Posts Tagged ‘Automatisme’

Automatisme is the electronic music project of Saint-Hyacinthe, Quebec-based producer William Jourdain. Since 2013 Jourdain has released a brilliant series of albums and tracks under this moniker, exploring various intersections of drone, glitch, dub techno, ambient, electro-acoustic and noise. Starting with site-specific field recordings, Automatisme samples, processes, signal bends and transforms this source material into soundscapes charting a broad spectrum spanning minimalist pulse, methodically additive beat, stacked-tone maximalism, spatial drone and arrhythmic ambient/noise.

This new a/v single "Non-Representation Field" is the 12th entry in Constellation’s Corona Borealis Longplay Singles Series, with an accompanying short film by Marilou Lyonnais Archambault. 100% of proceeds go to the artist.

“We follow the alternate and accidental route of non-representation. It is used to signify the outside.” – Achim Szepanski

"This quote by philosopher and Mille Plateaux record label founder Achim Szepanski is the basis for the audiovisual work of “Non-representation Field”. Automatisme explores pathways of Mille Plateaux’s Ultrablack Of Music movement, processing these concepts with an ambient dub track that contains generative and euclidian partitions and modulations. Ableton Live and Max MSP software programming make the pads and bass instruments interpret the same archipelago of signals slightly differently with every temporal activiation. This recording is one instantiation. Parts of the source audio come from recordings made with a Buchla modular synthesizer at Stockholm’s Elektronmusik Studion (EMS) during a residency in 2019." – Automatisme

"Vidéo binaire evoking the iridescence of sounds and images and the dualism of nature and machine, produced using a selection of video samples from the web, which were then projected and filmed on folded paper structures – le froissement (creasing, crumpling; light trauma or injury) as a gesture of resistance. The video portrays the buzzing of natural landscapes, ineffable and transitory physical disturbances, the resonance of appearing and disappearing via the manipulation of creased and wrinkled images, as echoes of an exhausted and worn out territory. This experimental clip eulogizes the non-place as a refuge in post-modern times, in post-internet times." – Marilou Lyonnais Archambault.

Click the image to watch the video and witness ‘Non-Representation Field’ in its multimedia glory, or listen to the audio alone below.

a1856172914_10

Constellations – 24th August 2018

Christopher Nosnibor

Automatisme is the moniker of reclusive glitch artist and electronic music producer William Jourdain. Transit is the follow-up to 2016 debut Momentform Accumulations, and has been formulated using modular synth racks and a vast library of field recordings.

As the title suggests, Transit is an album of movement. In transit are not only the creators, but the listener, who finds themselves being taken – often at pace – to unexpected destinations. But there is no stopping – each port of call is no more than a glance and a wave out of the window, perhaps a quick photo, before you’re on the move again.

The first suite – ‘Bureau’, a work in four movements, combines ambience and rhythm to often disorientating effect, and explores brooding expanses of sound and juxtaposes them with often jolting beats. ‘Bureau 0’ rapidly shifts from softly swirling cloudlike ambience to snarling, grating overloading noise – and back again. Blast of distorted beats and speaker-crackling overdrive create some disturbing kind of Dalek disco. ‘Bureau 1’ casts shades of gloopy glitchtronica which crackles and hisses, before bleeding into the more overtly groove-orientated ‘Bureau 2’. Groove is all relative, of course, and there are natural non-beat-orientated rhythms, too: shuddering oscillations swell like thunder on ‘Bureau 3’.

‘Registrariat’ stands alone between the ‘Bureau’ and ‘Bateau’ suites, and forges a more overtly dance beat. Only, the tempos shift erratically and sampled voices echo in the swirling sonic mists, and it gets too fast and before long, you feel your heart race increasing and instead of wanting to get down, you’re on the edge of panic.

The two-part ‘Bateau’ builds tonal intensity and volume, culminating in a dense eddying swell of noise that fills the cranium and creates an all-encompassing throb.

And it’s only at the final destination – a roar that abruptly leaves silence – that the album’s overall route becomes clear, a deleterious course from A to B via Z, Q and an unexpected assortment of curious places. You cast your eyes back over the map but it by no means conveys the experience of the territory. And after a pause, a moment of quiet reflection, you can’t quite recall the sequence of events that brought you here. You turn, and start to retrace your steps…

AA

cover_1528731707797039