A 24’ new electroacoustic suite for synthesizers, electric organ, harmonium and voices in CRU magazine. Edited by La plaque tournante (alias Frédéric Acquaviva) in Berlin.
This album presents more than 20 years of concrete, electroacoustic and electronic compositions.
For JBF, this musical terms are not just simply a way to classify, but suggest that sounds themselves are equally important as the structure that supporting them in time.
LP Feeding tube records
Because we are heathens, we first heard about J-B Favory when we reissued Los Lichis’s incredible 2LP set, Dog (FTR 229). Favory was the one non-Mexican member of the ensemble, traveling once a year (or so) to collude with the insane artists of Los Lichis. Had we been less dim, we would have known Favory was an avant composer of note, having served as an assistant to Luc Ferrari and Gavin Bryars, before setting off on his own musique concrete path. He is also the co-host of the longest-running experimental music radio show, Epsilonia (on the anarchist Radio Libertaire), and a guy whose recordings are well loved by fanciers of the avant. That said, Favory has never had a solo LP (despite a number of CDs), so when he sent us some of his new work, we jumped on it.
Things Under is one of the most mesmerizing blends of guitar and electronics we’ve heard in years. Favory’s approach to strings ranges from the idyllic to something very much like the Machine Guitars of Remko Scha. The way he collages these sounds into electronics is spectacular. Often, in similarly intended projects, there’s a friction in the shift between guitar and electronics. The elements can feel like worlds apart. But not here. Like some of Manuel Gottsching’s best solo recordings, the two sonic globes meet without colliding. Their molecules and atoms just slip into and through each other. It’s a total gas. And often difficult to figure out whether a specific sonic event is generated by guitar or electronics.
Been listening to this for days and it still sounds a great and mysterious as it did when I first threw it on. A stone keeper.
Byron Coley, 2017
An exceptional musical meeting : The Circle for liberation of Sounds & Images + Thollem Mc Donas + Yochk’o Seffer (Ex Magma).
3 tapes box
A set of 3 tapes with my piece Bad tape nostalgia, L’enfance du mortel from Lionel Marchetti and a common studio work : Motor revers
Extract : Bad tape nostalgia
CD Entr’acte Records
"A series of compositions written for eight players
using digital synthesizers — part one finds all using
the same synth, seemingly each controlling a
separate parameter. It’s a tasteful slur of buzzing
oscillators, beating and modulating against one
another in a spacious stereo field. Part two is more
complicated, with each player controlling his/her
own synth, the patches changing more quickly,
and the piece’s narrative logic becomes hard to
follow. But skip through to the real gem, the third
part, where Favory’s own Max/MSP-programmed
synthesizers are replaced by virtual synths designed
to emulate acoustic instruments in the manner of
presets on a Casio keyboard. A wonderful auditory
trompe l’oeil occurs when what sound like flutes,
violins and cellos all hold impossibly sustained notes,
and play well out of the frequency ranges allowed
by physical instruments."
William Hutson - The Wire 2012
Extract : UNISONO I
CD Entr’acte Records
Under this title, 4 important pieces to me
Extract : Leyendas urbanas
I play Harmonium and synths in this Psychedelic Free-Rock group, and Zuble is our first trip...
Extrait : Plastic people will never die
Double CD 100.000 Années shared with Lionel Marchetti Monotype records
Without seeking to reproduce a realistic astronomical model, the piece proposes a quasi-organic vision of what in former times was named « the spheres » wherein the forces released by the movements of celestial bodies acted directly on humankind (...)
Massimo Ricci at "Touching extremes" :
(...)The second item is a 51-minute effort by Jean-Baptiste Favory: a less known but certainly not unworthy artist, and an opening meeting for yours truly. “Des Sphères” is a yang to Marchetti’s yin (or vice versa, according to fanciful points of view). This means that the sonic substance is calmer, inspiring visions of vastness while keeping the listener reasonably unperturbed. Slowly spreading textures dominated by low-range electronic frequencies swell across bubbling liquids and infinitesimal formations whose contribution to the overall scenario becomes appreciable only via headphone listening. With the passage of the minutes the picture changes slightly, introducing components of moderate interference and modulation of synthetic fonts, yet the initial semi-static foundation continues until the end. A connection with early Tangerine Dream – perhaps with a mild Jon Hassell fragrance at some point – would not look entirely out of place, the near-psychedelic fumes released by the simmering pot carrying our memory back of several decades. Ultimately, the lingering sensation is that of bathing in astral fluids, and feeling better after having cleansed the intellect. Appreciators of the most comforting milieus generated by Roland Kayn and Harley Gaber should have no problems in finding pleasure by tasting this.
An excellent double CD...
Extract : Des sphères
Recorded live in the Mexican desert, at night with Los Lichis (Gerardo Monsivais & Manuel Mathar).
Extract : Dulces nombres
Zona del Silencio
CD La muse en circuit
Recorded in the desert near Chichuahua, Mexico, The Silent-Zone is a strange area where animals and plants are subject to specialized studies. There’s also many meteors supposed whitch are supposed to modify the magnetic fileld of the area... There’s also a big silence, very close to the one you could find in an anechoïc chamber.
The desert as a recording studio!
Recorded in Mexico, Mixed at La Muse en circuit
Extract : Zona del silencio
CD Détonnants voyages
Commissioned by The BF15 and the Alliance Française in Monterrey, Mexico; this piece was coming with a video, made by Pierre jacob Colling. Between the desert and the American dream is the subtitle of this piece, whitch never stop confronting the sond elements of this city of 3 millions people, very close to the U.S frontier. Night-clubs roarings, insects chants, the listener should find his way... alone.
Recorded and mixed in Mexico. Concert in the Ominax dome in Monterrey.
Extract : Leyendas Urbanas