Fri, 03 Apr 2026 21:00:57 +0200 https://hearthis.at/insub.records-netlabel/ en-EN contact@hearthis.at contact@hearthis.at https://hearthis.at/insub.records-netlabel/ https://img.hearthis.at/8/5/6/_/uploads/8884206/image_user/w1400_h1400_q70_ptrue_v2_----cropped_1502654658.jpg no no https://hearthis.at/insub.records-netlabel/magnus-granberg-nattens-skogar-version-for-four-players-excerpt-lp/ Cyril Bondi - d'incise - Magnus Granberg - Anna Lindal

Cyril Bondi: percussions, harmonica
d'incise: electronic, loudspeaker, tuned objects, harmonicas
Magnus Granberg: prepared piano, composition
Anna Lindal: violin

Lp & Digital

2017]]> Cyril Bondi - d'incise - Magnus Granberg - Anna Lindal

Cyril Bondi: percussions, harmonica
d'incise: electronic, loudspeaker, tuned objects, harmonicas
Magnus Granberg: prepared piano, composition
Anna Lindal: violin

Lp & Digital

2017]]> 1499911 no no Fri, 11 Aug 2017 01:40:34 +0200 2017-08-11T01:40:34+02:00 8:40 https://hearthis.at/insub.records-netlabel/dincise-appalachian-antatolia-14th-century-by-clara-de-asis-excerpt/ Clara de Asis
[insub45] 2016
-
A piece for modified guitar by d'incise,
played by Clara de Asis (electric guitare).
Recorded at Ausland, Berlin, may 8th, 2016.

Full recording free download at www.insub.org
]]> Clara de Asis
[insub45] 2016
-
A piece for modified guitar by d'incise,
played by Clara de Asis (electric guitare).
Recorded at Ausland, Berlin, may 8th, 2016.

Full recording free download at www.insub.org
]]> 1499912 no no Tue, 20 Sep 2016 15:27:03 +0200 2016-09-20T15:27:03+02:00 8:36 https://hearthis.at/insub.records-netlabel/illogical-harmonies-with-dincise-excerpt-insubrec06/ mike majkowski - double bass
d'incise - recordings ]]> mike majkowski - double bass
d'incise - recordings ]]> 1499913 no no Wed, 23 Dec 2015 20:19:41 +0100 2015-12-23T20:19:41+01:00 5:19 https://hearthis.at/insub.records-netlabel/miguel-a-garcia-argiope-exerpt-n6-rii-insubrec07/ 1499914 no no Wed, 23 Dec 2015 20:11:45 +0100 2015-12-23T20:11:45+01:00 2:28 https://hearthis.at/insub.records-netlabel/stefan-thut-insub8tet-one-and-seven-excerpt-insubrec05/ Antoine Läng, voice, volumes
Alexis Degrenier, hurdy-gurdy
Patricia Bosshard, violin
Cyril Bondi, harmonium
D'incise, bowed tuned metal pieces
Raphael Ortis, electric bass
Rodolphe Loubatière, snare drum]]> Antoine Läng, voice, volumes
Alexis Degrenier, hurdy-gurdy
Patricia Bosshard, violin
Cyril Bondi, harmonium
D'incise, bowed tuned metal pieces
Raphael Ortis, electric bass
Rodolphe Loubatière, snare drum]]> 1499915 no no Wed, 23 Dec 2015 20:09:02 +0100 2015-12-23T20:09:02+01:00 4:32 https://hearthis.at/insub.records-netlabel/insub-meta-orchestra-31ntsversion-beta/ 1499916 no no Tue, 03 Nov 2015 19:01:10 +0100 2015-11-03T19:01:10+01:00 14:25 https://hearthis.at/insub.records-netlabel/insub-meta-orchestra-4gsaugmented/ 1499917 no no Tue, 03 Nov 2015 19:01:09 +0100 2015-11-03T19:01:09+01:00 12:52 https://hearthis.at/insub.records-netlabel/cyril-bondi-toma-gouand-hi-no-tori-insubrec04-2015-excerpt/ Toma Gouband: stones, percussion

INSUB.records
N°4 / February 2015]]> Toma Gouband: stones, percussion

INSUB.records
N°4 / February 2015]]> 1499918 no no Wed, 14 Jan 2015 17:53:54 +0100 2015-01-14T17:53:54+01:00 6:04 https://hearthis.at/insub.records-netlabel/4gs-exerpt/
The INSUB META ORCHETRA present here its third « Archive », recorded in the amazing acoustic of the Swiss Radio studio in Genva during the summer 2014. Four pieces, two relatively short and one very long, each of them placing the accent on a particlular and reduced aspect, silences, uniformity, durations, unisson and contrast. This « Archive#3″ sees also the return of the orchestra to structured pieces after a couple of years focused on improvisation. 29 musicians, with a large variety of instruements, winds, strings, electronics, percussions, an harmonium, and a good amount of uncategorized objects, build delicat textures, appearing and returning to the silence, force the listening to extreme zones, with a radical position on durations and minimal variations.

INSUB.records
N°3 / February 2015]]>
The INSUB META ORCHETRA present here its third « Archive », recorded in the amazing acoustic of the Swiss Radio studio in Genva during the summer 2014. Four pieces, two relatively short and one very long, each of them placing the accent on a particlular and reduced aspect, silences, uniformity, durations, unisson and contrast. This « Archive#3″ sees also the return of the orchestra to structured pieces after a couple of years focused on improvisation. 29 musicians, with a large variety of instruements, winds, strings, electronics, percussions, an harmonium, and a good amount of uncategorized objects, build delicat textures, appearing and returning to the silence, force the listening to extreme zones, with a radical position on durations and minimal variations.

INSUB.records
N°3 / February 2015]]> 1499919 no no Wed, 14 Jan 2015 17:32:59 +0100 2015-01-14T17:32:59+01:00 2:59 https://hearthis.at/insub.records-netlabel/slc-excerpt/
The INSUB META ORCHETRA present here its third « Archive », recorded in the amazing acoustic of the Swiss Radio studio in Genva during the summer 2014. Four pieces, two relatively short and one very long, each of them placing the accent on a particlular and reduced aspect, silences, uniformity, durations, unisson and contrast. This « Archive#3″ sees also the return of the orchestra to structured pieces after a couple of years focused on improvisation. 29 musicians, with a large variety of instruements, winds, strings, electronics, percussions, an harmonium, and a good amount of uncategorized objects, build delicat textures, appearing and returning to the silence, force the listening to extreme zones, with a radical position on durations and minimal variations.

INSUB.records
N°3 / February 2015]]>
The INSUB META ORCHETRA present here its third « Archive », recorded in the amazing acoustic of the Swiss Radio studio in Genva during the summer 2014. Four pieces, two relatively short and one very long, each of them placing the accent on a particlular and reduced aspect, silences, uniformity, durations, unisson and contrast. This « Archive#3″ sees also the return of the orchestra to structured pieces after a couple of years focused on improvisation. 29 musicians, with a large variety of instruements, winds, strings, electronics, percussions, an harmonium, and a good amount of uncategorized objects, build delicat textures, appearing and returning to the silence, force the listening to extreme zones, with a radical position on durations and minimal variations.

INSUB.records
N°3 / February 2015]]> 1499920 no no Wed, 14 Jan 2015 17:32:58 +0100 2015-01-14T17:32:58+01:00 4:37 https://hearthis.at/insub.records-netlabel/mnc-excerpt/
The INSUB META ORCHETRA present here its third « Archive », recorded in the amazing acoustic of the Swiss Radio studio in Genva during the summer 2014. Four pieces, two relatively short and one very long, each of them placing the accent on a particlular and reduced aspect, silences, uniformity, durations, unisson and contrast. This « Archive#3″ sees also the return of the orchestra to structured pieces after a couple of years focused on improvisation. 29 musicians, with a large variety of instruements, winds, strings, electronics, percussions, an harmonium, and a good amount of uncategorized objects, build delicat textures, appearing and returning to the silence, force the listening to extreme zones, with a radical position on durations and minimal variations.

INSUB.records
N°3 / February 2015]]>
The INSUB META ORCHETRA present here its third « Archive », recorded in the amazing acoustic of the Swiss Radio studio in Genva during the summer 2014. Four pieces, two relatively short and one very long, each of them placing the accent on a particlular and reduced aspect, silences, uniformity, durations, unisson and contrast. This « Archive#3″ sees also the return of the orchestra to structured pieces after a couple of years focused on improvisation. 29 musicians, with a large variety of instruements, winds, strings, electronics, percussions, an harmonium, and a good amount of uncategorized objects, build delicat textures, appearing and returning to the silence, force the listening to extreme zones, with a radical position on durations and minimal variations.

INSUB.records
N°3 / February 2015]]> 1499921 no no Wed, 14 Jan 2015 17:32:58 +0100 2015-01-14T17:32:58+01:00 3:44 https://hearthis.at/insub.records-netlabel/jean-luc-guionnet-dincise-at-cave12-exerpt-insub43/ [insub43] 2014 http://insub.org/ [Free flac & mp3 DL]

Jean-Luc Guionnet, saxophone
d'incise, laptop

Recorded on september 24th, 2014, at Cave12, Geneva.
Thanks to Sixto, Marion & Benouz.

Jean-Luc Guionnet: "My musical work subdivides itself into as many ways as occasions arise for me to think and act with sound. Those occasions have always to do with a strong meeting with an outside element: an instrument (saxophone/organ), a theoretical idea (what is "rumour"?), and mainly a collaborating friend (André Almuro, Éric Cordier, Éric La Casa, Lotus Edde Khouri … Seijiro Murayama) ... There then follows a collection of themes which, in turn, influence the evolution of the musical work and define the direction of meetings to come: the thickness of the air, the pidgin (language with neither grammar nor vocabulary), the musical instrument considered as affective automaton, listening dark unto itself, the algebra of and in hearing, sound as a signature of space, signature of objects, signature of what it is not... the fact that French uses the same word – le temps – for time and weather, propagation and spread of forms in time etc. Music is, then, a way to test reality.
Conversely, it’s a test whose experience defines a new distribution of the whole body by artificially localizing it in an unknown and purely physical environment, all the while being able to think, count, make relations or understand places, and so forth. The emotion I look for in music is made out of all these strata and the sliding of one over the other during the act of listening"
-
d'incise, electroacoustic musician, doing both composed and improvised works. He focuses mainly on generation and manipulation of acoustic sound sources and objects, loves feedbacks and digital glitches as well. He tends to extract the most tiny details of the elements, appreciates slowness and obsessive explorations of simple processes. He coordinates the Insub. label and the Insub Meta Orchestra with Cyril Bondi, with whom he also have the Diatribes duo.
-
http://www.jeanlucguionnet.eu/
http://www.dincise.net/
-
]]> [insub43] 2014 http://insub.org/ [Free flac & mp3 DL]

Jean-Luc Guionnet, saxophone
d'incise, laptop

Recorded on september 24th, 2014, at Cave12, Geneva.
Thanks to Sixto, Marion & Benouz.

Jean-Luc Guionnet: "My musical work subdivides itself into as many ways as occasions arise for me to think and act with sound. Those occasions have always to do with a strong meeting with an outside element: an instrument (saxophone/organ), a theoretical idea (what is "rumour"?), and mainly a collaborating friend (André Almuro, Éric Cordier, Éric La Casa, Lotus Edde Khouri … Seijiro Murayama) ... There then follows a collection of themes which, in turn, influence the evolution of the musical work and define the direction of meetings to come: the thickness of the air, the pidgin (language with neither grammar nor vocabulary), the musical instrument considered as affective automaton, listening dark unto itself, the algebra of and in hearing, sound as a signature of space, signature of objects, signature of what it is not... the fact that French uses the same word – le temps – for time and weather, propagation and spread of forms in time etc. Music is, then, a way to test reality.
Conversely, it’s a test whose experience defines a new distribution of the whole body by artificially localizing it in an unknown and purely physical environment, all the while being able to think, count, make relations or understand places, and so forth. The emotion I look for in music is made out of all these strata and the sliding of one over the other during the act of listening"
-
d'incise, electroacoustic musician, doing both composed and improvised works. He focuses mainly on generation and manipulation of acoustic sound sources and objects, loves feedbacks and digital glitches as well. He tends to extract the most tiny details of the elements, appreciates slowness and obsessive explorations of simple processes. He coordinates the Insub. label and the Insub Meta Orchestra with Cyril Bondi, with whom he also have the Diatribes duo.
-
http://www.jeanlucguionnet.eu/
http://www.dincise.net/
-
]]> 1499922 no no Mon, 24 Nov 2014 17:29:22 +0100 2014-11-24T17:29:22+01:00 14:17 https://hearthis.at/insub.records-netlabel/relentless-document-102013-insub41-excerpt/ Artur Vidal: Saxophone

INSUB.netlabel [insub41] 2014
Free download - mp3 & flac - http://insub.org/insub41/

Relentless is an experimental sound creation project based on saxophone. Coming from free improvisation, their current proposals are focused on different practices of sound art. Specificities of the performance space, exploration of their musical instruments and ways to relate with the public are the foundations of their work. For the past few years, they have been looking into the relations between dancing, video and improvised music. Relentless is, in a way, the sound layer that settled through these investigations. Long tones, circular breathing, multiphonics, objects, are some recurring elements always renewed in a dialog between an idiom that settles through practice, and the necessity to improvise to create a music that takes into account each sound and each instant in its composition.

« This album is released almost 3 years after our latest CD. We wondered if we should release it: is it different enough from our previous album, Souffle et mécanique, is it more than just a document for us ,would an outside listener find it interesting, does it question enough our practice, the tension between the “Relentless idiom” and improvisation? Is there a necessity to add yet again a recording to the numerous pile of improvised music released every year?
But at the same time, there are some beautiful sounds, some attempts, maybe still hesitative, to get out of our usual patterns, some new elements even though they’re being used mostly the same way we’re using the old ones. And quite some pleasure to listen to the recording when not thinking about all those issues.
Anyway, we have the possibility to release that session of live music. It is of course a way to make our music and work available to the audience, but beyond that, it is an opportunity to share these issues with you. »

Recorded live at Ackenbush, October 2013
]]> Artur Vidal: Saxophone

INSUB.netlabel [insub41] 2014
Free download - mp3 & flac - http://insub.org/insub41/

Relentless is an experimental sound creation project based on saxophone. Coming from free improvisation, their current proposals are focused on different practices of sound art. Specificities of the performance space, exploration of their musical instruments and ways to relate with the public are the foundations of their work. For the past few years, they have been looking into the relations between dancing, video and improvised music. Relentless is, in a way, the sound layer that settled through these investigations. Long tones, circular breathing, multiphonics, objects, are some recurring elements always renewed in a dialog between an idiom that settles through practice, and the necessity to improvise to create a music that takes into account each sound and each instant in its composition.

« This album is released almost 3 years after our latest CD. We wondered if we should release it: is it different enough from our previous album, Souffle et mécanique, is it more than just a document for us ,would an outside listener find it interesting, does it question enough our practice, the tension between the “Relentless idiom” and improvisation? Is there a necessity to add yet again a recording to the numerous pile of improvised music released every year?
But at the same time, there are some beautiful sounds, some attempts, maybe still hesitative, to get out of our usual patterns, some new elements even though they’re being used mostly the same way we’re using the old ones. And quite some pleasure to listen to the recording when not thinking about all those issues.
Anyway, we have the possibility to release that session of live music. It is of course a way to make our music and work available to the audience, but beyond that, it is an opportunity to share these issues with you. »

Recorded live at Ackenbush, October 2013
]]> 1499923 no no Sun, 06 Jul 2014 13:18:21 +0200 2014-07-06T13:18:21+02:00 7:03 https://hearthis.at/insub.records-netlabel/jonas-kocher-gaudenz-badrutt-cinema-rex-insub42-excerpt/ Gaudenz Badrutt, electronics
Jonas Kocher, accordion

[insub42]
Published by INSUB.netlabel
http://insub.org/
[free DL in mp3 & flac]

Having collaborated for many years now, Badrutt and Kocher play improvised music. Through this practice they explore the relation between the very electronic sounds of the accordion and the instrumental potential of the electronics.
There is no electronic processing of the accordion, more the opposite: the acoustic sounds tend to influence the machine, creating accidents and random behavior of the electronics.
Badrutt and Kocher also take care of the acoustic specificities of the spaces where they play, taking it as a fundamental element of the performance. Through this subtle tuning between the playing and the space, every sound performance becomes site specific.

The concert at Rex was the last of a small tour in the Balkan region. Hours of travelling around on bad roads with old albanian taxis and public buses, fastidious border crossings and concerts in very different venues: a quiet basement in Athens, an old industrial building in a no man's land area in Tirana, a very small bar in the middle of a fancy bars area in Skopje and the beautiful old cinema REX in Belgrade.
Our music evolved quite a lot during the tour, the context as well as all the people we met and the places we stayed, having definitely an influence on our playing. This recording aims to document our practice in a specific context at a specific time. No concept before playing, no edits or re-composing after. It is just what it is, improvised music.

Live set recorded in october 14th 2013 by Stefan Thut at Rex Kulturni Centar, Belgrade, during Swiss Music Days festival.
No edits. Mastering by Gaudenz Badrutt. Special thanks to Stefan and Bojan.

www.jonaskocher.net
www.gaudenzbadrutt.ch

]]> Gaudenz Badrutt, electronics
Jonas Kocher, accordion

[insub42]
Published by INSUB.netlabel
http://insub.org/
[free DL in mp3 & flac]

Having collaborated for many years now, Badrutt and Kocher play improvised music. Through this practice they explore the relation between the very electronic sounds of the accordion and the instrumental potential of the electronics.
There is no electronic processing of the accordion, more the opposite: the acoustic sounds tend to influence the machine, creating accidents and random behavior of the electronics.
Badrutt and Kocher also take care of the acoustic specificities of the spaces where they play, taking it as a fundamental element of the performance. Through this subtle tuning between the playing and the space, every sound performance becomes site specific.

The concert at Rex was the last of a small tour in the Balkan region. Hours of travelling around on bad roads with old albanian taxis and public buses, fastidious border crossings and concerts in very different venues: a quiet basement in Athens, an old industrial building in a no man's land area in Tirana, a very small bar in the middle of a fancy bars area in Skopje and the beautiful old cinema REX in Belgrade.
Our music evolved quite a lot during the tour, the context as well as all the people we met and the places we stayed, having definitely an influence on our playing. This recording aims to document our practice in a specific context at a specific time. No concept before playing, no edits or re-composing after. It is just what it is, improvised music.

Live set recorded in october 14th 2013 by Stefan Thut at Rex Kulturni Centar, Belgrade, during Swiss Music Days festival.
No edits. Mastering by Gaudenz Badrutt. Special thanks to Stefan and Bojan.

www.jonaskocher.net
www.gaudenzbadrutt.ch

]]> 1499924 no no Sun, 06 Jul 2014 13:01:11 +0200 2014-07-06T13:01:11+02:00 5:24 https://hearthis.at/insub.records-netlabel/cest-tout-noir-amplification-dincise/ 1499925 no no Thu, 20 Mar 2014 21:06:16 +0100 2014-03-20T21:06:16+01:00 5:06 https://hearthis.at/insub.records-netlabel/description-dun-tableau-immanuel-de-souza/ [insub.delta serie]]]> [insub.delta serie]]]> 1499926 no no Thu, 20 Mar 2014 21:03:51 +0100 2014-03-20T21:03:51+01:00 8:34 https://hearthis.at/insub.records-netlabel/12-juillet-2011/ [insub.delta serie]]]> [insub.delta serie]]]> 1499927 no no Thu, 20 Mar 2014 21:00:43 +0100 2014-03-20T21:00:43+01:00 2:25 https://hearthis.at/insub.records-netlabel/hannes-lingens-four-pieces-for-quintet-no2-excerpt-insubrec01-2013/ Hannes Lingens - accordion
Koen Nutters - double bass
Derek Shirley - double bass
Michael Thieke - clarinet

"My pieces evoke the idea of a system. I like the thought that someone could find the images and, assuming a certain logic behind them, try to find out what they mean. This someone might come to a completely different result as we did in our realization of the scores. If music is about communication then maybe these pieces are about language in the end. "
Hannes Lingens, September 2013]]> Hannes Lingens - accordion
Koen Nutters - double bass
Derek Shirley - double bass
Michael Thieke - clarinet

"My pieces evoke the idea of a system. I like the thought that someone could find the images and, assuming a certain logic behind them, try to find out what they mean. This someone might come to a completely different result as we did in our realization of the scores. If music is about communication then maybe these pieces are about language in the end. "
Hannes Lingens, September 2013]]> 1499928 no no Thu, 31 Oct 2013 20:39:24 +0100 2013-10-31T20:39:24+01:00 3:25 https://hearthis.at/insub.records-netlabel/diatribes-augustus-excerpt-insubrec02-2013/
Diatribes - a duo of hyperactive improvisors from Geneva, Switzerland, since 2004 - is defined by an assemblage of objects/percussions/electronics, a dense and laid sound, a tension between horizontality and cuts, an acoustic hyper-sensibility, a minimal language with a generosity of matter, layering textures and drones in a lively but stable way.

After a voracious youth exploring free jazz, noise, musique concrête and free improv, and many collaborations with international musicians such as Magda Mayas, Bertrand Gauguet, Robin Hayward, Dominic Lash, Partick Farmer, Derek Shirley and Hannah Marshall, Barry Guy, Keith Rowe, amongst others, they have chosen to focus on their own strict duo music. During the past year they have intensely toured across Europe and beyond (archive here).

Cyril Bondi and d'incise are both very active in the Swiss experimental scene, leading the Insub Meta Orchestra, a very large ensemble, and created in the Insubordinations label, netlabel & association (since 2006). Their unstoppable energy led them to build a strong network around these activities. They have other bands together, including Queixas (with Abdul Moimême) and Karst (with Abstral Compost and Luc Müller), and other occasional collaborations.
Cyril plays solo and with the post-jazz trio Plaistow and d'incise plays solo, works on electro-acoustic set-ups and compositions, and does graphic designs.]]>
Diatribes - a duo of hyperactive improvisors from Geneva, Switzerland, since 2004 - is defined by an assemblage of objects/percussions/electronics, a dense and laid sound, a tension between horizontality and cuts, an acoustic hyper-sensibility, a minimal language with a generosity of matter, layering textures and drones in a lively but stable way.

After a voracious youth exploring free jazz, noise, musique concrête and free improv, and many collaborations with international musicians such as Magda Mayas, Bertrand Gauguet, Robin Hayward, Dominic Lash, Partick Farmer, Derek Shirley and Hannah Marshall, Barry Guy, Keith Rowe, amongst others, they have chosen to focus on their own strict duo music. During the past year they have intensely toured across Europe and beyond (archive here).

Cyril Bondi and d'incise are both very active in the Swiss experimental scene, leading the Insub Meta Orchestra, a very large ensemble, and created in the Insubordinations label, netlabel & association (since 2006). Their unstoppable energy led them to build a strong network around these activities. They have other bands together, including Queixas (with Abdul Moimême) and Karst (with Abstral Compost and Luc Müller), and other occasional collaborations.
Cyril plays solo and with the post-jazz trio Plaistow and d'incise plays solo, works on electro-acoustic set-ups and compositions, and does graphic designs.]]> 1499929 no no Thu, 31 Oct 2013 18:43:35 +0100 2013-10-31T18:43:35+01:00 4:30