A collaboration between Viola Yip & Etienne Nillesen
“i will keep drawing circles until it becomes a picture” is an installative composition and performance for an electronically augmented snare drum and spatially distributed quadraphonic snare drum speakers.
The sound artist Viola Yip develops new instruments and new musical interfaces that give rise to new forms of music. In some projects she develops these instruments for herself as a performer. In other projects, she develops conceptual compositions and instruments for other musicians to perform unusual relationships between media, materiality, space and their musical bodies.
Percussionist Etienne Nillesen has long been developing the sonic materiality between his snare drum and preparations of the same, as well as the resonant properties of the resulting system, realising them in his improvisations and compositions. In this collaboration, Nillesen and Yip develop a performative installation that aims to expand musical possibilities through the development of electronic extensions of the snare drum. With this piece, they question how a snare drum can become an interface for acoustic and electronic sounds, blurring the line between these two seemingly opposing sound worlds.
Concert on May 28th 2022, Kunst-Station Sankt Peter in Cologne/ 8pm *** Admission Free! ***
Supported by Musikfonds e.V. with project funds from the Federal Government Commissioner for Culture and the Media as part of the special programme Neustart Kultur.
I am really happy with the music that came out! We play pieces by and with Anne La Berge, Madison Greenstone, Sam Pluta and Nate Wooley.
The release concert will be on April 1st 2022, St. Gertrud Cologne and the week after that, April 10, we will play in Amsterdam at Splendor. At both concerts we will be joined by the amazing Anne La Berge!
As an extra to this release we had 4 videos made by the great artist Eva Jeske and you can check them out on T.ON’s YouTube channel:
After a very spontanious and great concert of T.ON feat. Nate Wooley last week in Stadtgarten Cologne + a concert 2 days ago with Emiszatett + Pegelia Gold feat. Marcus Schmickler in Schorndorf, a lot of other interesting projects/concerts are coming up this week. First, we are in the studio now with Emiszatett, Pegelia Gold and Marcus Schmickler recording the next Emiszatett album! It is such a joy to play with these incredible musicians! After that I will travel to Berlin on wednesday to rehearse with Ignaz Schick, Achim Zepezauer and Florian Walter as part of Emilio Gordoa’s Cloud Chamber. Friday I willl play a concert with Stefan Schönegg BIG ENSO in Essen and after that a rehearsal + concert with Matthias Muche Bonecrusher is happening. In other words, Autumn couldn’t be better musically!
Nov 9th recording with Emiszatett + Pegelia Gold and Marcus Schmickler
Nov 12th Stefan Schönegg BIG ENSO, Essen (GER)
Nov 14th Matthias Muche BONECRUSHER, St. Gertrud Church, Cologne (GER)
BONECRUSHER plays music that ranges from sound-sculpture noise drones to walls-of-Jericho-collapsing blasts to delicate webs of air and tone, resonating overtones with layered articulations. Pushing the acoustic properties of the instrument and the physicality of the players to their limits and beyond, the musicians put their archaic contraption through the bone mill, pulverizing it, sublimating it, and breathing new life into it, all in the spirit of Vinko Globokar’s remark that a musical instrument is not a sacrosanct object, but merely an extension of the body.
Ignaz Schick – turntables, sampler, comp Elisabeth Coudoux – violoncello Marlies Debacker – grand piano Etienne Nillesen – snare drum, percussion Melvyn Poore – tuba, preparations
At the beginning of 2021 Ignaz Schick received a Carte Blanche from Winterjazz to put together a desired line-up of Cologne musicians for the festival. On the occasion of this invitation he created N-LÖK Variations, a composition consisting of graphic score cards, which was written especially for this occasion and this instrumentation. For this, Schick uses his own specially developed drawing and notation language, which formally structures improvisation and sequences clearly, but is nevertheless open and permeable enough for the various performers to contribute their own sound material and design ideas. These graphic sheets are played in their sequence in an open form and combined with completely free improvised parts. All musicians involved are stylistically and technically very flexible and have developed their own individual long language, which they bring into the process. The premiere concert was musically so fresh and exciting that now two versions of the piece will be played live in concert again.
I am very excited for the upcoming concerts and performances the next couple of months (end of August till mid December)!
Amazing projects with T.ON (w/ Matthias Muche and Constantin Herzog), ENSO (w/ Judith Hamann, Stefan Schönegg, Toma Gouband, Kari Rønnekleiv, Michael Thieke, Leonhard Huhn, Nathan Bontrager, Sandra Weiss), Fossile 3 (w/ Rudi Mahall and Sebastian Gramss), Cloud Chamber (Emilio Gordoa, Ignaz Schick, Carl Ludwig Hübsch, Billiana Voutchkova, Elisabeth Coudoux, Achim Zepezauer and Florian Walter), BONECRUSHER (w/ Matthias Muche, Matthias Müller, Daniel Riegler, Anke Lucks, Moritz Anthes, Adrian Prost, Maximilian Wehner, Matthias Schuller, Till Künkler, Moritz Wesp and Rie Watanabe), EMISZATETT (w/ Elisabeth Coudoux, Philip Zoubek, Robert Landfermann and Matthias Muche), DUO with ZOE EFSTATHIOU and more SOLO concerts coming up.
I will keep you up to date about these projects (dates, venues, cities etc.) here and on my facebook and instagram sites.
But first there are two concerts coming up the next two weeks with PHONORAMAmusic & drawings. A project with Georg Wissel (prep. alto sax), Dusica Cajlan (extended piano) and Anna Lytton (animated drawings). We already played some performances before the summer but luckily we have some concerts left.
In November 2020, stuck in cologne, Elisabeth composed this pieces – more close to her own intuition. These ideas are a direct result of a conceptual processes that matured over the span of many years, shaped by the individual sound and the personalities of the musicians involved. 12 short sonic islands teem with abstract, experimental sounds that don’t shy away from melody or formal play. EARIS – The ear behind the iris – the idea of seeing without words, of forming a musical poem from the inner emotional landscape, which needs no words.
Pegelia Gold – Voice Elisabeth Coudoux – Violoncello Matthias Muche – Trombone Robert Landfermann – Double bass, Electric bass Philip Zoubek – Prepared piano, Synthesizer Etienne Nillesen – Extended snare drum
released May 14, 2021
All compositions by Elisabeth Coudoux (GEMA) Recorded December 2020 at Fattoria Musica, Osnabrück Recorded, mixed and mastered by Jonophon Aufnahmen Additional mixing by Ludwig Wandinger Cover art and design by Markus Dorninger Artwork in band picture by Eva Jeske Photos by Johan Coudoux and Evelin Reinholz