Hues

Releases on Superpang April 24 2021

Track Titles: 

1- #A2A4A6

2- #F6E36B

3-  #FFFFFF

Hues is the result of “listening” to the colours I use in the sounds I create. For this reason, I felt it important to choose the colours for the design of the album cover since each colour represents a track.

What I found interesting in researching the hexadecimal numeral system is that it is a system made up of 16 symbols, using the decimal numbers and six extra symbols. There are no numerical symbols that represent values greater than nine, so letters taken from the English alphabet are used, specifically A, B, C, D, E and F as A = 10, B = 11, C = 12, D = 13, E = 14, and F = 15.

Computers only have on and off, called a binary digit (or bit, for short). A binary number is just a string of zeros and ones: 11011011, for example.

In the 1960’s, engineers would group 3 bits at a time (much like large decimal numbers are grouped in threes, like the number 123,456,789. Three bits, each being on or off, can represent the eight numbers from 0 to 7: 000 = 0; 001 = 1; 010 = 2; 011 = 3; 100 = 4; 101 = 5; 110 = 6 and 111 = 7.

Grouping of three’s is how this album came to be, I hope you enjoy listening to the colours grey, yellow, and white.

All sounds recorded at various locations in Europe, Japan and South America, at MESS (Melbourne Electronic Sound Studio) and at EMS (Elektronmusikstudion, Stockholm).

France Jobin – Field recordings, sound processing, composition

© 2021 France Jobin / p 2021 Touch Music/Fairwood Music UK Ltd 

credits

released April 24, 2021

design: Joe Gilmore

The fluidity of time does not exist

Released on ROOM40 April 2nd 2021

Time is mysterious; I never realized how much until I studied it in the context of Quantum Physics. The mystery stems from a common-sense way of thinking – that the present moment, which we call “now” is not fixed but moves constantly in the direction of future. This is what we refer to as the flow of time.

The common-sense concept of time is as follows: Imagine a line with an arrow pointing towards the right, each point on the line represent a fixed moment, a triangle drawn with the tip touching the line represents the continuous moving point, the present moment. It is supposed to move from left to right. Some believe particular events as being fixed, and the line itself as moving past them so that moments from the future sweep past the present moment to become past moments. Thinking of time as a line simply implies a sequence of points at different positions, so any moving point can be thought of as a sequence of motionless “snapshot” versions of itself, at each moment. It is similar to a sequence of still photos, projected onto a screen. Collectively, the images are moving but individually, the image never changes.

This idea that the present moment seems to be moving forward in time is defined relative to our consciousness. But our consciousness however, cannot do that. Nothing can move from one moment to another, To exist at all at a particular moment means to exist forever. Our consciousness exists in all our (waking) moments. We do not experience time flowing, or passing. What we experience are differences between our present perceptions and our present memories of past perceptions. We interpret those difference correctly, as evidence that the universe changes with time. We also interpret them incorrectly, as evidence that our consciousness, or the present, is something that moves through time.

The passing of time is intrinsic to the world; it is born of the world itself, out of the relations between quantum events that are the world, and that themselves generate their own time.

The fluidity of time does not exist, is my attempt to put this concept into sound, creating a piece of music, which itself is created within a span of time…. 

credits

All sounds recorded at various locations in Europe and South America.

Image : Mark Hogben
Design: Lawrence English
Mastering: Lawrence English

The passing of time is intrinsic to the world; it is born of the world itself, out of the relations between quantum events that are the world, and that themselves generate their own time.

The fluidity of time does not exist, is my attempt to put this concept into sound, creating a piece of music, which itself is created within a span of time…. 

Special thanks to: Lawrence English and Mark Hogben for their constant support and, Richard Hodgskin-Brown – PhD student, my mentor during my studies of Quantum Physics.

© 2021 France Jobin / p 2021 Touch Music/Fairwood Music UK Ltd

#evenmoresynthporn

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.

released September 4, 2020

all rights reserved

#moresynthporn on ROOM40


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.

license

all rights reserved

#synthporn on ROOM40

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.

license

all rights reserved

Death is perfection, everything else is relative on Editions Mego (AT)

EMEGO0276

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

Image : Mark Hogben
Layout: Nik Void

Solitude on Silent Records (USA)

released April 12, 2019 

Solitude: encoded, stored and retrieved. 

Produced by France Jobin.  
Cover Image by Rossana Uribe 

Mastered by Stephan Mathieu 
All sounds recorded at various locations in Medellin, Colombia. 

Thanks to Éter (Miguel Isaza, David Escallon, Pedro Arbelaez, Jaime Zapata and Rossana Uribe), Parque Explora (Camilo Cantor), MAMM Medellin (Jorge Barco) 

Special thanks to Kim Cascone and Mark Hogben 

©2019 France Jobin

Intrication on No.

 

 

 

 

 

 

FRANCE JOBIN
Intrication

CATALOG: No.916
FORMAT: Limited edition CD and Digital release
RELEASE: Feb 22 2018

Pre order the limited edition CD or Digital release here

No. welcomes Canadian France Jobin to the label. 

The Montreal based artist will release her 9th album on No.. With her release entitled ‘Intrication’, she grapples with some truly cosmic concepts involving Quantum Entanglement (go on, Google it..) amongst other truly magical ideas which physics tend to invent these days.

Musically the release can be described as ‘microsound ambient’ but we think it’s much larger than that. It is at once comprised of microscopic sonic particles yet combines that with the warmth we know and love from the ‘Ambient’ cosmos.

Whilst the sub atomic particles of noise bounce around your mind, the total work weaves a warm blanket of audio enjoyment on both the micro and macroscopic levels revealing a world at once both too tiny to comprehend and too large to grasp. Presented here as No. 916 for your scientific scrutiny.

releases February 22, 2018 

Produced by France Jobin.
Cover Image by Mark Hogben.
Artwork by Material Object.
Mastering by Atom™.

 

Scènes on LINE

FRANCE JOBIN
scènes

Singulum on LINE

 

singulum_cover

France Jobin
Singulum
LINE_075
CD + Digital
Edition of 400
February 2016

Returning to LINE after her critically acclaimed 2012’s Valence (LINE_054), France Jobin brings us the four sparse elegant works that comprise Singulum. 

Quantum physics inspires me to draw a parallel between the fundamental building blocs of physics, sounds and music. I put field recordings through a series of editing and manipulation processes which result in very different sounds from their origins. These manipulations affect time, timbre, harmonics and the essence of each sound, whereas composition influences how they relate to each other.

Singulum represents an unattainable goal, the process of decay while conserving a continuation of information.

All sounds recorded at various locations in North America, Europe, and Japan and at EMS (Stockholm) using the Serge and the Buchla 200 modular synthesizers as well as the Nord Modular.

Cover image: Mark Hogben.

Thank you to EMS (Stockholm), Sporobole (Sherbrooke), EMPAC (Troy), Andreas Tilliander, Argeo Ascani, Fabio Perletta (Farmacia 901), Ennio Mazonn (CConfin).
Special thanks to Richard Chartier and Mark Hogben.

TRACKS:
1.  n (16:58)
2.  l (06:30)
3.  m (08:55)
4.  s (13:35)

LINE