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1.
ANTRE 03:55
2.
MAUSER MORPH 03:45
3.
CALCUTTA 05:54
4.
SATUR DEMON 02:42
5.
GLAZE 02:38
6.
COPTER 04:17
7.
MAUSER BLANC 03:36
8.
ATHENA III 04:56
9.
OUTER CUTS 06:11
10.
OUTER EXIT 04:30

about

"Une guitare hautement électrifiée, anamorphosée, trouée, et salie par toutes sortes d'effets, implose sa rage dans les filets magnétiques d'un magnétophone à bandes, cannibale et destructeur. A partir de divers enregistrements et de pistes rapportées, Lionel Fernandez & Jérôme Noetinger ont créé et produit ces 10 pièces grasses et acides, moites et caverneuses, sorte de rencontre intoxiquée entre une tronçonneuse et un micro. Une vraie musique de garage, entre cambouis, carrosserie éventrée et alternateur périmé, comme la bande-son arrachée d'un film inédit de Tobe Hooper."

credits

released September 9, 2021

"Outer Blanc by Lionel Fernandez and Jérôme Noetinger is one of those rare albums that truly deserves the epithet ‘master class’. Listening to these recordings enlarges the mind in the same way that a high fever does: simultaneously inspiring a cascade of ideas while degrading the brain’s ability to process them. This is what two real ninjas of sound can do when locked in totally focused real-time collaboration, at the point where modern dance meets deadly martial art.
The breadth of extended technique shared by these two is galactic. Able to flick instantaneously from tiny burnished splinters of noise to sonic avalanches that blot out the sun, they dive deep in these pieces, exploring audible landscapes that are in equal parts beguiling and frightening. Noetinger is well-known for his supernatural command of the analogue tape recorder as live sound source, while Fernandez demonstrates here an all-too-rare ability to take the usually hackneyed capabilities of the electric guitar and conjure un-thought-of sounds through techniques so extended they demand a map.
This album does the thing I look for constantly but seldom find. It opens a window on new vistas of sound without really revealing anything of the process of its construction. It makes me urgently need to witness their live performance in order to re-establish my points of technical and aesthetic reference. Until then I feel unmoored by this listening experience; uncertain if I am listening to my own amplified brainwaves, or the sound of stars crashing over a distant event horizon. Magical and bewildering."
Bruce Russel (The Dead C)

"There is some brutal force in each of the ten pieces here; none of this bruitism is for the sake of noise. These two men let their instruments howl and scream, whisper and sigh, full-on in the decay of cascading and crashing feedback. When they have drones, they are fat; Noetinger waves on top of his collage-like approach to using the reels in combination with the electronics at his disposal. Crash and burn seem to be their motto.
It is, in every sense of the word, a strong release. I like that these pieces are short and to the point; nothing is too long or overstaying its welcome. That is a rare thing in this particular part of the music world. »
Frans de Waard
www.vitalweekly.net


Jérôme Noetinger, magnétophone à bande Revox B77, électroniques.
Lionel Fernandez, guitare, électroniques.
Enregistré aux Instants Chavirés par Benjamin Pagier, à Paris à Blckout Studio, et Rives
Masterisé par Frederic Alstadt à Studio Angström
Artwork par Unglee Izi
Sonoris 2021

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about

SISTER IODINE Paris, Kentucky

French noise scene spearheads, SISTER IODINE, return with their sixth album; ‘Venom’. Active since the Nineties, SISTER IODINE have not lost one milligram of their radical and uncompromised approach in sound exploration and limits stretching.
SISTER IODINE produces today a music that is actually unique and unheard anywhere else. One of eternal youth and audacity.
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