Jazz Headed

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“Antoine Letellier (sax, guitare)
Nicolas Moulin (guitare)
Guillaume Arbonville (batterie)
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Kentaro Suzuki (contrebasse)
Sfumatto Di Barj(o) (voix)
Duende Main Noire (sax baryton amplifié, percussions)

Recorded live at ”Studio du Splendid”, 19 november 2007, Paris.
Sound engineer: François Baurin.”

The Parisian trio with experiments based on guitar drones and percussive drums expands here to a sextet, introducing in its textural frescoes the double bass of Kentaro SUZUKI, the voice of Sfumatto Di BARJ (O) and the electric baritone sax, percussion and samples of Duende MAIN NOIRE. The title of the album, Jazz Headed, seems to announce the program, and the use of brass and double bass seem to lend credence to this orientation towards a more deliberately jazz-tinted form (free as to do). The rhythmic double bass / drums on the introduction of the first song is confounding, but very quickly the drugged guitars remind us that LENA CIRCUS has not abandoned her characteristic universe; He just deployed the projections and densified the volumes and volutes.
In this context, the voices, sampled or direct, as well as the squeaks and whines of tenor and baritone sax increase the spectral and shamanic dimension of the sound spaces in permanent anamorphisms of LENA CIRCUS. The multiplication of timbres guarantees an ever more undulating circulation of the forces involved, elaborating moving and moiré canvases, real follet lights propelled by constantly changing grooves. Whether it generates fluffy climates (The Walk, part one), more vigorous impulses (Smegma, Jazz Headed) and bubbling horizons (The Walk part two, I spoke to the doctor), the music of this “augmented” LENA CIRCUS cultivates a paradoxical spectrality where the slightest fleeting “appearance/intervention” is spread, projected, reoriented in a sequence of events animating a sub-astral context that is both fluid and viscous.
At LENA CIRCUS, chaotic floats, ambient tilts and nuclear micro-explosions rub shoulders, touch and telescope without sinking into stereotypical brutality to trace sensually stormy movements. If jazz is a question, as “headed” as it is, it is less cerebral than tactile, physical, pulsative…