Détour de Manège
[2019] ; 10’00
D’après le Dépeupleur de Samuel Beckett et en collaboration avec la chorégraphe Flora Gaudin
On est placé dans un lieu inconfortable, évident mais profondément incompréhensible. Les "corps" sont partagés entre la répétition et l'arrêt. Tout tourne en rond car il n'y a pas d'issue véritable (rien ne tourne plutôt car la seule issue envisagée est inatteignable et ne s'envisage que dans son inatteignabilité), les corps reviennent toujours, inévitablement, aux mêmes endroits. Tous les endroits sont le même endroit malgré la compartimentation en zones. L'ordre du cylindre semble définitif, tout est donné, précis, le cadre clos enferme les gestes, en souffrance, sans un espoir réellement possible, où l'amour est rendu. Surplus de contacts, c'est une longue souffrance qui finit toujours pareille.
Tel une machine implacable, et inspirée du livre le Dépeupleur de Samuel Beckett, cette pièce mets en scène la quête désespérée d’une issue dont nous connaissons tous en notre fort intérieur l’inexistence…
Carousel detour
[2019]; 10'00
Based on Samuel Beckett's The Lost Ones and in collaboration with choreographer Flora Gaudin
We are placed in an uncomfortable place, obvious but profoundly incomprehensible. The "bodies" are divided between repetition and pause. Everything turns in circles because there is no real way out (nothing goes wrong because the only envisaged exit is unattainable and can only be considered in its unattainability), the bodies always return, inevitably, to the same places. All the places are the same place despite the compartmentalization into zones. The order of the cylinder seems definitive, everything is given, precise, the closed frame encloses the gestures, in suffering, without a really possible hope, where love is returned. Surplus contacts, it is a long suffering that always ends the same.
Like an implacable machine, and inspired by Samuel Beckett's book The Lost Ones, this play stages the desperate quest for an outcome that we all know does not exist within our hearts ...
Changement de Cap
[2020] ; 9’40
Sur une proposition et en collaboration avec le chorégraphe Anthony Prigent.
Par changement de cap on entend transformation, altération ou évolution d’une personne, d’une chose ou d’un événement.
Cette pièce extraite d’une série de travaux en lien avec les danses traditionnelles s’appuie sur les archétypes de progressions rythmiques et agogiques de la danse Bretonne tout en s’éloignant des sonorités et modes traditionnelles. Il s’agit à travers cette pièce de donner à percevoir à travers les sons et les questions de dialectiques Gestes/Sons ; Musique/Mouvements.
Change of course
[2020] ; 9’40
On a proposal and in collaboration with the choreographer Anthony Prigent.
By change of course we intend the transformation, alteration or evolution of a person, a thing or an event.
This extract from a series of works, relating to traditional dances, draws on the archetypes of rythmic and agogic progressions of the Bretonian dance; while moving away from traditional ways and sounds.
Through this piece, the aim is to form a perception through the sounds and the questions of the dialectics Gestures/Sounds; Music/Movements.
Art by Savvas Metaxas
credits
released May 13, 2021
''...this time highly allusive to “traditional” forms and genres even as its haunting, loop-stitched, near-formless soundscape pulls further and further away from familiarity. All in all a brief but deceptively difficult release that succeeds in connecting the nigh-unconnectable.''
''One for the deeper listeners who really like to get their ear’s teeth in there, ‘Detours de Manège’ is an uncompromising, even uncomfortable, but not unmanageable, session that seeks to upend tradition into new forms. Its two durational works bookend the palate cleansing structural abstraction of ‘Impasse Pour Les Grands Espaces,’ with the 10 minute ‘Détours de Manège’ nodding to Samuel Beckett’s ‘The Lost Ones’ via craftily spaced-out, slurred low end and psychoacoustic timbral fuckery that really draws the ear in, while ‘Change of Course’ sees him work much more subtly with choreographer Anthony Prigent to realise a skewed take on Breton dance tradition, that transitions from near imperceptible low end to more intricate pulses and greyscale noise edging on the Mika Vainio-esque. ''
Boomkat product review.
BIO:
Paul Ramage is a violinist, improviser and composer.
After meeting Didier Lockwood he became interested in jazz and improvised music. At the same time, he continued his studies of classical violin at the Conservatory (C.R.R) of Cergy-Pontoise, from which he graduated with a Musical Study Diploma (D.E.M) in jazz and violin. In 2013 he obtained his D.E.M in electroacoustic composition at the Paris Conservatory, in the classes of Denis Dufour and Jonathan Prager. He then obtained a Masters in electroacoustic composition at INA_GRM. Finally, he follows the Cursus in composition and computer music at IRCAM.
Composer of around forty opuses, both acousmatic, mixed or instrumental, he has played and been performed in various countries (France, Spain, Italy, Portugal, Romania, United Kingdom, Japan, United States, China…). He won the Métamorphose (Music and Research) prize, the Russolo second prize (Russolo-Pratella Foundation (Italy) / Studio Forum Annecy) and holder of the certificate of aptitude (C.A) in electroacoustic composition. He teaches composition and sound creation at the Conservatory and at the Pôle Supérieur de Paris as well as at INSEAMM (l’Institut National Supérieur d’Enseignement Artistique Marseille-Méditerranée). Today a member of Alcôme (Company for the creation in contemporary music), he works to bring creation everywhere he can.
Dasa Tapes is a limited editions cassette label which aims to explore the unexpected makings and hearings of experimental
music.
DEMOS: We can't accept any new demos at the moment. We'll let you know once we can listen to new demos again....more
supported by 22 fans who also own “Détours de Manège”
Watery tunnels of sun evaporation that dries my brain and makes me start to sing " lalalalalakkkkslslalaa!!" very loud in my room (also .. when my little kids are sleeping at night in their room)
My eyes are still open.. but not for too long.
This is a compelte master piece work of mixing glossy textures, some metalic or pipeish synths and applause percussions.
Definetely on my top 10 of the year.
And maybe top ten in ten years.
To be listened with earphones. bardotodolpablopicco
With all proceeds going to benefit Ukraine, the latest from Angela Winter is a beautifully haunting work that centers the human voice. Bandcamp New & Notable Apr 16, 2022
