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Jac Berrocal is a 1946-born musician (trumpet player), poet and sometime film actor who came of age in the ‘70s Paris improv scene, where the boundaries between music, art and theatre were porous and begging to be breached. Inspired by bebop, chanson, free jazz, beat poetry, early rock ‘n roll and myriad Eastern influences, and with an iconoclastic, anything-goes approach to instrumentation and technique that would later align him with post-punk sensibilities, Berrocal blazed an eccentric and unstoppable trail across the underground throughout the ‘70s and ‘80s, both solo and as part of the Catalogue group he co-founded. During this time his uproarious performances routinely wound up jazz and rock audiences alike, but earned the admiration of many musicians: Steven Stapleton invited him to perform on two Nurse With Wound albums, and other notable collaborators in his career include Sunny Murray, Lizzy Mercier-Descloux, Lol Coxhill, Yvette Horner and James Chance. In the 90s his protean achievements were celebrated on the Fatal Encounters compilation, but far from slowing down in the autumn of his life, Berrocal has maintained an extraordinary work-rate, keeping studio dates with Pascal Comelade, Telectu and Jaki Liebezeit, among others. Now Berrocal has found the perfect foil in David Fenech and Vincent Epplay, two fearlessly inventive improvisers, composers and catalysts who create challenging, acutely modernist yet historically aware settings – wrought out of synthesis, guitars, computer processing, field recordings and unorthodox percussions – for Berrocal’s unmistakeable voice and breathtakingly lyrical horn sound to flourish. Fenech cut his teeth in the mail-art scene of the early ‘90s, leading the Peu Importe collective in Grenoble. His 2000 solo debut was recently reissued by Felix Kubin’s Gagarin label, and he has also worked as a software developer at IRCAM, and played with Jad Fair, Tom Cora, Rhys Chatham and James Plotkin; in 2011 he formed a trio with Berrocal and Ghedalia Tazartes for the Superdisque LP. Epplay is a highly regarded sonic and visual artist with a particular interest in aleatory composition and autonomous pieces, concrète, and the puckish reappropriation of vintage sound and film material, with dozens of published works to his name on labels like Planam/Alga Marghen and PPT/Stembogen. Exterior Lux is the third part in the series of albums and was again mastered by the legendary Noel Summerville. Full tracklist: 1. Going Nowhere 2. Exterior Lux 3. Walkabout 4. Wakhan Corridor 5. Chiroptera 6. Vetiver 7. Officer 8. Fuis Le Feu 9. Légère Dentelle 10. No Guitar Today 11. Je Me Suis Endormi. Price: € 17,-/copy incl. worldwide shipping.

Exterior Lux ne s inscrit pas dans un genre, explosant le free jazz sur des tapis de post punk, déchirant la nuit à coups de mélodies décharnées, errant sur des lambris abîmés aux échardes pointues. Le trio s amuse, donne le tournis, invite à la transe et au relâchement. Viscéral.
(Silence And Sound, November 2020)

Opening with the distinct, stripped down and expertly produced Electronica vs. (No)Wave / Ingenious Dilletantes / Coldwave banger Going Nowhere we are drawn straight to the center of neon-lit concrete dancefloors populated by the most freaky amongst the creatures of the night whereas the albums title track Exterior Lux provides a deeply haunted Jazz Noir / Future Jazz vibe in the most abstract and electronic of all senses. The subsequent Walkabout gravitates towards Industrial-informed experimental NuBeat, the Wakhan Corridor leads to a stripped down version of haunted late night Future Jazz and Chiroptera dabbles with Oriental PostPunk Dub vibes in a way slightly reminiscent of groups like the infamous C Cat Trance. (...) Highly recommended, this.
(Nitestylez, November 2020)

Der französische Trompeter Sound Künstler und soll man sagen Sänger Jac Berrocal. Er verfolgt hinter seiner dunklen Sonnenbrille den Weg durch die Innere Mongolei, ersetzt sein Trio Abenteuer fort als tönendes Traumtagebuch.
(Friends of Alan Radio, November 2020)

Das Schöne an den meisten Scheiben aus dem Umfeld von Berrocal und Fenech, ist die nahezu kongeniale Vermischung von Experiment und musikalischer Schönheit. Auf Exterior Lux geht es verhältnismäßig viel elektronisch zur Sache. Jede Menge Fieldrecordings, atmosphärische wie aufwühlende Sounds durchfluten die Musik. Auch einige pulsierende und perkussive elektronische Klänge werden benutzt. Auf diesem Untergrund, der einen schwummerigen, etwas düsteren Grundsound produziert, toben sich die Musiker dann an ihren Hauptinstrumenten aus. Wobei austoben nicht so recht passt, denn die meisten Songs sind sehr fragil und dem Post-Rock-Sound nahe aufgebaut. Berrocals Trompete sticht oft heraus in ihrem an Jon Hassel erinnernden und doch ganz eigenem Stil. Die Klänge seines Instrumentes scheinen immer aus der Ferne über die restliche Musik zu schauen und spielen sich dann langsam ins Zentrum hinein. Die Gitarrenarbeit ist zu meist auf eher rauere und zerfaserte Art und Weise zu hören, also auch durchaus dem Postrock nahe. So sind elf Stücke mit knapp 40 Minuten traumhafter Musik zwischen Experiment und Soundscape, Postrock und Ambient entstanden. (...) Die Krönung sind die Vocals und Sprachsamples, die sich ebenso grandios in das Gesamtkonstrukt einarbeiten. Wunderbares Teil.
(Musik an sich, November 2020)