Eroteme’s bank holiday contribution features the improvised concrete interjections of Revox B77 maestro Jérôme Noetinger & the thizzing vocal processing and aerosolised electronics of acclaimed newcomer Lucy Duncombe in collaboration with Soft Tissue’s Feronia Wennborg.

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Jérôme Noetinger

Jérôme (1966) 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.

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Lucy Duncombe & Feronia Wennborg

Lucy Duncombe and Feronia Wennborg are artists and composers working together on an ever-morphing project which explores voice-based technologies as a starting point for performance and music. They work collaboratively through methods of writing, vocal processing, cloning, transcription, and composition to create intimate, tactile sonic experiences set within fictional frameworks.

Exquisite works for voice and aerosolised electronics by acclaimed newcomer Lucy Duncombe in collaboration with Soft Tissue’s Feronia Wennborg,

‘Leave Them All Behind’ portrays a vivid contrast of styles with a shared, experimental bent, realised by Lucy Duncombe, whose self-released tape ‘The Rapture of Cellular Accretion’ and 10” for 12th Isle were some of 2022’s finest, made in collabortaion with Soft Tissue’s Feronia Wennborg on the first five tracks, plus two final pieces by Kelley Sheehan, who makes her first moves beyond the US electro-acoustic and academic circles.

Both parts are captivating in their own rights, but we’re most snagged on Lucy and Feronia’s work here , which drifts from thizzing vocal processing to ambient fantasy via parts of hyperreal, tongue-tip choral rearrangement and dynamic electro-acoustics, before Sheehan addresses more fundamentally odd and ambiguous avant-garde structures.