Fred Debief :: every day...a picture every sunday...a track what's next...hu ?!?

who's speaking of nervousness? who suggests a crawling standardization of the netaudio scene? announcing the return of the discreet Fred Debief, that project looks like an evidence "Every day...a picture, Every sunday...a track, what's next...hu ?!?" - the french musician can't definitively share a single one way ticket, and this is certainly not in these places, we throw the first stone - an evidence !

:: fdbf
:: discogs

fractal musik # 04 :: crunchy crunch

According to you, in only 3 previous recording episodes and a forthcoming which smells good crispy chocolate, is it possible to get together (in total) over 220 artists, collectives, groups... also dissimilar, disparate, different, disproportionate, dissonant see divergent with equal demanding jubilation ? Now, just have a look on the edifying fourth edition :: P. Nicolas Ledoux, Frédéric Acquaviva, Art Oriente objet, Pierre Beloüin, Marie Boisgontier, Philippe Boisnard & Michel Giroud, Sophie Boursat, Lucille Calmel, Loïc Connanski, Alain Coulange, Frédéric Danos, Das Dingbât, Dead Sexy Inc, Fred Debief, Carla Demierre, Jean-jacques Dumont & Robin DC, Mohamed Elbaz, Vincent Epplay, Yvan Etienne, Christelle Familiari, David Fenech, Jürgen Fritz, HP Process, Joël Hubaut & Léa Le Bricomte, Rolf Julius, Eddie Ladoire, Bernard Lallemand, Matthieu Laurette, Frédéric Lecomte, Laure Limongi, Ingrid Luley, Nicolas Maigret, lowMax Mar, Joachim Montessuis, Niteffect, Jean-François Pauvros & Charles Pennequin, Phoenelai, Plateau repas, Post Gods, Prexley, Princesse Rotative, Pupusse & Patrack, StAnza, Lucien Suel, Nathalie Talec & Xavier Boussiron, Tsuneko Taniuchi, Team Plastique, Kasper Toeplitz, Ultradig, Roi Vaara, Thierry Weyd or Lefevre Jean Claude ... an Incredible emulsion, improbable snap and fascinating mix of sound creations on very high density, the «Fractal Musik», coordinated by Joel Hubaut and Station Mir, practices the outgoing inventory of participants in speed dating format - 1 minute chrono and basta! Next!... Supersonic trundles don't wait !

:: station mir
<< fractal 04

:: Joel Hubaut
:: myspace
:: the questionnaire

fractal musik # 04

initialized and coordinated by the mixmedia artist Joel Hubaut, the fractal musik project is an impressive mixing crossover of genres and arts. noCo...mment is (proud and) partly involved in the coming new edit of this sonic revue : fractal musik # 04.

3 musicians have been invited to join the project :: Max Marlow, Niteffect and Phoenelai (let's also notice the presence of Fred Debief).

Produced by station-mir, the project counts nonless than 60 participants (musicians, visual artists, writers, poets ...)

this coming new edit of fractal musik will be released on late 08, early 09.

<< fractal musik # 01 :: sati-tati-kaki << fractal musik # 02 :: opérettes d'artistes << fractal musik # 03 :: no-repeat/no-repeat :: Joel Hubaut
:: station-mir

the questionnaire >

:: Joël Hubaut
:: Max Marlow
:: Niteffect
:: Phoenelai
:: Fred Debief

Bazaar :: mes désordres sont désirs

:: WeirdAndWired
:: Bazaar

Fred DeBieF :: 720x120

NAR6 / 01 septembre 2007

difficult to present such a proteiform and essential artist as the french, Fred Debief. Under several aliases and personalities, the man is developing a combined and hybrid work which goes beyond the borders of stereotyped artistic disciplines.

:: fdbf
:: fdbf visuals
<< the questionnaire

Ascalaphe :: home trips

is "bleeding minarets" one of the most important track of these strange times ?

Awakening or societal report, :: home trips is an album which, by evidence, goes beyond the only musical medium and it is quite comforting to imagine the positive consequences of the reflexions caused by such release.

Format :: digital
Location :: kreislauf / archive.org
Website :: fdbf / discogs
the questionnaire :: Fred Debief

© thierry massard / january 2007
originally edited through the blog :: ++++++++++++
(restored links as far as possible)

Esbende Washlavok :: #00

After having taken some objective distances with a netlabel which have great difficulties to accept any critic on some hypothetic and unconsequent recent release, it is good to note an only one artistic choice as relevant as this very interesting 46 minutes and 46 seconds track. Simply entitled #00, this one piece of the musician, Esbende Washlavok, gives again an obvious coherence to EED, which apparently likes to frighten itself …

Produced with opened windows on the street, #00 seems nourished with a sort of abyssal consciousness of the ordinary life, an impressive setting in prospect for the daily reality - #00 is also an experiment which can appear as trauma and then, wake up some internally interrogations, some unexplored visions to our direct report at our environment - as much to say that we are, there, far enough from a simple stage setting of an "ordinary" recording field - inspired !

Format :: digital
Location :: Expanding Electronic Diversity (deleted)

© thierry massard / octobre 2006
originally edited through the blog :: ++++++++++++ (restored links)

⊕ about Fred Debief aka Esbende Washlavok / from a later release notes

Passionné de musique depuis le début des années 80, Fred commence à travailler en autodidacte sous l’impulsion de la scène new-wave, cold-wave naissante (Depeche Mode, The Cure…) Participation à plusieurs formations locales (synthé, chant) puis création de deux groupes (influencé alors par des labels comme 4AD, ou des groupes comme Einsturzende Neubauten). Instrumentiste bancal et expérimentateur enthousiaste, Fred travaille également les arts plastiques (collages, peinture – plusieurs expositions) et l’écriture. Pendant une dizaine d’années, du milieu des années 90 jusqu’en 2004, Fred accumule les instruments et diversifie les pratiques dans son « appartement laboratoire ». En 2004, première sortie officielle d’un morceau sur la compilation « Skam cats » du label anglais Skam (découvreur de Boards of Canada et d’Autechre), sous le pseudo d’Ascalaphe. Une electronica influencée par la scène electronique anglaise (Warp, Skam, Ninja Tune…) et le cinéma (Stanley Kubrick sur le morceau « Ending »…) métissée de percussions issues des musiques du monde, de musique classique et de différents langages (anglais, arabe, japonais…). Intéressé alors par l’énergie, l’effervescence de la net-scène et le développement des netlabels, Fred va sortir plusieurs albums sous ce pseudo et développer un nouveau projet, Bazaar, plus radical, mélangeant la musique contemporaine et concrète (Parmegiani, Scelsi…), le jazz, l’electronica ou le rock avant-garde (Sonic Youth…). Ce nouveau projet est fortement inspiré par le cinéma et la littérature (Claude Pélieu pour l’album « Eden Express » ou encore Bertold Brecht avec l’album « Baal » ). En 2005, Fred réalise les arrangements (post-production) et le mixage du premier album de Judith Juillerat, « Soliloquy » paru sur le label berlinois de T.Raumschmiere et Apparat, Shitkatapult. D’autres projets verront le jour entre 2004 et 2008, dont Esbende Washlavok, travail d’improvisation mêlant électronique, voix et instruments, SoNoRuM, hip-hop expérimental avec un MC américain, plusieurs collaborations avec des plasticiens ou écrivains (Joël Hubaut, Manuel Daul…). Octobre 2010, nouveau projet en duo avec Thierry Lorée : lufdbf. Premier album « One », un ep de 10 titres sort en format digital en février 2011. Signé dans la foulée par Amaury Cambuzat (Ulan Bator, Faust…) sur le label Acid Cobra records, lufdbf enregistre un concept-album de 17 titres en français, « Deux », sorti en octobre 2011, masterisé par Norscq (The Grief, Colder, Von Magnet, Meat Beat Manifesto…). Double album en cours de finalisation, sortie prévue fin 2013. Depuis septembre 2012, Fred Debief a lancé un nouveau projet solo, Brou de Noix, projet trans-genre dans un format digital de EP trois titres avec une déclinaison graphique minimale. 16 albums produits entre septembre 2012 et avril 2013, disponibles

Bazaar :: eden express

" … Les murs nus de l'univers reflètent les prodigieux actes de terrorisme burlesques. Le hasard, c'est la moindre des choses.
Et pourtant ! ... Nous sommes des métèques, des dégénérés, des désintégrés, des atomisés, des mutants, des exorcistes, des fumistes, des ramiers, des bon à nib. Alors nos dadas, nos hobbies-lubbies, nos tapages, nos épidémies, nos babas, nos parodies, notre vandalisme, nos mixages planétaires, nos mutations, bref ; on a déjà tout dit ... "

Not at the end of surprises ! … For this second cd object release, the EXtensive, Expanding Electronic Diversity new-yorker label (EED) and Bazaar have decided to welcome us with a negative picture representation of "l'heure de tous" a sculpture by Arman, usually presented on its positive version in the entrance of the parisian railway station, la gare Saint-Lazare. As for the first release ( eed 05 compilation) the artwork, designed by Fred DeBief & David Tagg, is still as originally beautiful (hand made), as the edition is ultra limited (50) - EED is usual of goldsmith work, a pretty cool approach for this :: eden Express.
Dedicated to first ( and only one ? ) french beat poet, Claude Pélieu works, :: eden EXpress is mmmh … let me see around … yes, that's it … :: eden EXpress is pro-ba-bly the most Ex-cited and highly concentrated source of AI (artistic intelligence) of the year, solid pleasures for whoever having the senses in awakening.
Opening with 'archipels mutilés', you are immediately taken through a dangerous density combination of reality and abstract suggestive flashy succession of scratching images extracted from a mental deviant tv monitor, Welcome ladies and gents !
'Boomerang' - perfect cut-up poem, as a precious sound-collagist, Bazaar has invited the old Claude friend, Bill, the ghosts of the Interzone are not very far … 'la rue est une rêve" seems to give some echo of temporary rest, a temptation of dancefloor … (on a volcano) strange game of appearances. 'Revolvers pavillons noirs', previously on EED 05 compilation, whirling reminiscence of a dreamed Tanger city. Here invents with blow of guns, the breath of a dark libertarian revolt. Not far of the dominant color of the preceeding track, 'Eden Express', heavy hammering revealing a turning aerial tune, harmony in construction quickly swept by an electric storm. 'le souterrain de velours' could have the out of date perfume of a vintage sm pulp novel, instigator of other famous musical adventures, if it were not there, impregnated by convulsions, fulgurating and tribal rhythmics.
Protean sound matter, with 'soupe de lézard', Bazaar draws up a sound inventory moving, imaginary jazz for daylife documentary film, profusion of images and vision criticizes sharp-edged. Lastly, with "retroviseurs' and ' daN the way lactée',:: eden EXpress is closing on two splendid musical combinations, ' retroviseur' where clash some flutes, tablas, pulsations, with a shivering dematerialized presence, 'Dans la voie lactée bleue' and its spectral intro, remote Qawwali, successive drones and whispers of voices carrying secrets.

:: eden EXpress - Not at the end of surprises ! …

Format :: cd
Location :: discogs 

* summer 1986. Central New York.
extracted from the book : Télé-Karma. " Claude Pélieu - Joël Hubaut "
éditions de la C.R.E.M. Collection pronto Epidémia 47. 1991. Réville.

© thierry massard / mai 2006

originally edited through the blog :: ++++++++++++
(restored links as far as possible)