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AETHERLONE

AETHERLONE Radio

General Info

  • Genre: Minimalist / Post punk

    Location leaned on a bar, Paris, Un

    Profile Views: 42584

    Last Login: 2/22/2013

    Member Since 3/14/2006

    Website www.aetherlone.com

    Record Label BLAST First (petite)

    Type of Label Indie

  • Bio

    If you want to contact me for business purpose, please do it via: Olivier Durand (aka Olo) nacopajaz (at) gmail.com +33 (0)6 08 18 03 04 . But if you just want to buy me a drink, please drop me directly a message

  • Members

    Sebastian Müller-Thür, Nicolas Moulin, Romain Rongier, JB Dchr, Jean-Charles Versari

  • Influences

    John Coltrane, Alain Bashung, Liars, The Angels of Light, Talk Talk, Wire, Supreme Dicks, Georges Didi-Huberman, DJ Premier, Mark Hollis, Robert Wyatt, Autechre, Philip Glass, Can, Show & AG, Richard Serra, Burt Bacharach, The Cure, Sonic Youth, György Ligeti, RZA, Brian Eno, Company Flow, Donald Judd, The Black Heart Procession, The Beach Boys, Ashtray Service, J-Live, GZA, Arvo Pärt, Sun Ra, Guiseppe Penone, Method Man, Neil Young, Radiohead, PJ Harvey, Mina May, Hood, Arab Strap.

  • Sounds Like

    No Money

Bio

Aetherlone is the project and the work of a sole musician who is everything but a newcomer. It is the culmination of a musical journey undertaken by a young multi-instrumentalist and sound engineer from Paris, which took him through several stages of experimentation and as many breakthroughs, which Aetherlone both mirrors and bears witness to.
Mixing musical genres and inspirations was the flavor of the day when he first appeared on the thriving Parisian scene as a member of the influential Hotel Ephemere squat in the mid 90s,. At a time when Bristol, the city where bands like Portishead, Tricky or Massive Attack were defining the future of music, was the place to be, he started honing his craft as a DJ, producer and arranger in several outfits. It gave him the opportunity to let his skills at turntablism and sampling shine through, driven by the same essential urge: “to write (the) music’

Realizing that writing and making a ‘music that was drawing from all kind of influences’ was slightly too comfortable and not altogeher satisfactory, he took to defining the outlines of his own musical world. In this world, his education as a plastician, his taste for minimalistic art (that of such artists as Richard Serra, Donald Judd or Barnett Newman) was to suffuse a vision of a music inherited from and paying tribute to Free Jazz and John Coltrane, British New Wave as played by such acts as Talk Talk and their mastermind, singer-songwriter Mark Hollis, and also rooted in Sonic Youth’s noisy art rock.and Arvo Part’s Tabula Rasa.

After having seized all opportunities to perform live with several line ups in such prestigious and influential venues as The Divan Du Monde, the Espace Confluences, Glaz’Art or the Flèche d’or, he dedicated himself to shaping a musical language that he could claim his very own. In the very early 2000s, the multi-instrumentalist started playing under the Aether monicker, with many guest musicians and singers that helped him to bring even more variety and depth to the musical language he had been crafting and perfecting on his own. His yearning for a stripped-to-the-bone songwriting was already blatant in his carefully-wrought sonic experiments which deftly interwove ambient music and electronic beats. Upon listening, one is caught in an estatic maze-like world of futuristic keyboards, ominous Jamaican bass lines, whispering voices and lyrical vocal outbursts. Aether’s first LP, the soberly-named Se Perdre: Contre, recorded with the help of a few fellow musicians, was self-released in 2005 on his own label, Ethylen record which he had created in 2002.

He spent most of 2006 in recording studios, producing and sound engineering for many other up and coming outfits such as Mina May. He took advantage of his work behind the mixing desk to ponder over and outline the boundaries of his own approach to performing and writing songs. His music was bound to stem from his craving for independence as well as from his refusal to give in to any kind of fashion. He then took some time off the music scene for two years, meanwhile working on his own, and perfecting the songs of his new project, which was now called Aetherlone. His new sound reflects a slight change of focus on the universe he had already carefully shape, and gives a whole new significance to his voice: it has now become the center of gravitas in a world of shifting sounds. The listener is caught in an ever-changing whirlpool of layers of melodies subtly building up as the songs gather momentum, in tracks reminiscent of Philip Glass’s serial music or of Autechre.

And yet, his work is now less IDM-orientated than it used to be, most of the tracks being based on mesmerizing and meandering accoustic and electric guitar parts (as in “Here and Now”) on spare piano lines (as in “Carnival”) or on some warbly and far-off keyboard flourishes (“The Unemployed Soulhunter”). But it’s the singer’s heartfelt, lamenting and deeply-affecting vocals that make each song such a subtle and exquisite gem. They are the backbone of a songwriting which ventures into hazy, dream-like electronica as well as into the lands of a radiant, out-of-time and trance-inducing acid folk which owes as much to Robert Wyatt as to Michael Gira.

At long last, this twilight-like soundscape of melodic echoes and serpentine reflections is to be issued on an album, recorded with the help of Jean Charles Versari (of Les Hurleurs’ and Jason Edwards’ fame) and which is to be released by Nacopajaz records at the end of the year.

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