US ($14, includes shipping): OUT OF PRINT


International ($17, includes shipping): OUT OF PRINT



«ILHAS» is a limited edition of 50 archival CD-R’s presenting two realizations of a score composed by Swiss-based experimentalist d’incise—the first performed by d’incise himself, and the second by Hannes Lingens and Jamie Drouin—as well as a series of 38 combinations of frequencies (“chords”), based on the 22 tones of the shruti scale, that are used as an activator for prepared snare drums. These chords constitute an “audio score” and allow a performer to generate new versions of the piece, using unique materials to interact and interfere with the frequencies. Each copy of «ILHAS» is accompanied by a limited-edition linocut print by Seonaid Valiant.



 There are 38 chords, each separated by 4 seconds of silence. Each chord is a multiple of 10 seconds in duration (e.g., 10 seconds, 20 seconds, 30 seconds, and so on). The sequence of the chords is fixed, but the durations assigned to each chord can be varied for each performance, such that the total duration, included the chords and intervening silences, is 20 minutes. Each drum is prepared with a few lightweight materials (e.g., aluminum, paper, cardboard, or plastic, such as those used in the packaging of this record). The preparations should be different for each drum.

The series of frequencies should be played through a medium-sized, handheld loudspeaker, one for each performer, with each speaker playing the same mono sound file. Each performer holds a speaker just above or against the skin of the snare drum. Performers are encouraged to search for subtle vibrations and timbres and to adjust the tuning of the drum as needed by applying pressure to the skin. The drum preparations can be modified during performance; however, such adjustments should be made sparingly. The intention is to avoid regular rhythms or frequent and obvious changes within each event. The piece should be played pianissimo.

Attention should be given, not simply to vibrating the objects on the drum, but also to using the drum as a resonator to inflect and reveal the chords. The chords sometimes contain relatively low frequencies, which I feel can work too well in generating vibrations and obscure the higher frequencies. In my own approach to performing the piece, I therefore tried to mute the drum skin in to draw out the upper frequencies of the chord. This kind of internal contradiction in the piece, in which the performer has to struggle to control an unpredictable system, is interesting to me.

Recorded versions of the piece and live performances should be considered equally valid realizations. In the event of a recorded version, multiple tracks can be layered."



1. ILHAS (d’incise) [21:16]
2. ILHAS (Lingens/Drouin) [21:16]
 ILHAS (chords) [20:00]



















d’incise is an electroacoustic musician, improviser, and composer whose works range from electronica to musique concrete. His works have largely focused on the generation and manipulation of acoustic sound sources and objects; frequently incorporate feedback, glitches, and other “errors;” and are often characterized by an attention to minute detail and the slow, obsessive exploration of simple processes. He coordinates the Insubordinates netlabel, dedicated to improvised music, and was an active participant in the Audioactivity collective and netlabel.


Hannes Lingens is a drummer and accordionist active in the field of contemporary and experimental music. He lives in Berlin, where he is part of the ensembles Obliq, Konzert Minimal, [ro], and Die Hochstapler. In each of these groups, he focuses on open form and democratic music making in its various shapes. In addition, he has worked with improvisors like Tetuzi Akiyama, Christof Kurzmann, Olaf Rupp, Alexander Frangenheim, and many more. As an interpreter he has collaborated with composers Peter Ablinger, Antoine Beuger, Philip Corner, Sven-Åke Johansson, Christian Kesten and Manfred Werder among others.


Jamie Drouin (b.1970, Canadian) is Berlin-based sound artist who explores landscapes in transition due to the effects of climate change and the influence of electronic noise pollution on the environment. Through installations and recordings, Drouin creates a detailed sonic experience of the complex interactions of sounds which define ‘place’ whether they are of the natural world or the residue of technology. Drouin’s work has been featured at numerous international venues, including the Biennial of the Americas (Denver), Mutek (Montreal), TodaysArt (The Hague), Decibel Festival (Seattle), Montréal Museum of Contemporary Art (Montreal), Henry Art Gallery (Seattle), Communikey (Boulder), La Société de Curiosités (Paris), and General Public (Berlin). His recorded works have been published through Caduc, con-V, Oral, Rhizome_s, Dragon’s Eye Recordings, Mutek_Rec, Rope Swing Cities, and Infrequency Editions. He has collaborated with several international artists including recent projects with Konzert Minimal, Lucio Capece, Johnny Chang, Mike Majkowski, Crys Cole, Olaf Hochherz, Hannes Lingens, Seiji Morimoto, Lance Austin Olsen, Mathieu Ruhlmann, and Sabine Vogel. Jamie Drouin is also the co-founder/curator of Infrequency Editions.


External links: d’incise (official site); Hannes Lingens (official site); Jamie Drouin (official site)