TTW#124 – Jérôme Noetinger and Liz Rácz – Revox, Paper, Scissors
Cassette only – limited edition of 100 copies
Buy on Bandcamp
A: Part I
B: Part II
Jérôme Noetinger: Revox B77 reel-to-reel tape recorder. Liz Rácz: paper, pencil. Edited from recordings made during performances in Melbourne, February 2017 and Poitiers, September 2017. Inscribing of sound and drawing. The act of inscribing is the raw material. The inscription is transformed on a loop of magnetic tape. Illustration: Liz Rácz.
Using a singular repetitive gesture, Liz Rácz draws on a 10 metre-long roll of paper that she gradually unfurls, revealing a mass of regular strokes. Jérôme Noetinger records this gesture on magnetic tape, capturing, repeating, and transforming it. An auscultation of detail in a magnetic tape loop continuum.
Jérôme Noetinger is a composer, improviser and sound artist who works with electroacoustic devices such as the Revox B77 reel-to-reel tape recorder and magnetic tape, analogue synthesisers, mixing desks, speakers, microphones, various electronic household/everyday objects and home-made electronica. He performs both solo and in ensembles (Cellule d’Intervention Metamkine, Le Un, Hrundi Bakshi, Les Sirènes, Proton…), and collaborates often (Sophie Agnel, Lionel Marchetti, Aude Romary, Angelica Castello, Antoine Chessex, Anthony Pateras, Anne-Laure Pigache…). From 1987 to 2018, he was the director of Metamkine, a non-profit organisation dedicated to the distribution of improvised and electroacoustic music. Between 1987 and 2014 Jérôme was a member of the editorial committee of the quarterly journal of contemporary sound, poetry and performance, Revue & Corrigée. For ten years from 1989, he was a member and programming co-ordinator of exhibitions, gigs, and experimental cinema at le 102 rue d'Alembert, Grenoble.
Originally from Melbourne, Australia, now based in the Grenoble region in France since 2009, Liz Rácz is an artist working across different media: installation, drawing, printmaking, painting, writing, comics, and performance. She interrogates perception, repetition, mise en abyme, gesture and translation, feedback and language modes through such works as “La Persistence Reptilienne” (2017) which is based on principles of pre-cinema optical toys, but animated by stroboscopic light; or project-in-progress “Drawchestra” (2019), a participative and auditive drawing event using home-made electronics and contact mics; and, in collaboration with Richard B., “Furcsañata” (2018), a noise performance smashable sculpture, filled with adult-themed goodies. She is the vocalist in the punk group Plaine Crasse since 2018 and is also in the collective that organises gigs, Archipel Urbain, at le 102, Grenoble.
Reviews
Bleep (UK):
Only The Tapeworm could release something like “Revox, Paper, Scissors”. Recorded across two 2017 concerts, “Revox, Paper, Scissors” was made by Liz Rácz transcribing with paper and pencil and these transcriptions being manipulated, in real time and via a reel-to-reel tape recorder, by Jérôme Noetinger. What emerges is a strange sonic poetry akin to Karlheinz Stockhausen’s most celebrated work. This one is a testament to the vision of both the label and the artists.
