Nautiles Chevillon Lopez

It has been a long time since improvised music distanced itself from the adolescent posture of its first revolutionary years which, under the pretext of breaking with the prerequisite and transcendence of a text to be “interpreted” in the instant of a performance that is by nature always second and deferred, allowed it to claim, in the instantaneity in which it was based, a direct relationship to the creative impulse, freed in some way from any reference to the past, which is necessarily alienating. Without renouncing the authentically subversive dimension of a gesture that is both political and poetic, radically deconstructing dominant cultural forms and norms, what all great improvisers have, on the contrary, constantly experimented with and highlighted in their practice is the extent to which their gestures, however spontaneous in their expression, were haunted, nourished, and populated by a multitude of stories and memories, pertaining as much to the intimate as to the collective unconscious, which were not to be denied or repressed as so many vestiges of an "old order" to be erased, but rather to be welcomed, recognized, even liberated—bringing (re)emerged in the flow of discourse all this intertwining of affects and artifacts that ground us, only to set them in motion again within the field and perspective of a revisited relationship with oneself and with the other.

“Omar Rodríguez-López Group is a long term friend of our studio. Our series "…Live at Clouds Hill" started in 2011 with an improvised “Krautrock” performance of extraordinaire: Faust & Omar Rodriguez-Lopez. Jean-Hervé Perón fell backwards with a running chainsaw and slit Rodriguez-Lopez' jeans and only with luck not his leg open.”