Vibrance: Trace

20/05/2016 | 20:00 - 22:00 | Coded Cultures Central  | Free  | Facebook event
Arnaud Riviére
Vibrance brings together a selection of artists working with acoustic activity as primal material through the angle of cross-disciplinary practice. It acts as a catalyser of contemporary practices in the field of sound, open hardware and performativity, aiming to stage a scenario in which presence, simulation, chaos and fictional control operate as protagonists.

In 1999, after a three month stay in Chicago, Illinois Boris Hauf was in search for a new sound for his (till then) project-based musical outlet efzeg. He invited Burkhard Stangl, Martin Siewert and dieb13 to play a concert/recording session within a series of ‘house concerts’ he was hosting in his living room in Vienna, Austria. The 4 met that afternoon for the first time ever in a musical context. They set up microphones and an 8 track recording machine and hit record: a fixed line up had crystallized out of that session and efzeg was no longer a project based ensemble. Shortly thereafter Billy Roisz joined the four musicians using their audio as input for her analog visual feedback projections. From their first album on (grain - durian 2000) efzeg was «at the cutting-edge of the European avant-garde music.» (


From 1999 - 2005 efzeg released 4 full length albums, various music for video, compilations and a full length vinyl on high profile labels such as durian, charhizma, grob, hathut, en/of, staalplaat and others. Billy Roisz\’ videos were an essential part of the many live shows the band played and were also represented on most CDs they released. It\’s hard to find an ensemble with such a vast and consistently well received and highly praised output in such a short period of time. Even after a break up in 2005 efzeg was still productive releasing tracks on various compilations (Selsi 2008, Venusmond Part 4)

Yann Leguay

Yann Leguay’s _quadcore interacts with the materiality of audio medias and data storage as a raw material to produce full control and unpredictable instruments. Several hard-drives is used as turntables, hacked in many different ways and crossing the entire range from analog to digital and reverse, creating physical patterns, feedbacks and deviant behavior.

Yann Leguay is based in Brussels and is defined as a media saboteur by Consumer Waste, he seeks to fold sound materiality in on itself using basic means in the form of objects and videos or during installations and sonic performances he has done in many venue and festival in Europe and further. He is running his own label, Phonotopy, and curates the DRIFT series on Artkillart.

Arnaud Riviére

Arnaud Riviére uses a rudimentary electroacoustic device built around a repaired turntable (pick- up), a prepared-mixer and other primitive equipement that need manipulation. Riviére practises free improvisation, playing solo, in groups and through collaborations, since the late 90s. He has performed with musicians such as Roger Turner, Matin TeÌtreault, Erik M, John Boyle & Aya Onishi (Bayal and Nihilist Spasm Band), Alexandre Bellenger, Jean- Philippe Gross, Pascal Battus, Miho, Sophie Agnel, Martin Ng, Jean-Noël Cognard, Anla Courtis (Reynols), Adam Bohman, Otomo Yoshihide, Joke Lanz, Aaron Moore & Daniel Padden & Lawrence Coleman (Volcano The Bear), Gert-Jan Prins, Ignaz Schick, Mario Gabola, C_C, Mario de Vega, Thomas Bonvalet (L\‘Ocelle Mare), Api Uiz, Onceim, Clayton Thomas, Olivier DiPlacido, DJ Sniff, Mat Pogo or Érick d’Orion.

Arnaud Riviére

«Arnaud’s performance is far from subtle. He will attack you with raw sounds of objects rotating on the turntable and dangerous wires stuck directly into his mixer. His sonic intervention is ecstatic but he is also detached enough to hint at sarcasm moments before he moves on to destroy another objects for auditory pleasure. For me, Arnaud is an important turntablist that extends the practices of Yoshihide Otomo and Martin Tetreault, where the raw sound of the material overwhelms any sort of reference or functionality that the medium was originally intended to have.» - Keir Neuringer