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JAC BERROCAL, DAVID FENECH, VINCENT EPPLAY Ice Exposure
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. Ice exposure is the sequel and companion piece to 2015’s Antigravity, its title couldn’t be more apt: sonically it is both colder, and more exposed – in the sense of rawer, more volatile, more vulnerable – than its predecessor, capturing the combustible energy and barely suppressed violence of the trio’s celebrated live performances with aspects of noir jazz, musique concrète, no wave art-rock, sound poetry and spectral electronics all interpenetrating in unpredictable and exhilarating ways. While there are moments of great sensitivity and even a cautious romanticism, the prevailing mood is one of anxiety, paranoia, and mounting psychodrama: close your eyes and Ice Exposure feels like a dissociative Hörspiel broadcasting from the seedy backstreets of your own troubled mind. This CD version also has two bonus tracks that have not been available before. Full tracklist: 1. Opportunity 2. Car Havana Midi 3. Equivoque 4. Why 5. Lonely Woman 6. Lisiere Island 7. Salta Girls 8. Check Sound Check 9. Blanche De Blanc 10. Lower Mechanism 11. Radio Tashkent 12. Panic In Surabaya 13. Sound Check 14. Ice Exposure 15. Dickinsonia 16. Take My Diction. Price: € 18,-/copy incl. worldwide shipping.
Mit Ice Exposure klingt auch die Zeit von Catalogue ein wenig an. Natürlich ist die Musik auch im Hier und Jetzt angekommen. Diverse Effekte wie Field Recordings, eine gute Portion an elektronischen Spielereien bereichern die ruhig fließende Musik. Natürlich gibt es die eine oder andere Verunsicherung, der Rock n Roller ist immer noch da. Oder ist es der Punk? Seine vielen Arbeiten mit verschiedensten Musikern halten seine Musik frisch. Die Vielfalt der verschiedenen Einflüsse spiegelt sich in einzelnen Titeln wieder, keiner gleicht dem anderen und so macht sie es einem leicht, die Musik öft zu hören. Und überhaupt ist sehr lohnend sich mit Jac Berrocal und seinen verschiedenen Veröffentlichungen zu beschäftigen, ein Unangepasster wie es Ihn nicht mehr so oft gibt!
(Friends Of Alan, March 2020)
The sixteen songs were recorded between 2012 and 2017 and are mostly short, with an average length of two and a half minutes. That brings an interesting
dynamic to this album; one that we might label as songs? While improvisation is surely the
basis of the music, there is a fine amount other influences, one of this being the somewhat
energetic, punky approach in some of these pieces. Be it a drum machine, voices (sung or found), repetitive synth sounds. The trumpet is the one instrument that remains the same, sounding like recorded in a tunnel; oddly enough there are pieces in which Berrocal either plays the trumpet or sings, so that brings some fine variation in the music. (...) This is quite a lovely release, all around.
(Vital Weekly, March 2020)
Ice Exposure, sedici brani condensati in meno di quaranta minuti, conserva quell’afflato jazz che ha quasi sempre accompagnato la carriera di Jac Berrocal, ma incorpora elementi di musica concreta e art-rock in sfumature noir, anche grazie alla preziosa partecipazione di David Fenech e Vincent Epplay, acclamati compositori e improvvisatori. I due hanno fornito il proprio apporto con le chitarre, field recordings, suoni computerizzati e percussioni (a volte anche non convenzionali) a pezzi quasi sempre brevi, che corrono in fretta quasi senza soluzione di continuità. Il prodotto finale affascina nella sua interezza come somma di singoli elementi, quasi come tessere di un mosaico.
(Music Map, March 2020)
Post punk, jazz, no wave, spoken word, impro, avantgarde e computer processing a comporre un affesco oscuro sul quale la tromba di Berrocal crea isole di attesa dove fermarsi prima di affrontare il percorso seguente ricco di incoltrolata inquietudine.
(Rockerilla, April 2020)
In to potrdila z neverjetnim naborom glasbenih rešitev skozi zabeleženih 16 komadov. Tukaj ni formul. Zapisi nimajo praktično nič skupnega. Vsak ima svojo zasnovo, svoj zaplet in razplet. In za uresničitev zamisli se lahko uporabi praktično vse, razen tistega, kar je normalno in običajno v pop muziki. Pa vendarle imamo opraviti z igrivim zvočnim eksperimentom, kjer na daleč odmevajo krautrock, Rock v opoziciji, tudi angleški predindustrijski zven.
(Rockorobje Magazine, April 2020)
Eine wilde Melange aus CutUpNoise, NoWave, FreeJazz und SprechSchnipseln, die so vielschichtig wie schwer verdaulich ist.
(Westzeit, April 2020)
nd so folgt Klang auf Klang, es wird mal gerockt, dann kommen wieder jazzige Passagen und immer viel Experiment. Das geniale an den Stücken ist, dass sie immer recht kurz sind und die drei so ihren Drang zum Experiment so richtig schön komprimieren und sich niemals zum reinem Geräusch entwickeln. Dann sind auch fast überall gut komponierte und durchdachte Melodien und Strukturen vorhanden und machen das Album zu einem durchgängig hörbaren Abenteuer.
Die Atmosphäre ist sehr düster, oft bedrohlich, wie ein spannender Noire-Film. Gesanglich gibt es meistens Sprechgesang, dann und wann auch mal weiblichen. Auf diesem Album passiert soviel, dass man es vermutlich auch nach oder mehr Hörgängen noch nicht alles erfasst hat. Aber dank der guten Produktion wirkt dies niemals überladen, jede Note, jeder Klang ist fein temperiert und nichts scheint über zu sein.
(Musik an sich, April 2020)
In einem Stück wie Lisiere Island lässt ihr abgeklärtes Spiel eine fast heimelige Desolatheit entstehen, wenn sie mit dem Hauch einer weiblich klingenden Stimme verschmilzt. Doch verhindern das Dröhnen des Feedbacks und das Zischen der malträtierten Becken jedes eskapistische Abdriften in der abgedunkelten Hörspielwelt. (...) Doch das ist nur eine Art, wie Berrocal, Fenech und Epplay auf die titelgebende Eiseskälte reagieren, denn Ice Exposure hat mehr als genug feinfühlige Momente: Der verspielt-melancholische Texmexsound zur sentimental klagenden Melodie in Salta Girls ist beinahe so berührend wie Berrocals erschöpfte Welcome to my destruction-Shouts im rumpeligen Post Punk von Sound Check. Fast unscheinbar bildet die Interpretation von Ornette Colemans Lonely Woman den Höhepunkt, bei dem selbst berstendes Glas das sanfte Lamento nicht von seinem Weg abbringt.
(African Paper, April 2020)
説明不要、Nurse With Woundが敬愛する異端前衛音楽家のJac Berrocal、ギターやウクレレ等を使いRhys Chatham、Pierre Bastien、NWW、Klimperei、GhedaliaTazartesという大御所勢と数多くの共演をしてきたDavid Fenech、そして当店では以前より個人的激推し作家で紹介、音楽のみならず映像作品も紹介してきたビジュアル/サウンドアーティストVincent Epplay、フランスの強者が集った最強のトリオによる2019年LP作が、新たに2曲のボーナスを追加し2020年CDエディションとして再登場！！ジャズ、アートロック、インプロヴィーゼーションがごちゃ混ぜ、またフラフラとした何処かパフォーマンス？演劇的？なイメージが付き纏い、それが直接マインドに訴えかけてくるサイコドラマの様。コレは怪作です。激激オススメ。
(Art Into Life, May 2020)
The sequel/companion album to 2015s brilliant Antigravity sees the Parisian jazz improv iconoclast reunite with sonic artists Fenech and Epplay, taking their subterranean jazz-cool broadcasts and studio dub grooves and subjecting them to a punishing regimen of cheap speed, electroshock therapy and no wave despair.
(Mojo, May 2020)
Versione CD con due brani in più del vinile edito dalla londinese Blackest Ever Black lo scorso anno. Un guazzabuglio paludoso e seducente, fra umori post-punk e spigoli jazz, l arte dell impro, materia concreta e stati d alterazione. Ice Exposure e la seconda uscita per il french-trio composto da Jac Berrocal (classe 1946, tromba e inquietudini vocali), David Fenech e Vincent Epplay (chitarre, field recordings, gamelan, berimbau, drum machine, synth ed elettronica variaavariata). Ai due per farla breve fumano d esperienza di non poco, e il Berrocal, non può trovar di meglio per esibirsi nelle sue performance tra paranoia e psicodramma in salsa quasi No. Espansioni noir di spettrale violenza per lo più, come degli Anti Group in fase di istant composition dai toni più zuzzerelloni. Te lo avvolgi tutt attorno stretto stretto e senti tu che particolari brividini. Chapeau.
(Kathodik, June 2020)
Een beetje kil, zo wordt Ice Exposure om-schreven, een cd waarop trompet-tist en enfant terrible Jac Berrocal de degens kruist met David Fenech en Vincent Epplay. Ze zijn tekeergegaan op een veelheid aan bouwsteentjes en hebben daar con-structies mee opgericht die oren en ogen doen duizelen. Piepknor-doosjes, verwaaiende kinderstem-men. In Salta Girls een echoënde trompet over maniakale trommelsla-gen die onmiddellijk The Residents voor de geest toveren, zeker met het wankelende gitaartje dat zich onbe-vreesd in dat gewoel mengt: een mengelmoes die eindigt in een ont-roerend koortje op afstand. Niets is te gek voor dit drietal. Sommige num-mers duren nog geen minuut, bestaan uit luid gescandeerde teksten, afge-wisseld met een enkel beukend ak-koord. Het is rock, maar ongeremd gekke rock.
(Gonzo Circus, June 2020)
Ein düsteres Klangkolorit als pures poetisches Statement. (...) Die Klangkünstler synthetisieren und devastieren nahezu synchron und schaffen ein faszinierendsanftes Meisterwerk, welches nicht mit Gänsehautmomenten glänzt. Gemastert und arrangiert wurde dieses Kleinod vom legendären Noel Summerville. Unbedingte Kaufempfehlung!
(Ox Magazin, August 2020)
Ice Exposure is a darting & subtly daring three-way collaboration that sits somewhere between jazz, improv, sparse electro texturing, experimental post-punk, and general mellow-if-crazed experimentation. It’s a forty-two-minute album that takes in sixteen tracks - which flirt between slightly wacky noir mood-ness, darting & building quirkiness, and a blend of the two.
(Musique Machine, October 2020)
However, even more interesting are the Berrocal voice segments, streams of word-association and poetic spew which he delivers like some unholy cross between Burroughs, Bukowski and Captain Beefheart, with a tone that veers between a mood of outright disgust / despair at the modern world, and one of deep-seated alienation. The 16 tracks, some of them ending quite abruptly and cut at surprising edit points, start to assume the proportions of a very disjointed radio broadcast, a TV show from the depths of Hell…portraying in broken images and flashes of insight an extremely troubled and disrupted world. Id like to think that the force of Berrocal’s personality, and his convictions, are what has driven the two supporting musicians to unleash their inner dark fire, and instinctively find just the right mode of playing and choice of devices to express complete sympathy with this occluded Berrocal vision; theyre certainly kept on their toes at all times, having to respond quickly to every change of mood and violent emotional mood swing.
(Sound Projector, October 2020)
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