Fuga Discos – Compilados 25 aniversario de fugadiscos 25 años de puertas abiertas, de mucho trabajar para conseguir un objetivo, mostrar, dar a conocer el resultado de cada artista. Agradecer queda muy pequeño desde mi lugar ante esta respuesta de tantos seres que quisieron estar durante todos estos años. Fuga seguirá con sus puertas abiertas, para que se expresen con sus obras. simplemente gracias… Luis Marte Fundador de Fuga
Compilado 25 aniversario 02. Noise, experimental, ambient. Gracias: Alfa Trax, France Jobin, Francisco López, Gabi Lucena, Javier Piñango, Juan Antonio Nieto, Juan José Calarco, OP-8 Looter King (Rusty), Oscar Santis, Pablo Reche, Juan Petrini y Quum, por aportar con su trabajo para este compilado.
Subsequent to a series of personal losses, France Jobin – Montreal’s minimalist composer of deserved renown – was forced to come to terms with something that haunts the existence of countless beings. As pathetic as this usually appears (courtesy of the average human’s shallowness), she attempted a rational collocation of chaos in her life, at the same time recognizing death as the ultimate symbol of a not better specified “perfection”. The introductory notes quote an excerpt from David Deutsch’s book The Fabric Of Reality, grounded
on the theory of phantom photons. Now, when it comes to photons this writer’s cynical experience translates as follows: interesting stuff on paper, yet inevitably destined to become, in most cases, food for pseudo-intellectual exhibition of the self (though I’m convinced that Jobin doesn’t belong to that category). After all, everyone is entitled to clutching at the straws of unearthly conjectures to put a measure of order in their own mind. Particularly when the grim reaper comes around waving us hello under various guises, which – in this day and age – happens quite frequently, including the cerebral demise of selected wannabe “authorities” dabbling in issues beyond their reach.
Fortunately, besides any cognitive necessity Jobin is an expert sound assembler. The music she created for this album derives entirely from a Buchla 200 analog synthesizer, except for a shorter and less assuaging track – “Soar” – made with Klara Lewis and exclusively available in the digital version. The longer pieces “Inertia” and “P”, however, represent everything that needs to be (un)told. There’s an answer to every question, there’s calmness behind any anxious doubt if only one delves in the right combination of frequencies. Jobin concocted textural trails that stay with the listener unobtrusively, typically projecting one or two suspended chords. The result amalgamates perfectly with our environment when played at moderate volume. Still, the apparent stasis is perturbed by the very pulsation that it contains. We detect imperceptible subsurface discolorations, brief dissipations of energy across the harmonic flawlessness, a few dynamic weaknesses and slight distortions in an otherwise rather narcotic flux. It’s sorrow-inducing, brain-quietening, and profoundly individual.
EP03 France Jobin is a lover of wires, electronics and sine tones. She has something special to share on ROOM40
This photo serves as clear evidence of my early fascination with all things cables, connections and electricity. To this day, I have nurtured this obsession with childlike wonder.
When Lawrence English and Robin Fox extended the invitation to travel to Australia, an invitation which included a coast to coast tour and a residency at MESS in Melbourne, I could not resist!
Upon arriving at MESS, I simply became overwhelmed by the amount and diversity of the collection of synths and electronic instruments. There it was, the entire history of synth, drum machines and modulars in front of me, delight! Which one will I start with? It’s complicated.
I opted to work the synths that I am unfamiliar with, therefore adding a nice learning curve to the experience but also, an opportunity to observe and learn how the technicalities and programming evolved over the years.
I strived to remain true to each synth, I did not have a compositional intent, but rather preferred to let each synth’s personality shine through and hope I manage to earn their respect in the process.
An enormous thank you to Lawrence English, Robin Fox, Byron Scullin and Matthew Watson and everyone at MESS for their kind support.
EP02 France Jobin is a lover of wires, electronics and sine tones. She has something special to share on ROOM40!
“This photo serves as clear evidence of my early fascination with all things cables, connections and electricity. To this day, I have nurtured this obsession with childlike wonder.
When Lawrence English and Robin Fox extended the invitation to travel to Australia, an invitation which included a coast to coast tour and a residency at MESS in Melbourne, I could not resist!
Upon arriving at MESS, I simply became overwhelmed by the amount and diversity of the collection of synths and electronic instruments. There it was, the entire history of synth, drum machines and modulars in front of me, delight! Which one will I start with? It’s complicated.
I opted to work the synths that I am unfamiliar with, therefore adding a nice learning curve to the experience but also, an opportunity to observe and learn how the technicalities and programming evolved over the years.
The 7 pieces included in the 3 ep’s are the result of recorded live improvisations during which I familiarized myself with these wonderful electronic instruments.
I strived to remain true to each synth, I did not have a compositional intent, but rather preferred to let each synth’s personality shine through and hope I manage to earn their respect in the process.
An enormous thank you to Lawrence English, Robin Fox, Byron Scullin and Matthew Watson and everyone at MESS for their kind support.”
credits
released August 7, 2020
All sounds recorded at MESS (Melbourne Electronic Sound Studio) using the Sequential Circuits Prophet 10, and the Mellotron Mini.
EP01 France Jobin is a lover of wires, electronics and sine tones. She has something special to share on ROOM40!
“This photo serves as clear evidence of my early fascination with all things cables, connections and electricity. To this day, I have nurtured this obsession with childlike wonder.
When Lawrence English and Robin Fox extended the invitation to travel to Australia, an invitation which included a coast to coast tour and a residency at MESS in Melbourne, I could not resist!
Upon arriving at MESS, I simply became overwhelmed by the amount and diversity of the collection of synths and electronic instruments. There it was, the entire history of synth, drum machines and modulars in front of me, delight! Which one will I start with? It’s complicated.
I opted to work the synths that I am unfamiliar with, therefore adding a nice learning curve to the experience but also, an opportunity to observe and learn how the technicalities and programming evolved over the years.
The 4 pieces included in the 2 ep’s are the result of recorded live improvisations during which I familiarized myself with these wonderful electronic instruments.
I strived to remain true to each synth, I did not have a compositional intent, but rather preferred to let each synth’s personality shine through and hope I manage to earn their respect in the process.
An enormous thank you to Lawrence English, Robin Fox, Byron Scullin and Matthew Watson and everyone at MESS for their kind support.”
credits
released July 3, 2020
All sounds recorded at MESS (Melbourne Electronic Sound Studio) using the Sequential Circuits Prophet 10, and the Mellotron Mini.
Available on May 1st digitally Bandcamp Physical pre-orders also open: Vinyl transparent ships out on or around July 3, 2020
The last two years have seen me maintaining an association with an unusual bedfellow, death. The loss of Mika Vainio, as well as three members of my own family, has had a profound effect on me and spurred a lengthy reflection on life, death, and everything in between.
Parallelly, while studying the philosophy of science, I came across shadow photons: “Tangible photons are the ones we can see or detect with instruments whereas shadow photons are intangible (invisible) detectable only indirectly through the interference effects on the tangible photons.
There is no intrinsic difference between tangible and shadow photons: each photon is tangible in one universe and intangible in all the other parallel universes.
They travel at the speed of light, bounce off mirrors, are refracted by lenses, and are stopped by opaque barriers or filters of the wrong colour. Yet, they do not trigger even the most sensitive detectors. The only thing in the universe that a shadow photon can be observed to affect is the tangible photon that it accompanies. This is the phenomenon of interference.
Shadow photons would go entirely unnoticed, were it not for this phenomenon and the strange pattern of shadows by which we observe it.
Thus the existence of a seething, prodigiously complicated hidden world of shadow photons has been inferred.”*
I have drawn a parallel between shadow photons and death. The interference phenomena, parallel universes, and how shadow photons affect tangible photons they accompany, offer, in my opinion, similarities, an unknown universe which is death and how we, remaining tangible human beings, are affected. This quest has led me to be more willing to accept chaos in my life and to conclude that Death is perfection, everything else is relative.
France Jobin
*The fabric of reality, David Deutsch, Penguin Press 1997.
1. inertia 2. p 3. soar (digital only)
All sounds recorded at various locations in Europe, South America and at EMS, Stockholm using the Buchla 200 modular synthesizer. soar, all sounds recorded with Klara Lewis in Montreal 2018
Mastered by Russell Haswell. January 2020 Cut at Schnittstelle, Berlin by Andreas Kauffelt, January 2020
The Canadian-born sound artist, composer and curator France Jobin immerses herself in the electronic sound worlds of Ernst Krenek’s Buchla synthesizer during her stay in Krems and is inspired by atonal tonal language and works by the composer’s random elements (aleatoric). She explores parallels between atonal-aleatoric principles and modular sound synthesis in a new composition.
For many years, France Jobin has been exploring the sounds and sounds that surround us daily, collecting and “recycling” field recordings to present them in a whole new light. Her audio art refers to her as a “sound sculpture” and shows a minimalist approach to complex sound environments in which the analog and the digital intersect.
France Jobin, composer, sound artist
Ernst Krenek Forum Minoritenplatz 4 3500 Krems Austria
France Jobin acknowledges the support of Conseil des arts et des lettres Québec.
