“Thank f*ck for Pierre Bastien” – The Quietus

Pierre Bastien builds his own machineries, at the cross between music and visual art that blends live trumpet sounds with screen projections of on-site, mechanical sound sculptures in a very poetic way. His work is described as “a timeless sounding orchestra, both futuristic and slightly dada, conjuring ancient traditions in its surprisingly sensuous music.”

Bastien has been called a “mad musical scientist with a celebrity following” by The Guardian. Collaborating in the past with filmmaker Pierrick Sorin, fashion designer Issey Miyake, singer and composer Robert Wyatt and Aphex Twin (who released three of his albums on his label Rephlex) to name a few, he is one of the most influential experimental musicians working in the field. In 1986 he formed his own self made one man orchestra, Mecanium and made over 30 records over the years.

“I like to combine a cello or a viola with a godje from Niger and a Javanese rabab: enthuses French musician and instrument builder Pierre Bastien. “It’s like in a city, where all the different cultures blend with one another: you get a richer palette of sounds.” Bastien enacts this interplay with his Mecanium, a Heath Robinson-like contraption which plays all kinds of instruments at one and the same time: its bows, drumsticks and plectrums can beat an African drum or Indonesian gamelan, play a thumb piano, kora and harmonium, and bow a violin, while activating an entire string quartet. The mechanism that drives it is based on simple principles: intricate constructions built from Meccano parts and powered by motors taken from old record players activate the bows and sticks by means of gears and pulleys.

“Yet Bastien’s bizarre contraption is more than just a hotchpotch of seemingly incompatible instruments: despite its apparent lack of sophistication, a Mecanium performance is a complex, emotionallv charged affair. This fragile, home-made orchestra executes elaborate and strangely moving symphonies, while the miniature pulleys and levers cast giant shadows on the wall behind them, and Bastien himself sits amid his mechanised instruments accompanying them on trombone, violin or musical saw.”– The Wire Magazine

https://www.pierrebastien.com/

Sean Clancy

Seán Clancy is an experimental musician from Dublin. His music has been described as ‘Equal part sacred & seductive’ (Tempo); ’An affecting reminder of minimalism’s capacity to feel deeply personal and purposeful’ (The Quietus); and ‘Beautifully simple yet elusive’ (The New York Times). His work deals with translation, examining minimal compositional strategies over extended periods of time, and devised collaboration. Recent pieces include ‘Where the Paths End’ (2023), a 30 minute piece for ensemble, electronics, and location recordings commission by Zubin Kanga’s UKRI Cyborg Soloists project for Plus Minus Ensemble with three accompanying soundwalks around Edinburgh, Birmingham, and London; ‘Amaechi‘ (2022) (with Michael Wolters), a 2022 Commonwealth Games commission for singers, percussionists, electronics, basketball players, and projected text; ‘Nowhere Better Than This Place’ (with Andy Ingamells) (2023/2019) for visual musique concrète, electronics, projected text, and video (reprised at Dublin Fringe Festival 2023; and ‘Inventions & Canons’, an immensely intimate album for acoustic instruments, electronics, and location recordings documenting life surrounding the year 2021. His latest album 'Four Sections of Music Unequally Divided’ is an exhibition of hypnotic explorations into non-prescriptive compositional structures and musical material.

https://seanlclancy.com/