Ni maître, Ni marteau cover art

DeMEGO 015 / Thymolphthalein

Ni maître, Ni marteau

  • 1.1. Meta-Tingue (1:17)
  • 1.2. Soaked George (3:29)
  • 1.3. Off The Wall (3:22)
  • 1.4. Mosquito Squash (3:13)
  • 1.5. L.B.O.K (0:53)
  • 1.6. Streetcar Slugfuck (2:49)
  • 1.7. Ayala (3:28)
  • 2.1. Jean Psycho (3:10)
  • 2.2. Quince (3:04)
  • 2.3. Lips (2:17)
  • 2.4. Pierre Willy (4:25)
  • 2.5. Greatest Hits (2:53)
  • 2.6. Pim (4:04)

Digital:
Bandcamp

Natasha Anderson: contrabass recorder and electronics
Will Guthrie: percussion and electronics
Jérôme Noetinger: tape machines and electronics
Clayton Thomas: double bass and preparations
Anthony Pateras: prepared piano and analogue synthesizer

All music by Thymolphthalein, performed live at SWR2 New Jazz Meeting, Gare du Nord, Basel, 15th November, 2009

Cut at Dubplates & Mastering, Berlin, December 3rd, 2010. 45 rpm

Please note: Due to the extreme dynamic frequency range this record was cut at 45rpm at a lower level. PLAY LOUD!

Design by Shehab at Implant, Melbourne

A key ingredient in disappearing ink, THYMOLPHTHALEIN describes the working method of this brilliant French-Australian quintet

Leader Anthony Pateras conceived a detailed hour long structural premise for the group’s first tour in 2009, creating a masterful pastiche of richly dynamic, timbrally devastating explorations for electro-acoustic ensemble, melded by his own distinctive prepared piano and analogue electronics.

Natasha Anderson combines buzzing slabs of electro-acoustic sound with fractured acoustic gestures, sculpting exquisite perceptual explorations with recorders and electronics, producing a poetic and uncanny otherness.

Will Guthrie expertly fuses the drumkit with an array of homemade electro-acoustic devices to produce a fluid cataclysm of sonic richness, melded by his searing technical prowess and faultless ear.

Jérôme Noetinger is THE live concréte maestro, electro-acoustically manipulating his bandmates with expert timing and breathtaking invention, scrambling proceedings with the occasional ring-modulated depth charge.

Clayton Thomas’ thoughtful and virtuosic prepared double bass playing has taken Europe by storm since moving there from Sydney in 2007 – part groove cannon, part kinetic sculpture, all parts BAD bass skills.