pierre gerard / discography
2017 // études
2014 // pierre gerard : in vivo; ipso facto; in camera, in esse (2 left)
2014 // pierre gerard : neutra # 1 (score for listening # 11)
pierre gerard : neutra # 2 (score for listening # 11)
2014 // pierre gerard : architect
2013 // sylvain chauveau, kogetsudai | lp, cd |
2012 // pierre gerard : to be a moon of saturn (sold out)
2012 // pierre gerard : principe d'incertitude (sold out)
2012 // various artists : iron (dragon's eye sixth anniversary)
2011 // shinkei + mise_en_scene : leftovers (reworked)
2011 // pierre gerard : ENVIRONMENT & gesture
pierre gerard : new sound works
2011 // pierre gerard and andy graydon : untitled, (magnetisms)
2010 // various artists : jason kahn, civyiu kkliu, richard garet, scott smallwood, alfredo costa monteiro, daniel blinkhorn, stefan thut, ben owen, toy.bizarre, gen ken montgomery, robert curgenven, manfred werder / incidental music, pierre gerard, giuseppe ielasi, ferran fages, tarab, sawako, tmm mulligan, gil sansón, lawrence english, gilles aubry, takefumi naoshima, asher, ben scott, barry chabala, ubeboet, dominic lash, andy graydon, alessandro bosetti, greg davis, matt marble, andrew hayleck, seth cluett, phil julian and gill arno :
2010 // pierre gerard : perspective, en cherchant le chevreuil (to gus van sant)
pierre gerard : in vivo; ipso facto;
'ipso facto' composed (2014) with a set, performed & recorded during a residence to q-o2 (march
contact : maiso-med[at]mail.be
€12.00 (shipping included)
to be a moon of saturn 2012 (sold out)
piano and private architectural space
press : cut and run (vehscle) 30/12/2012
principe d'incertitude 2012 (sold out)
the uncertainty of the sound movement in the landscape ..
press : scrapyard forecast (adrian) 19/07/2012
pierre gerard / press
2012 // pierre gerard : to be a moon of saturn
pierre gerard : to be a moon of saturn
30 December 2012
vehscle > cut and run
2012 // pierre gerard : principe d'incertitude
pierre gerard : principe d'incertitude
One of my favourite contemporary musicians returns with a beautifully hand-crafted self release that's criminally limited to 21 copies. I was lucky enough to be graced with one, and like other exquisite albums I've showcased in the past, Principe D'incertitude is a perfect example of what the Scrapyard Forecast has always been about: exceptional care and quality in sound composition and presentation.
adrian dziewanski > scrapyard forecast
2011 // pierre gerard : ENVIRONMENT & gesture
pierre gerard : ENVIRONMENT & gesture
Bien sûr, Pierre Gérard utilise des fields recordings pour composer. Mais il tient surtout à se faire une place dans son environnement, d'en être une partie sonnante. Avec des objets ou des instruments, il accompagne des gouttes d'eau qui tombent, des chiens qui aboient, des bruits de transports… La technique de Gérard est empirique et sa musique cache parfois des petits trésors, en plus de donner des preuves de sa présence au monde.
rodolphe alexis > le son du grizli
Pierre Gerard and Andy Graydon's tape release from earlier this year saw a long distance sound exchange deploying themes of polarity and homeward migration. Gerard's take on the themes saw an ultra-minimalist approach – as he often deploys – that resulted in a nice piece of hushed concrete-drone music. As minimal as that piece was, it sounded tumultuous in comparison to ENVIRONMENT & gesture.
adrian dziewanski > scrapyard forecast
Pierre Gerard is a master of the barely there brand of minimalism and a firm favourite here at Wonderful Wooden Reasons. His music is a perfect example of a truly ambient soundworld. His, often seemingly commonplace, sounds are so delicately positioned that it's all too easy to forget that there is a seedee playing and to thoroughly believe that these sounds are part of your immediate everyday environment.
10 November 2011
ian > wonderful wooden reasons
Belgian sound artist works with objects and electronic devices. He has been active since 2007 releasing CD-R's, CD's and a cassette for the imprints White Line Editions, Koyuki, Dragon's Eye Recordings and 3Leases, among others.
El artista sonoro belga trabaja con objetos y dispositivos electrónicos. Ha estado activo desde 2007 editando CD-R's, CD's y un casete para los sellos White Line Editions, Koyuki, Dragon's Eye Recordings y 3Leases, entre otros.
domingo, 13 noviembre 2011
guillermo escudero > loop
ENVIRONMENT and Gesture (3LEAVES 3L009) is the new release from Pierre Gerard , a Frenchman who is making a form of very gentle intervention in our daily surroundings with his near-imperceptible sonic actions, a strategy which to some extent aligns him with Jeph Jerman. His two main objectives are (a) to produce improvisations using common objects, not in the sense that he “dominates” the object like an imperialist invader seizing handfuls of sand, but rather to arrive at an integrated and harmonious situation where man and nature are brought one step closer to happy co-existence. As to (b), this concerns the more metaphysical ambition where he hopes his work will have an effect on time itself, causing a “soft impression” on the listener such that time starts to slide past in a more gentle and manageable manner, presumably a welcome antidote to the pressures of modern urban life where time has been sliced and parcelled into rigid divisions that suit the capitalist agenda. Gerard attempts the above by situating himself in a determinedly rural setting (water, stone and air are his materials) and creating gentle sounds which may involve dropping stones into a pond or engaging with a stream of water in some sympathetic way. The long 20-minute track contains such sounds occurring in sproadic intervals with lots of silence, and it feels isolated, stark, minimal beyond belief. However by the end of the album the external sounds of the environment also begin to appear, and help to put the work into context. I have reproduced the exact typographical rendering of the title of this release, which clearly stresses the element which Gerard regards as the more important of the two in his symbiotic relationship.
november 5, 2011
ed pinsent > the sound projector
In the moment when silence and its weak ruptures become unbearable for a man to sustain, a music based on those very characteristics is equally problematic. When an artist works with micro-elements such as Belgian Pierre Gerard, the challenge is that of pushing a listener to find new implications within acoustic milieus exploited to the bone. ENVIRONMENT & Gesture is a three-part piece whose linearity is somewhat displacing; even more puzzling is the positive reaction of this reviewer in front of natural components – mostly water and faraway environmental whispers, with the addition of an unspecified “instrument” – that have been used thousands of times before by other practitioners of the same area, with increasingly ho-hum results. However, I have come to trust Gerard pretty much throughout the recent past. His method cancels the ego completely, privileging the macrocosmic aspects of an introspective solitude. Accordingly, the work manages to involve to a point of complete participation “inside” the rarefied messages coming from the speakers. Despite the absence of surprises, this record is characterized by a wealth of recondite signals – wrapped in an awful lot of implicit meanings – transforming the hush that follows the end of the album into a deafening dearth of questions, as if all what we needed to know was already printed somewhere in the countryside's scents.
september 27, 2011
massimo ricci > touching extremes
After a couple of CDRs and download only releases, Pierre Gerard now moves into releasing his first real CD, thanks to the advantages some pressing plants offer to do smaller editions. This one is limited to 250 copies. Gerard is a computer musician of the more minimal kind - perhaps: the most minimal kind. He has three pieces here, all improvisations of which he says "i would like to improvise with the most minimal element, which shares our everyday life each minute when we are there. this improvisation does come in a domination of the one on the other, but in an integration. hoping that the sound which I produce would have been able to be without my participation". I left in the lowercase, so that you have an idea. The english could have used some work (but then: usually mine too), but its clear: Gerard works with a limited amount of sound. Objects in the first piece, and instruments in the second and third piece. The 'objects' are the drips of water, perhaps on a small variety of surfaces. Instruments are even harder to define here. In the third piece - the 'fullest' sound-wise - we hear also rain and/or static hiss and the water is now in a constant downfall, which started out in the second piece, but then its very hard to recognize many instruments at all. Quite a strange release, quite conceptual I think and also at the same time quite a beautiful release, very contemplative. Play loud or play soft - this is very much grounded in the work of microsound, and perhaps as such as not the most original one, but it's all done with great care. (FdW)
frans de waard > vital weekly (number 798)
_ guetteur _
wood, leather, glass, felt, cylindrical cardboard box (2014)
_ patience _
wood, empty thread spools (2013)