LP @ 33 RPM [ 35:50 min]
2010 ini.itu #1001
250 copies, hand numbered
Composed on a special request from ini.itu, “Rivages sur l'antipode” ("shores on the opposite side of the earth") is his first vinyl LP and is
based on similar archival material as the one used by Francisco López in his stunning “untitled #228”. Nonetheless, d'incise has
achieved radically different results, combining digitally-processed textures, microsamples and humming harmonics rippling out over
broken rhythms. He has collaged the least obvious bits of gamelan, many grainy soundbytes from Jakarta, Makassar, Bandung and
Yogjakarta into a kaleidoscopic reinterpretation of these shattered fragments. Sudden transitions, alinear progressions and
melancholic, sprawling, autumnal atmospheres reveal a very personal soundworld.
This LP could evoke Kim Hiorthoy on sedatives under moist tropics, or an alter-ego of Burial in a futuristic decaying Jakarta won back
by the jungle, with hints of digital crispiness from Kid606 période Mille Plateaux; a touch of the microsampling of Akufen, all of this
marinated into the experiments in folk deterritorialisation made by some Ritornell artists such as Random_Inc / Sebastian Meissner.
Icing on the cake, this LP was mastered by James Plotkin in Philadelphia.
Track listing :
A1 cérémonie des voûtes (04:32) - A2 feuilleter les sphères (04:13) - A3 entre ciment et terre (04:01) - A4 l'antépénultième
déluge (04:43) - B1 plages vergognes sans brise (04:31) - B2 les barrières troubles (04:55) - B3 humidité (04:37) - B4 se
déplacer entre les adverbes (04:18)
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His main method is sampling the hell out of anything. It perhaps also reveals a bit more what Lopez used, as that was rather a mystery back then. Percussive sounds from Indonesia for instance, which D'Incise explores these for the lowest, grainy textures, chopped up to form new rhythms, cut from 'real' sound and the hiss between. Ini.itu compares this with some of the older and more experimental releases on Mille Plateaux/Ritornell, and I can see that. It shares that somewhat crude approach to sampling, the click 'n cut approach musicians like Random Inc and Kid606 had back then, but D'Incise never comes close to playing any 'dance' related music. The textures are sometimes pretty 'vague', shimmering perhaps, but I think that kind of adds nicely to the record. Its probably the best record by D'Incise I heard so far. The compositions are worked out better, and never seem to take more time than necessary. Very nice. Two entirely different records, twice good. (FdW/Vital Weekly)