VHVR with Temir Alcy, Chuchchepati Orchestra and Delphine Dora & Anaïs Tuerlincx

Temir Alcy
It’s not uncommon for music to defy borders, but Temir Alcy specifically sound like they’re melting geopolitical boundaries. The duo, producer Enir Da and multi-instrumentalist Charles Lmx, open their self-titled debut with a bed of extra-terrestrial synths. From there things get more earthbound, second track ‘Erund’ is a sunburnt synth pop song whose pitch bent backing vocals and intricate polyrhythmic sequences melt into a fourth world bliss out led by Albanian çifteli. The traditional two stringed instrument continues bringing vibrant microtonal colours to following track ‘Une Lueur Pas Comme Les Autres’. Elsewhere, ‘Atydia’ and ‘Depth In Blu’, the former a minimal-wave-esque instrumental, the latter a glitching ballad, are grounded by monophonic synths, yet even these rigid backbones trip out of equal temperament. On ‘Lorsque Le Jour Pleure’ Elen Huynh’s vocals creep through glitches and flicks of tabla-like percussion. Temir Alcy could, reductively, be described as microtonal synth wave. It’s placeless music, where difference is embraced rather than smoothed out.

Chuchchepati Orchestra
While in a classic record player a needle slides in the groove and translates vibrations into audible sounds, in the macrograph a laser beam scans the surface of the sound carrier. The digital data obtained in this way forms the starting material for the composition. The basic principle of the macrograph is the translation of form into music. For the composition process this means that the "translation" of the data into music can be determined according to freely definable parameters and non-musical topologies can also be translated into interesting musical results.
The macrograph is designed as a long-term project: various volumes will be published one after the other.
The artists involved in “The Macrograph” are Dieb 13 and Patrik Kessler.

Delphine Dora and Anaïs Tuerlincx
Delphine Dora and Anaïs Tuerlincx each, in their own way, chart a singular course through their personal use of the piano. Anaïs Tuerlincx has a sculptural and physical approach to sound, and for some years now has been developing a strong interest in noisy, reductionist music through her exploration of the piano’s off-field (working on the frame and strings). Her performances are characterized by a noisy sound, carried by materiality, but at the same time airy and spacious. Delphine Dora, for her part, has an intuitive approach to music for keyboard instruments (piano, organ, etc.), having explored different approaches creating a broad musical universe with influences ranging from folk music, improvised music, early music, experimental music, musique concrète, noise music, etc. Working with the voice is also a constant in her work and in most of her projects, a passion for melody and singing. Her unclassifiable, intuitive music is a kind of bridge between improvisation and composition, the present and archaic times, poetry and the unspeakable, the physicality of sound and spirituality. Her musical practice is open to chance, otherness and collaboration.