Ni maître, Ni marteau

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A key ingredient in disappearing ink, THYMOLPHTHALEIN describes the working method of this brilliant French-Australian quintet
Leader Anthony Pateras conceived a detailed hour long structural premise for the group’s first tour in 2009, creating a masterful pastiche of richly dynamic, timbrally devastating explorations for electro-acoustic ensemble, melded by his own distinctive prepared piano and analogue electronics.
Natasha Anderson combines buzzing slabs of electro-acoustic sound with fractured acoustic gestures, sculpting exquisite perceptual explorations with recorders and electronics, producing a poetic and uncanny otherness.
Will Guthrie expertly fuses the drumkit with an array of homemade electro-acoustic devices to produce a fluid cataclysm of sonic richness, melded by his searing technical prowess and faultless ear.
Jérôme Noetinger is THE live concréte maestro, electro-acoustically manipulating his bandmates with expert timing and breathtaking invention, scrambling proceedings with the occasional ring-modulated depth charge.
Clayton Thomas’ thoughtful and virtuosic prepared double bass playing has taken Europe by storm since moving there from Sydney in 2007 – part groove cannon, part kinetic sculpture, all parts BAD bass skills.

Natasha Anderson: contrabass recorder and electronics
Will Guthrie: percussion and electronics
Jérôme Noetinger: tape machines and electronics
Clayton Thomas: double bass and preparations
Anthony Pateras: prepared piano and analogue synthesizer

Thymolphthalein: Ni maître, Ni marteau

Meta Tingue, Soaked George, Off The Wall, Mosquito Squash, Lbok, Streetcar Slugfuck, Ayala Thymolphthalein 18'31''
Jean Psycho, Quince, Lips, Pierre Villy, Greatest Hits, Pim Thymolphthalein 19'53''

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