Live Archives 2000-2005
Antoine Chessex is a composer and sound artist born in 1980 in Vevey, Switzerland, with a background as a saxophone player and performer.
His sonic researches include compositions for ensembles, solo works, transdisciplinary collaborations and sound installations. Chessex´s works are based on the exploration of the physicality of sounds and spaces.
His solo works feature dense layers of sustained pitches reacting with the architecture of the space or massive clouds of amplified sax resulting in intense live actions in total immersion in the sound.
He presents his works worldwide and appears at numerous international festivals and venues in the U.S.A, Russia, Japan, China and all around Europe.
Recent compositional works include "DUST" for 3 violins and electronics (commissioned by Pro Helvetia), "Resonant Water" a site specific piece for acoustic ensemble, "Metakatharsis" commissioned by the Phoenix Ensemble
in Basel (2011), "CHUTE" commissioned by the Kammerensemble Neue Musik Berlin (2011) as well as numerous electronic music pieces.
Collaborations with musicians like Lasse Marhaug, Zbigniew Karkowski, Maja Ratkje, Chris Corsano, Jerome Noetinger, Ilios, Valerio Tricoli, C. Spencer Yeh, Axel Dörner, Hans Koch, Robin Hayward, Thomas Ankersmit, Lucio Capece,
Dave Phillips, Kasper Toeplitz, Burkhard Beins, Monno, Didi Bruckmayr, architect Christian Waldvogel and media artist Ulrike Gabriel.<(p>
Gilles Aubry is a Swiss sound artist & musician based in Berlin since 2002. Holding a Master's degree in Sound Studies, he works as a producer of art
installations, audio essays, musical compositions and live performances. His artistic practice is based on an auditory approach of the real informed by researches on cultural and historical aspects of sound production and
reception. Combining ethnography, critical discourse and formal experiments, Aubry's work somehow fits in a Western tradition of art documentary. His 'sonic images' (phonographies) of more or less identified situations stand
as an attempt to challenge problematic aspects of visual representations.
Gilles Aubry's works have been published on Absinth Records, Wind Measures Recordings, Gruenrekorder, Cronica Electronica, Creative Sources, Schraum, Conspiracy, Sound Implant and broadcasted on Deutschlandradio,
DRS2, ABC, Resonance.fm and Giant Ear.
WATCH images from Gilles Aubry's solo exhibition at Reattu Museum HERE
Derek Shirley born Ottawa, Canada. Kontrabass, cello, drums, electronics. Based in Berlin.
Active in the improvised/experimental music scene, focusing on low frequency minimalism in both improvised and composed realms. Performs actively with such groups as Monno, Vladislav Delay Quartet,
hotelgäste, MEK, obliq, coal oven, ruby3 and unununium. And in various collaborations with such musicians as: Sven Ake Johansson, Chris Abrahams, Steve Heather, Anat Cohavi, Tobias Delius,
Lucio Capece, Mika Vanio, Michael Thieke, Robin Hayward, Justin Haynes, Dave Bennett, Allesandro Bossetti, Tony Buck...
Marc Fantini . "(No CV) The idea behind this policy is to avoid people judging or knowing others for the things that are written on a CV or a bio." (Diego Chamy | ar030)
Monno was formed in 1999 in Lausanne, Switzerland. "The experimental noisecore band Monno was formed in 1999 in Lausanne, Switzerland where the four original members met in
the experimental music scene. In 2002 they relocated to Berlin, Germany. In 2003 they were jointed by the canadian bass player Derek Shirley. Their current label is the belgian record label Conspiracy Records." Discogs
Discography and reviews taken from Conspiracy Records where you can buy the 3 previous works done by Monno
CANDLELIGHT TECHNOLOGY 2003. Featuring on Electric Bass, Mixed By, Edited By – Vincent Berberat. (Instead of Derek Shirley) Subdeviant Recordings
Review from: Semtexinc.com
"It's been a while since a release from Switzerland caught my attention as much as this openly breathing record from Monno. I guess it was the Shora mini. Monno is different. Four musicians got together in a studio
in Lausanne, and recorded this clash of punk and noise into jazzy, but overall abstract music. The result is more than what punk, noise and abstract music could be as different genres. It's a record that breathes life.
It's a record that screams for attention and never actually bores, but always confronts myself with the restless part of the musical me. It's perfect for a night when there's no inspiration.
The most distinguished member of the quartet is computer artist Gilles Aubry, who has worked a lot in the experimental and improvised music fields. Among others, he has collaborated with Erik Truffaz, John Hegre (Jazzkammer)
or Rachied Ali (who drummed for Coltrane). Other members are Antoine Chessex, a 23-year old classically and jazz trained saxophonist, Vincent Berberat on bass and Marc Fantini on drums. Don't get me wrong. Monno is above
all very noisy and experimental. But it's awfully well done. Every song has recognisable instruments and drum rhythms as well as unrecognisable abstract sounds and noises. I like it. It challenges me in questioning myself
and the situations I am in. I guess the last time I had that feeling was when I was confronted with meaningful visual arts. But it's been a whole while since I had that feeling when listening to music.
It is just too bad that this record is doomed to stay in the underground music scene for ever."
ERROR 2006. Conspiracy Records
"There are way too many second hand noise bands. Let me explain myself. I am not a "noise" expert, but the quantity of noise releases in these times seems to me to be a sign that lots of bands are jumping on a train
that has been built by various groundbreaking and pioneering bands starting off from the late seventies/early eighties until now. I'm talking about bands such as Throbbing Gristle, Boyd Rice, Coil and other so called
"industrial" noise bands. Nowadays, other cutting edge bands such as Wolf Eyes, Sunn O))) and Lightning Bolt are redefining the genre, and are followed by a herd of disciples. And I'm having a really hard time
to distinguish the good from the bad."
"The Swiss but Berlin based band Monno isn't giving me such a hard time. They're not jumping on the train, they're rebuilding it. I am not familiar with their debut album Candlelight Technology so I won't start
making comparisons. All I know is that this second album grabbed me by my throat from the first listen and didn't loosen its grip until the end of the last song. It is only after listening to it that I started reading
some things about this band and realised there is actually a saxophone playing. A saxophone that I didn't notice at all, because it is being sent through two guitar amps and makes the most fucked up distorted sound
I have ever heard. Together with a wall of noise created by laptop and bass, loud pounding drums and shrieked out vocals, Monno manages dark mutated music that will not leave the listener unemotional. You'll hate
it or love it, and there is no way in-between."
"Uncompromising opener Necronomik sets the tone: a heavy sludgy sound, slowly grooving its way to your brain. The chaotic sound of Tiny Fossils will certainly appeal to the Lightning Bolt fan, while Blind consists
of layers of laptop noise, vague vocals and this hidden saxophone, built upon a bass groove that hurts your neck muscles. An unprepared hearing of Hertz Moisture will certainly make some ear drums explodeâ€¦ This is the
only piece on this album that does not appeal to me at all, because it is noise for the sake of noise: no groove, just white feedback that gives me a splitting headache. Fortunately there's Defekt, a tune that could have
easily been on the last Lightning Bolt album and that would have stood out on it."
"And those were only the first five songs. I think you get the picture. Error is a ruthless, stubborn and inflexible record that will stun your guts out in a positive or negative way. There is just no escape.
Error sets a new landmark in the world of noise, and puts the herd of disciples mentioned before back where they belong: in the margin of an already quite limited scene."
"Moreover, this record comes in a 28 page booklet designed by Dennis Tyfus, with abstract drawings that perfectly match the atmosphere set out by the music. Music that will not be spinning too much on my stereo,
but only on intense occasions when there is no room for compromise. This is a must-have."
Ghosts | Words by Carlo Steegen
"Hail the dawn of the new era. Although the human soul was sometimes symbolically or literally depicted in ancient cultures as a bird or other animal, it was widely held that the soul was an exact reproduction of the body
in every feature. MONNO have come a long way, extending their malignant nature through thick layers of fog. Collecting the footprints they've left to musically outshine the past. For this new burial they've built a soundtrack
like creeper with traces of gargling glass and atonal spheres that swing through the tracks like unidentified floating objects in the sky. At times you get the feeling your brain is attached to a mechanical beehive suffering
various degrees of degradation resulting from the ingress of water and salt attacks. Without doubt their most brutal and menacing album to date, etheric yet droning vocals covered in doom frost.
Gradually moving into uptempo black metal waters, than backdropping in sludge mystery like a free-jazz bat in the night. Every time catching the listener by surprise and pushing them in warped directions.
Like the legendary Kraken, they come out of the blue and in the blink of an eye drag you down in the storm. A globbering beatdown, difficult, dense and heavy on details. No rocket science but heavy riffs,
laptop monstrosity and drastic saxophone stabs for folks that have a little black in them. An impaired psychomotor as troublesome as the stars that hang above us, with the reeking odor of a thousand corpses.
Think along the abandoned shores of Corrupted, Burning Witch, Noothgrush, Albert Ayler and Ulver. The darkness, it all started in their hearts. As dense as sound can get... " – Carlo Steegen -
[ar064] MONNO | Live Archives 2000-2005
Promotional compilation curated by Julian Bonequi.
Gilles Aubry, computer.
Marc Fantini, drums.
Derek Shirley, bass.
Antoine Chessex, electric tenor and soprano saxophone
Special thanks to Marc, Gilles, Antoine and Derek Shirley. Original files shared by Marc Fantini’s archive.
Mastered at Transfert Studio by Mauro Martinuz, Berlin. Picture at Cave 12 in L’Usine, Geneva 21/02/2011 by Michel Pennec. Design by Aniana Heras.