Carol Robinson – composition, text, bass clarinet
Serge Teyssot-Gay – electric guitar

Christophe Hauser – recording, mixing & mastering
Charles Bascou – computer sound design
Ivana Boris – cover photo

Accueil en résidence et enregistrement au GMEM — Centre national de création musicale (Marseille)

Just released !! Stop Killing Us is a totally unclassifiable hybridization of contemporary music and rock,  where the sounds of bass clarinet and electric guitar are intertwined by live electronics. Carol Robinson’s strangely beautiful words add an extra dimension. This essential recording transports us into a world personal and pertinent fantasy.

Available in stores and on Bandcamp. https://carol-robinson.bandcamp.com/album/stop-killing-us

Thanks to director Szuhwa Wu, Ensemble POTE premiered L’illusion des étangs II (2024) 14′ – (2 flutes, clarinet, 2 cellos, violin, double bass and glockenspiel) at the very cool POTE Festival in Besançon. These musicians are really great!

There is a new Radigue & Robinson work in the making, OCCAM DELTA XXIII for baritone sax, trombone, and percussion played by the fabulous Erik-Jan de With, Anton van Houten and Joey Marjis from Ensemble Klang. The premiere will be at Wigmore Hall in London, January 2025. What a pleasure to work with them again.

Recently, several people have performed the original version of  Le fond de l’air. This piece, for flute and electronics, dedicated to Clara Novakova, was the inception of my cycle The Weather Pieces. I particularly liked how the Brazilian / American flutist Thomaz Tavares played it. Here is a video of his performance.

https://www.youtube.com/watch?v=QJuR1cf328Q

Saxophonist Violaine Gestalder has just released a CD with works by Fabien Cali, Hélène Breschand and myself. She plays the soprano sax version of my Le fond de l’air beautifully.

http://www.creativesourcesrec.com/catalog/catalog_816.html

“This piece can be played by a flute or soprano sax, with electronics that envelope it very gently and suggest a sense of suspended time, lush with fluctuating timbres and phantom melodies. The ethereal sax drone, Gestalder’s tender voice and subtle electronics create an elusive, layered reality where the inner thoughts of Gestalder correspond with the outside reality in an expression that is as captivating as it is ephemeral.” Eyal Hareuveni

Thanks to director Sebastiano d’Ayala Valva and the Südwestrundfunk, there is now a probing documentary called Stehende Wellen  about how Occan Océan Cinquanta was made for the Donaueshinger Musiktage. The  SWR orchestra musicians were fine partners.

https://www.ardmediathek.de/video/kulturmatinee/stehende-wellen-radigue-robinson-occam-ocean-cinquanta/swr/Y3JpZDovL3N3ci5kZS9hZXgvbzE5OTA0MTE

“The highlight of the opening concert was the collaboration between the American composer Carol Robinson and the 91-year-old pioneer of electronic music, Éliane Radigue. Their joint work Occam Océan Cinquanta demands minimal sound production from a large ensemble; What emerges is a floating sound surface whose dramaturgy takes place solely on the level of dynamic changes.” Die Zeit 25/10/23 Florian Eichel

OCCAM HEXA V (Radigue & Robinson) was performed by the excellent ensemble KLANG as part of a four-part retrospective at the Fondation Cartier in Paris. It just gets better and better.

Soirée Nomade Rétrospective OCCAM OCEAN d’Éliane Radigue #1, dans le cadre de l’exposition Ron Mueck à la Fondation Cartier © Edouard Caupeil 

Les si doux redoux (2015) 24:02 / basset horn
Black on Green (2015) 14:46 / double bass
Nacarat (2015) 30:05 / electric guitar

Charles Bascou and Carl Faia, computer music design
Christophe Hauser, sound engineer

photos © Sebastiano d’Ayala Valva

Blanc de Neige (for saxophone, electric guitar, double bass and electronics) was premiered by the wonderful Trio Archipel Nocturne at the Musique Action festival. It was very moving to learn that ours was the last concert of an incredible festival that presented innovative music for 38 years. The end of something extraordinary. Many thanks to the musicians, and to Olivier Perry and the CCAM team who made this monographic concert of my WEATHER PIECES possible.

I received a Commande de l’état (commission from the French Ministry of Culture) for Blanc de Neige, which is a great honor.