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In Aeternam Vale's videos
Etkilendikleri
meat puppets, flying lizards, punishment of luxury, devo, the normal, T.G., haute tension, yello, borghesia,
B52's, the residents, art of noise, the KLF, kraftwerk, basic channel, kat onoma, suicide, toy dolls, sigue sigue sputnik, donna summer, lassigue bendthaus, bronski beat, sex pistols, stereonerds.
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Troisième festival Fraction Studio (1984) K7
P. 1984 Fraction Studio France
In Aeternam Vale a été formé fin 1983 par Laurent Prot (synthés, bandes, électronique, chant) et Pascal Aubert (chant, bidouillages K7).
Une première mouture du groupe avait existé dès 1982 sous une forme plus étendue mais plus éphémère avec 4 membres, un chanteur violoniste: François, un batteur: Nicolas Bidaud, un guitariste: Georges et un bassiste: Laurent Prot (eh oui !).
Cette première formation d'In Aeternam Vale était vouée l'échec les différents membres du groupe ayant une approche de la musique assez antinomique: françois: new wave mode, georges: post punk, batteur: punk, laurent: electro bruitiste.
Cependant sous cette forme In Aeternam Vale fit la première partie d'Alien Sex Fiend au west side à Lyon et un des premier festival de musique électronique a Trieste (10100111) durant l'été 1983.
A partir de 1984 fini les groupes et les répétitions, tout se passe dorénavant a la maison entre Laurent et Pascal et avec tous ceux et celles qui s'invitent à la fête.
Une des premières à s'inviter de manière suivie fut Anne Balme (cris et vocalises) jusqu'en 1986, puis Chrystelle Marin vint prendre sa place comme prêtresse pré gothique dans certaines sessions chantées.
Depuis cette date et jusqu’en 1990 la production de In Aeternam Vale sera réalisée entre les 4 murs de l'appartement de Laurent cours Vitton a Lyon.
In Aeternam Vale bien que ce ne fut pas sa vocation première fut actif dans le "mail art" pré internet et réalisa pour le compte de son label: Garde Au Sol Production quelques compilations sur support K7, et participa surtout au travers du réseau "mail art" à de nombreuses compilations et "multi productions".
Le seul concept moteur a l'époque est de jouer et d'enregistrer ce qui est joué, certes composer ou écrire si nécessaire, mais l'instinct, les émotions, les sensations naturelles ou provoquées, l'impression générale, les humeurs mortelles, sombres ou légères seront figées dans l'instant et à jamais sur la bande magnétique comme un message dont on ne connaît pas l'alphabet et qui sera décodé plus tard.
La logique est bien d'aller à l'encontre des codes musicaux établis, rien ne sera construit si ce n'est dans l'instant, pas question de répéter quoi que ce soit tout ce qui sera enregistre sera termine et aura donc une existence propre au caractère unique.
Il faut aussi démontrer que seule la spontanéité compte avec l'éxcitation qu'elle suscite et que la création musicale réfléchie ne présente pas d'intérêt.
La seule existence possible pour un morceau d’In Aeternam Vale c'est d'avoir un début et une fin,
Ce qui est fait n'est plus à faire.
In Aeternam Vale joue l’instant, calé au présent, le futur n'existe pas, et le passé est sur k7.
C'est de cette radicalisation de l'approche du processus compositionnel que sont nés la totalité des productions de in aeternam vale entre 1983 et 1990.
La production sonore est donc très éclectique et se ballade entre des morceaux bruitistes ultra violents et des séquences minimales obsédantes
martelées par des rythmiques plombantes ou les paroles si il y en a sont égrenées comme des mantras quand elles se synchronisent avec la musique.
Certains morceaux seront éclairés et s'imposeront comme une évidence d'autre seront des naufrages ou même l'auditeur risque de sombrer à chaque note.
On peu dire que In Aeternam Vale est moins une formation revendiquant quelque concept musical qu'une expression du temps qui passe au moment ou il passe, seul l'instant compte et les sons remplissent la bande magnétique comme la peinture s'étale sur la toile, le résultat ne peut être prédit à l’avance.
Ainsi donc des kilomètres de bandes furent remplis, on peut estimer encore aujourd'hui que seule une fraction d'entre elles furent produites ou compilées car tout ce qui fut joué fut enregistré.
Les quelques concerts fait par In Aeternam Vale a l'époque procèdent de la même logique, seules les bandes et K7 servent de support de base,
La plupart du temps rien n'est prémédité à l'avance et tout est mis en place sur scène en temps réel le morceau suivant étant programmé à la suite ou pendant le précèdent, pas de mise en scène.
In Aeternam Vale V.0 82 83 Laurent Prot, Nicolas Bidaud, François, Georges.
In Aeternam Vale V.1 84 85 Laurent Prot, Pascal Aubert, Anne Balme.
In Aeternam Vale V.3 depuis 90 Laurent Prot, Philippe Tona.
DOUCHE FROIDE MAGAZINE 2 [June 2002]
"There are bands that have been acting ruthlessly in the shadow for years, in a completely confidential manner, then one day chance (but does chance exist ?) makes you find one of their recordings, listen to it, and at that moment you could kick yourself for not having discovered these soundscapes earlier and you try to find all of them.
That is exactly what happened to me with In Aeternam Vale, a strange name that will surely remind you of nothing in particular, and that is really a shame.
At the basis of this band, a guy named Laurent Prot, a kind of equivalent to what Frank Tovey represented in England or Dirk Ivens in Belgium, an electronics fanatic who experimented all the sounds that you can obtain from analogical synthesizers and rhythm..n boxes.
ith the passing of time, In Aeternam Vale..s work remains astonishingly powerful, cold and caustic with its uncompromising minimalism, but also provocative and capable to smash your ass on the dance-floor.
In Aeternam Vale was created in Lyon (France) in 1983 and is very much influenced at the beginning by punk-rock nihilism and aggressiveness. In these years, there were a guitar-player and also a bassist but, from 1985 onwards, Laurent Prot starts to lead the band alone with some collaborators appearing punctually. That same year, the "Far" tape comes out in a very limited edition, and let me tell you that even listening to it today is a real slap in the face. It begins with an incredible cover-version of PIL..s "The Suit", appearing on the famous 1979 "Metal Box". The rhythm is hard and robotic in the Kraftwerk style, the synthesizer sounds like an obsession, the notes appear in dribs and drabs, and the singing is terribly haunting, a threatening and nasal groan.
A dehumanized universe closer to neurosis than to the electronic grandiloquence so prevalent in the music of the eighties. An unwholesome and claustrophobic world such as the litanies of a Monte Cazzaza who would have made music with just a keyboard.
The tape goes on with the song "Dans le Métro" in which the words of the title are repeated during almost ten minutes until it becomes only a cry of pain on a rhythm that foreshadows the Electro Body Music and perhaps even more the sound of Le Syndicat Electronique..s first songs. However, if IAV..s universe is quite nightmarish, even suffocating (the song "Holocauste" possesses an unbelievable violence, very close to industrial music), a below-the-surface humour is omnipresent, because Laurent Prot is also a ferocious and cynical satirist, a little bit like a Jean-Louis Costes who would have listened to too many new wave songs. Nevertheless, through titles such as "Sailor on the Sea" or "Voyage pour Violon Atmospherik", Prot proves that he can create melancholy, psychedelic and dreamlike atmospheres.
The following tape, "Première Rétrorythmie Cardiaque" (1986) announces the beginning of a long collaboration with Organic, a very good label from Grenoble (they signed Palo Alto or Klimperei among others .
The songs are shorter and much "easier" to listen to and represent a kind of sublimation of what was initiated in the "Far" tape. The song "Al W." can be seen as a real apogee in Prot..s career, the singing becomes an everlasting sob, no need for words any more. No vowels or consonants are detectable, and the voice sinks into a bloodless complaint but not really desperate. It is as if we had lost the war, we were among debris and dead bodies, but it doesn..t matter. There is this kind of acceptance of disillusion as a natural state. This feeling is emphasized by the sound of solemn and dim organs as inspired by a John Carpenter movie. The jerky and lively rhythm makes this title one of the best "cold wave" songs, a tragic hit to dance on despair. The overall tonality of the tape is quite experimental and moves from harsh and painful titles ("Haine") to much more peaceful atmospheres ("M-7") or to fierce and restless songs reminiscent of the early DAF ("La Lune Explose").
Even further, even stronger, the "Dub" tape (1988) turns IAV..s minimalism into a sonorous nightmare. It is at least the case in the first songs of the tape. There only remain shouts, a warlike rhythm..n box and no longer any sign of melody.
Prot starts to use the sampling, opening his music to new horizons closer to industrial music than to techno-pop. The second part of the tape is more sophisticated, we no longer feel the punk-rock spectrum, and explores slow rhythms sometimes similar to the New Beat of the time, but still very cold, not reassuring but playful.
The two following tapes, "Recovered Flesh" (1989) and "Out of Terror" (1989) are in this same research for a music to dance to but very dark. There are even titles close to what we can call "dark ambient" ("She Said"), nightmarish soundscapes foreshadowing the Cold Meat Industry style, but the essential things to remember from this period are the collaborations with the female singer Chrystelle Marin and her astonishing voice recalling nocturnal goddesses such as the early Siouxsie or the sensual Mona Soyoc from Kas Product.
Laurent Prot went on recording tapes in the 1990..s, going from transe-techno to ambient and now to minimal house music, still a lot of analogical sounds.
Personally, I refused to listen to these recordings for a simple reason, I know that I am not going to find all the restrained violence, the caustic aspect, desperately dark and "cheap" of the early IAV. Laurent Prot told me that it was a difficult and painful time, that explains this visceral relationship to not only his music but also, I would add, to the listening of it. In Aeternam Vale, it is an emotional language which often shows the urgency behind it. Feelings in the rough. "
English people and their gardens! lol its true we do love them up a bit too mcuh hahaa. check out this english drumand base tune, lol. this is how we sound, ahaha
A man went to see his doctor because he was suffering from a miserable cold. His doctor prescribed some pills, but they didn't help. On his next visit the doctor gave him a shot, but that didn't do any good. On his third visit the doctor told the man, "Go home and take a hot bath. As soon as you finish bathing throw open all the windows and stand in the draft." "But doc," protested the patient, "if I do that, I'll get pneumonia." "I know," said the doctor, "I can cure pneumonia."
Oh no! People are already dancing behind bars.....
i saw no robots throwing peanuts though!
I find the history of computing and digital media really fascinating - i too liked the way that you could tell who would succeed in the early days just by the clothes they were wearing!!
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