Orchestre Tout Puissant Marcel Duchamp
Orchestre Tout Puissant Marcel Duchamp
It started as a one night stand in Geneva’s eclectic and experimental venue “Cave12” with Vincent Bertholet (bass) solidly in charge of operations. The one-time collective evolved into a full blown band only over time and with several changes of lineup. However the ingredients were there right from the start: the forces of free disorder, the pulverised alphabet of rock ‘n’ roll, the science of contemporary music, the effrontery of punk, the speculative fantasies of intellectual music and remembered facets of popular music.
Around Vincent Bertholet’s obstinate double bass riffs, Maël Saletes’ striking and stumbling guitar lines keep up a hypnotic dialogue. The melodic counterpoint of Aïda Diop’s marimba, here voluble and danceable, there more pointillistic, and Mathias Forge’s trombone, groove impeccably along on the drumming of Wilf Plum (who we know from the legendary Dog Faced Hermans, a notable influence on OTPMD) whose playing lays down a groove of soul shivers and rhythm ‘n’ blues syncopation. We’ll say no more until we have talked about the majestic singing of Liz Moscarola (violinist and with Bertholet the only remaining original band member) who casts spells, enchants the world as if it were nothing. It’s a voice with an infinitely varied register of expression: machine-gun talk over, onomatopoeia pushed to the limits of language, melodies unfurled with a sweet movement or broken jingles. Liz Moscarola is as amusing as she is moving and her absolute naturalness borders on white magic.
Today Orchestre Tout Puissant presents ROTOROTOR, a thrilling third album produced by John Parish (P.J Harvey, Eels, Giant Sand, Dominique A…) and recorded by Ali Chant at Toybox Studio in Bristol. ROTOROTOR (a nod to Duchamp’s famous rotoreliefs and to the latter’s taste for palindromes) is a manifesto for free and adventurous music, organised in versatile pop songs; playful and fervent, incandescent, funny and impetuous, assuming without ostentation a sort of fragmented futurist traditionalism, combining festivity and war, wedding dances and battle-cries.
“For a carte blanche in Geneva in 2006, double bassist Vincent Berthollet brought together musicians that had no business being together. The Orchestre Tout Puissant Marcel Duchamp was born. From performance to performance, they have been revealed as a deep chest full of magic. With the album Rototor, produced last year by the immense John Parish, it showed itself to be a shamanic cabaret, a kaleidoscope full of groove, an eden of transversal pleasures.”
“Recommended by a friend, I wandered down to see them play on a cramped stage in the bowels of a converted barge and, as they say, they blew me away. It turned out they were here in Bristol to record this album with PJ Harvey’s sidekick John Parish as pro-
ducer. I wasn’t that keen on what he did with Rokia Traoré’s most recent album but in this
case he’s absolutely nailed it… a record every bit as good as the live band.”
– Ian Andreson. Froots
At first glance, the Spaceheads look more like an understaffed jazz band than a band on the cutting edge of electronic music. But seeing isn’t hearing Andy Diagram (trumpet, through electronics) and Richard Harrison (drums), create a sound that is both electronic and electrifying. The loops and machine-generated timbres give the duo a unique sound.
Andy Diagram was in the Diagram Brothers, Dislocation Dance, Pale Fountains, The Honkies, and has played for James since their inception, apart from a brief hiatus.
Richard Harrison has also developed his own style on the drums, he skips around the kit, dynamically moving from funky beats to free flowing flurries,creating layers of intricate patterns with meticulous abandon.
His Kit is supplemented with an amazing array of percussive pots and pans and sheets of metal.
He lives in Manchester and plays regularly with improvisers in Manchester and London as well as groups such as Homelife and Toolshed.
In 2002 he released a collection of recordings made of a wire fence vibrating in the wind in the Scottish borders. It is called Drone hill 225 and released with the Manchester based label Hot Air Recordings.
Over the years he has played with Nico, The Mudhutters, Orchestre Murphy, Homelife and Toolshed to list a few.
“Sounds like most of the things music should be but rarely ever is”
– Tony Herrington (The Wire) – review of Ho fat Wallet
“Spaceheads do more than just map out tomorrow’s musical possibilities. Their incendiary noise is joyous to behold in the here and now. And you can dance to it!”
– Mike Wolf (Time Out New York)
“In an age when culture is threatened with drowning beneath oceans of hyperbole….to witness a startlingly unique musical experience was absolutely incredible”
– Cory Brown (San Fransisco Bay Guardian) live review
“..blending Bitches Brew- era head jazz with stratospheric dubtronica. Spaceheads isn’t just a name: it’s the one word that accurately encapsulates what these sonic excursions are all about”
– Madison Daily
Seth Bennett was born and grew up in Sheffield, studying violin, piano and guitar, as well as singing in the Cathedral Choir there. At the age of 18 he took up bass guitar, which he studied and played for most of his early 20s. He recorded and toured extensively with punk bands, while continuing his studies of jazz and folk music, until he took up the double bass. Currently living in Bradford, he combines his long term passion for jazz and improvised music with the study of contemporary classical and British and Eastern European folk musics, a mixture reflected in his current musical activities, playing in the Jazz band IDST, Balkan/Roma music band Maquipucuna, Chamber improvisation band 7 Hertz, the Mary Hampton band, Orchestre Tout Puissant Marcel Duchamp, the orchestra Sinfonia of Leeds, and being co-director of the Bennett-Cole orchestra, as well as being active on the Leeds improvised music scene.
” …explores the freedom and space – as well as the dynamic and rhythmic sonorities – of the chordless line up.” BBC Introducing
Rucksack Cinema a.k.a. Jaime Rory Lucy has been supplying delirious, innovative live video imagery for Club Integral and other events since 2007. His astonishing and almost preternatural ability to mix imagery with what is happening on stage as well as creating strange and wonderful atmospheres throughout a room has made him an intrinsic part of any Club Integral event. Jaime had a long history working in the music industry as a tour manager for many groups of notoriety throughout the eighties and nineties, before retiring from the road to become an East End flaneur art fag par excellence. He has worked in venues as various as Whitechapel Gallery, Hackney Empire and Cafe Oto with artists as diverse as Fred Frith, Spaceheads, Graham Massey and Eugene Chadbourne. He has recorded videos for many artists, most recently for Orchestre Murphy for their nomination in 2010 for the Art Foundation Music Awards. In his spare time he has also been known to add his bass profundo to a punk choir active on the east London bohemian scene.