 and 1978, and in those days, this kind of no-wave playing wasnt worldwide spread. Along with this, the two brothers also use all sorts of objects as percussion, sometimes leaping off into a wild ramble of drumming. There are also early signs of using tape manipulation, loops and cut-ups, even when not as strong a presence as in the releases of the mid-1980s. As far as I know, these are the earliest (released) recordings by them, and they show an interesting take on their interest in radical music, which, in these early stages, is linked to influences from no wave to tape composition, all recorded very loud and very direct to tape, without overdubs or post-production. The title piece is a two-part work, each about 30 minutes, consisting of individual, shorter bits, which one can call songs. As a bonus, theres a short extra piece, Music From The Film Des Autres Terres Couples Part 4, of which the cover has no information but sounds like it was recorded a bit later, with more loops and tape manipulation. Its a great historical document!" [Vital Weekly]