Pascal Battus : rotating surfaces
Bertrand Gauguet : alto saxophone
Rodolphe Loubatière : snare drum

1. Acte 1 • 12:31
2. Acte 2 • 10:08
3. Acte 3 • 05:57
4. Acte 4 • 07:04
5. Acte 5 • 06:43
6. Acte 6 • 04:24
7. Acte 7 • 04:14

Total Time | 00:51.03

Recording by Christophe Hauser
At La Muse en Circuit, Alfortville, France 2017, October 11th

Editing by BG, RL, PB
Mixage by D’Incise, October and December, 2018
Mastering by Giuseppe Ielasi, January, 2019

Insub.rec.09 – 2020



Électroacoustique découpée en sept actes chirurgicaux de dernière innovation, utilisant les nouvelles technologies inventées pour entrer dans le corps de cette improvisation électroacoustique que l’on croit connaître, et qui parfois se fait ausculter pour la réveiller un peu, ici beaucoup. Une chirurgie vasculaire des canaux de l’impro, une chirurgie microscopique du sonore. Sept interventions aux manipulations délicates de l’art sonore du minimalisme, qui parvient à sonner tel une musique industrielle dès le deuxième acte, symbolisant à lui seul l’ensemble des intervalles, et s’approchant de la pièce « Nur zur errinerung » d’Einstürzende Neubauten (Silent is sexy, Mute records, 2000). La fin de l’acte, laisse même échapper un sax alto s’amplifiant comme une voix qui se plie de douleur. C’est le sax de Bertrand Gauguet qui joue de la sorte, qui ici retrouve son compagnon de chantier Pascal Battus avec ses pièces rotatives. Tous deux avaient avec Eric La Casa, travaillé sur un projet de musique in situ de chantier, dans les entrailles entre autres de la Cité de la Musique. J’y vois alors ici, un lien avec cette musique industrielle du fameux groupe allemand et sa musique à base d’outillages en tout genre. Si l’on retourne dans la salle d’opération, le geste y est pour quelque chose dans cette histoire d’acte chirurgical. A cet instant, nous revient bien sur l’image de Pascal et ses manipulations aux baguettes de précisions. Mais aussi aux auscultations du moindre son de la cymbale charleston sur son pied, par Rodolphe Loubatière, grand chirurgien lui aussi en la matière électroacoustique, au même titre que ses partenaires. Pas étonnant de trouver le bilan de ces opérations sur le label Insub records, grand spécialiste parmi d’autres dès improvisations minimales européennes.

Cyrille Lanoë, Revue & corrigée #124, 2020 June

This is improvised music with a strong link towards the electro-acoustics and together they cooked up some pretty intense music. Oddly enough it seems that the saxophone is the main instrument, but I came to think that it is perhaps the one instrument out of these three that we may recognize, no matter how minimal or microscopic it is played by Gauguet. Micro is the imperative word here for the music. It is almost as if these players want to explore a sound that is not moving or changing, sustaining tones with a millimetre of space to play around with. There is, I would think, quite some level of control here among these three players. It hisses, scrapes, scratching and blows, and while it remains pretty close together when it comes to the dynamic range, each of the players tries to leave their mark on the recording; a small gesture here or there that slips out. I can imagine this was a pretty intense recording session, as it all sounds pretty intense for the listener. Intense but I think it comes with the option to listen to it very intensely, using your concentration to grasp what’s going on, but on another rotation, without the same level of attention, I found that all of these sounds blended into perfect unison and became a wonderful set of electro-acoustic monochromes of subtle changing intensity.

Vital Weekly – FdW. Number 1233, week 2033, 2020 May.

The credits for Intervalles read like an all-star list of masters of the minimal and miniscule: Pascal Battus and Bertrand Gauguet, who have previously collaborated for the Chantier series with Éric La Casa, contribute “rotating surfaces” and alto saxophone, respectively; the mastering was handled by prolific sound artist engineer Giuseppe Ielasi; and the mixing and design for the ekopack CD was done by reductionist improviser and classical performer d’incise. The only name I don’t recognize is that of snare drum player Rodolphe Loubatière, who joins Battus and Gauguet to comprise NEF, but that is sure to change after hearing his brilliant work on this album. INSUB’s short description for Intervalles captures its essence well when it states that the trio’s performance is an “-almost- pure” abstraction of their chosen instruments. While all are vastly different devices, they converge in a unified harmony of spectral whir and hum extracted with masterful use of extended techniques, yet there are many times when it is clear which element is which—the metallic silhouettes of even Gauguet’s most elusive exhalations are often apparent, and Loubatière’s snare drum will sound familiar to anyone who’s ever messed around with a snare strainer (or listened to a Seijiro Murayama album)—but there are also many times where the music is a gloriously lush and ambiguous mess of indefinable sonorities. Like so many other examples of my most treasured documents of electroacoustic improvisation (Aut Discede, Cardtape Drafts, Is Music Invisible? Intervalles is both micro- and macroscopic, completely immersing one in a detailed sound-world that is somehow at once tactile and dimensionless.

Jack Davidson,, 2020/04/29