Digital Download

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CD album | gg443
Francisco Meirino is a sound artist based in Switzerland. His music explores the tension between programmable material and the potential for its failure. His interest lies primarily in what is not supposed to be recorded : the end of life of electronic devices, electrostatic noise, magnetic fields and the unconventional use of music hardware and sound systems and how to exploit these sonic failures in radically different ways in his sound pieces. His music combines intricate textures, sonic precision, wide spatial panning and is fascinating by its physical intensity and detail precision. Born April 1966, in Marseille, Jérôme Noetinger discovered experimental music under the influence of the Déficit Des Années Antérieures in Caen. He is a composer/improviser/sound artist working with electroacoustic devices. Composing sometimes musique concrete in the studio, and performing improvised music using electroacoustic devices such as: the reel to reel tape recorder Revox B77 and magnetic tape, analogue synthesizers, mixing desks, speakers, microphones, various electronic household objects and home-made electronica. Performing both solo and in ensembles, and collaborating often, and touring extensively internationally. Jerome also used to be the director of Metamkine, a non-profit organisation dedicated to the distribution of improvised and electroacoustic music, which has now been changed to Corticalart with a different personnel.. The music on this CD was recorded by the duo in 2019 in Switzerland. Full tracklist: 1. 04.41 2. 10.56 3. 09.45 4. 03.50 5. 4.49 6. 07.48. Price: € 19,-/incl. worldwide shipping.

... a music that explores the limits of sound research ... Meirino pushes himself fervently into the dark pertug of a complicated and conceptual sonic avant-garde with results so brilliant that he is sometimes able to redefine the very existence of sound as we know it (or believe we know) ... the principle governing the composers praxis is processing what is not supposed to be recorded, and its a beautiful and adventurous prospect if undertaken with rigor and fear... one might object that one cant understand where the art is in this mess of electrostatic discharges, insane oscillators, modified and altered samples, abused low and high frequency filters and left free to occupy the available sound space...
(Alieno de Bootes, July 2023)

Drainage, in six parts geht als Soundclash von Jérôme Noetinger an Electro­nics, Tape, Revox B77 & Radio mit Francisco Meirino an Synthesizer & Field Recordings 2019 dem als Maiandros eingefangenen Cave 12-Konzert mit noch Antoine Chessex voraus. Mit krachigen, berstenden Impulsen, knackigen, knarzigen, furzigen Sounds, spitzen Spritzern, hageligen Pixeln, perkussiven Machenschaften, Tonband-Glitches, fast und slow, kurios und furios, mit Hubschrauber, Rappelkiste, Opernfitzeln, Vinylknack­sern...
(Bad Alchemy, August 2023)

But then, as a sort of radical live-action musique concrète work that I enjoy very much, their approach is that we take no hostages; they go in at full force, with sounds bursting and cracking, explosions left and right. I dont know if Noetinger, in his set-up of live loop montage, also adds sounds from Meirino to the melee. Maybe he does, maybe he doesnt. Sounds are cut short, vanish in a hole in the ground, or are shot up in the sky. Dont think this is a noise release, far from it; these men also know to have moments of careful approach, in which they sparsely use sounds, but it all sits next to a more brutalist process, in which they go all the way. It is not a harsh noise per se but fiercely loud. And yes, all of this is very much improvised, but this is the kind of improvisation that I enjoy very much. It is on the same level as noise music when its done correctly; then I am all for it, and in that respect, this is not only improvised music but also noise music. Electro-acoustic music without the care and protection, but with some moments of reflective sparseness. This is forty-two minutes of sonic bliss.
(Vital Weekly, October 2023)