14.02.25, d'incise, Recyclart (Haunted Folklor), Brussels, Be 22.02.25, d'incise, Farmhouse, Zürich, Ch 23.02.25, d'incise, Cave12, Genève, Ch 28.03.25, Tresque (in dub), Encore dub, Illegaal, Brussels, Be 16.04.25, d'incise, Le Périscope, Lyon, F* 18.04.25, d'incise, Data, Marseille, F* 24.04.25, diatribes+clara levy, Le Passage, Genève, Ch 25.04.25, d'incise, Richten25, Berlin, D* 26.04.25, Tresque, Zonneklopper, Brussels, Be* 04.05.25, d'incise, Oscillation Festival, Brussels, Be* 07.05.25, Tresque, L'Engeance/ les tanneries, Dijon, F* 10.05.25, Tresque, New Trad Fest, St-Aignan, F* 16.05.25, Anouk Kellner-Yannick Guédon-d'incise, Hear/Here, Leuven, Be* 05.06.25, diatribes+lise barkas, Le 102, Grenoble, F 13.06.25, d'incise, Proginė, Vilnius, Lt * 18.06.25, intervention for Blue Screen # 14 : Sophie Watzlawick, Bruxelles, Be 21.06.25, Tresque (in dub), Fête de la musique, Bruxelles, Be 13.07.25, intervention Davide Tidoni, Bruxelles, Be 26.07.25, Tresque, Doline Fest. Scellés, F* *supported by Prohelvetia & Canton de Genève
d'incise is the alias of Laurent Peter for everything he does that is musicaly experimental. Tresque is basically the same but done dancefloor oriented. ~ details & other activites.
What's going on ? Solo set, as d'incise, and LP, called "Incendies", out on La République des Granges & Insub.records. ~ or listen to an excerpt. Tresque in bal-alarmante style. A live video excertp, ~ here (ytb). Working on a Tresque (in dub) direction too. Not a proper release but a first throw, ~ here (BC). ~ or here (SC). Two news pieces for/with IMO were recorded in march 2024. Now released (january 2025) on Sawyer editions.. diatribes & guests are back, some concerts & recordings to come.
d'incise, explorateur du son, aimait à se prétendre sans aucun instrument particulier, usant de tout ce qui peut être considéré comme tel, programmes, enregistrements, objets, percussions, harmonium, etc. Toutefois ces dernières années l'ont vu se reconcentrer sur des sources électroniques analogiques précieusement échantillonnées et re-assemblées en proposition de concert solo pour haut-parleurs. Il s'intéresse à la radicalité, au réductionnisme et aux approches conceptuelles, mettant en place des dispositifs spécifiques à chaque nouvel occasion ou contexte, en solo, groupe ou pensé pour d'autres. Il tend à extraire les plus infimes détails des éléments, apprécie la lenteur et les explorations obsessionnelles de processus simples. Depuis de nombreuses années et en compagnie de Cyril Bondi, il est derrière les activités d'Insub. (label, grand orchestre, et plus). Laurent Peter est son nom de naissance mais pas grand monde l'utilise. Il vit actuellement entre Bruxelles (la plupart du temps) et Genève (toujours un peu).
d'incise, sound explorer, used to pretend to have no perticular instrument, using whatever can be considered as such, softwares, recordings, objects, percussions, harmonium, etc. However he has lately re-focused on analog electronic sources, carefully sampling and re-assembling them as solo concert proposal for loudspeakers. He's interested in radicalism, reductionnism, repetitions and conceptual approaches, building specific set-up for each new occasion & context, in solo, groups or thought for others. He tends to extract the most tiny details of the elements, appreciates slowness and obsessive explorations of simple processes. With Cyril Bondi and since many years he's behind the Insub.'s activites (label, large orchestra, and more). Not many poeple use his real name, Laurent Peter. He's currently living between Brussels (mostly) and Geneva (still a bit).
Proto-techno period Tresque it’s the name of an almost forgotten medieval dance turned into “an idea of Techno”. Laurent Peter aka D’Incise enters the dance floor - site of the gathering - from the side, with an eye on traditions, construction of reality and fantasy, and the tension between statism and evolution. Coming from an extended artistic career as improvisation and experimental musician, Tresque returns to his roots that lie in dub music and the sound system culture. The pulse has been growing, slowly and deeply, shaping an idea of groove by reducing it to a simpler and shorter form. In circular movements, Tresque carves his music out of samples and amplified noises using dub techniques and influenced by musique concrète. A serie of ep's & K7's were published by -OUS records, In Paradisum & Care of. records. Alarmante period Alarmante" is a new set by TRESQUE (a.k.a d'incise), an oscillating and electrified ride, carried by a dub love and a few eardrums ticklings, conveying the dance to whoever or whatever that would feel to in the merry assembly. Doing so Tresque takes distance with its original formula to turn more abstract by accumulating layers of raw pulses all from circuits in feedback (mixer, spring reverb, filter, tube preamp). K7's were published by TTT, Krut & Zamzam rec.
Bal-alarmant A new set (2025) ~ feedbacks puslations & traditional tunes from centre-france. A live video excertp at the New Trad Fest ~ here.
Tresque (in dub) Working on a stepper dub set : Not a proper release but a first throw, two tracks, two cuts, listen to "Test.1" on bandcamp "Test.1" on soundcloud Get in touch : tresque@dincise.net
L’Insub Meta Orchestra (IMO) est un grand ensemble réuni autour d’une pratique expérimentale et électroacoustique. Il a été fondé en Suisse en 2010 par le duo Cyril Bondi et d’incise. Il est constitué d’une soixantaine de membres permanent-e-s qui forment la trentaine de musicien-nes internationaux-ales présente à chaque concert. Né des questionnements sur l’improvisation en large groupe, l’IMO a construit avec le temps un fort bagage collectif et typique ou le geste individuel se confond dans la production d’états sonores globaux. Des matières subtiles émergent ainsi et dialoguent avec le silence. Les notions d’improvisation ou de compositions se confondent dans une recherche perpétuelle d’un développement spécifique au contexte propre de cet orchestre. Ses axes sont la place du silence, l’écoute poussée et électroacoustique, la gestion de durée, le mimétisme, les bas volumes, les rapports non-hiérarchiques, la circulation des informations.
The Insub Meta Orchestra (IMO) is a large ensemble brought together around experimental and electroacoustic practices. It was founded in 2010 by Cyril Bondi and d’incise. It consists of about sixty permanent members from which stem the roughly thirty international musicians present at each concert. Born out of research around improvisation in large groups, over time the IMO has built up a recognizable and unique collective background where individual gestures get lost in the construction of total sonic states, and where subtle sound matter emerges and interacts with silence. Within the context of this orchestra, notions of improvisation and composition mix together in the constant research of specific developments centered around duration, the role of silence, electroacoustic and extensive listening, imitation, low volumes, non-hierarchical relations, and the circulation of information.
Cyril Bondi & d'incise are working together since 2005, as duo (diatribes) or in collaboration with many other musicians, as composers, artistic directors, label runners, organisers,...
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Lp's released by Les Disques Bongo Joe & Three:four records.
La Tène est un animal à trois ou sept têtes d’où émane une seule et même énergie. Si l’on entend ici la résonance de musiques traditionnelles, la répétition saturée, les harmoniques éthérées ou une danse imaginée… c’est qu’ils coexistent dans la musique de La Tène comme une unique trame arrachée à ses racines. Le trio/septet franco-suisse produit une musique où chaque influence, aussi profonde soit-elle, se découpe en motifs devenus thèmes, il ne s’agit pas là de briser les modèles mais de les faire exister taillés dans la roche comme autant de fragments à reconstruire. Il n’existe pas de ligne de départ ni d’arrivée, point d’habituels couplets, ceux-ci sont perdus dès les premiers chocs que le corps reçoit… On y trouve des obstacles dressés en statues, des inconnus familiers, des bribes entendues ailleurs, ou encore des angles multipliés, et autant de gestes répétés. La volonté de La Tène n’est pas d’arranger ou réinventer une musique toujours vivante mais bien de tisser chaque fil dans un nouveau sillon encore et encore jusqu’à son épuisement. Alexis Degrenier: vielle à roue Cyril Bondi: percussions d’incise: harmonium, électronique Jacques Puech: Cabrette Louis Jacques: Cabrette, cornemuse 23″ Guilhem Lacroux: Guitare électrique Jérémie Sauvage: Basse électrique
La Tène is a beast discharging a singular energy in which one may detect echoes of traditional music, saturated repetition, ethereal harmonics or imaginary choreographies. All of these coexist in La Tène’s music and are freed from their origins in a unique framework. The Franco-Swiss trio/septet perform music wherein every influence, however profound, is distilled by patterns becoming themes. The goal is not to break models, but to make their existence solid, concrete, as fragments cleverly carved out of rock so as to be reassembled. There are no starting points, no ending points, no standard form structures – these all disappear as the senses encounter the first shock waves. Obstacles are erected as familiarly unknown constructions of bits and pieces remembered as replicated gestures from multiple angles. La Tène’s goal is not to rearrange or reinvent living music, but rather to groove every furrow again and again until its total exhaustion. Alexis Degrenier: hurdy-gurdy Cyril Bondi: percussions d’incise: harmonium, electronic Jacques Puech: Cabrette Louis Jacques: Cabrette, 23″ Bagpipe Guilhem Lacroux: 11 Strings Electric Guitar Jérémie Sauvage: Electric Bass
- Discography
- Solo
- Tresque
- w/ Cyril Bondi
- Collaborations
- IMO
- La Tène
- Compositions
- Interpretations
D'INCISE Incendies
"Incendies" is a piece that sings the jolts of a world on battery. Just as we watch a fire with fascination, its beauty and its destructive force at the same time, one can listen to analog signals enriched with saturations and give birth to the space created inside a stereophony. Or meditate on the carbon footprint of the same action. And for your information: the number of megafires will increase by 30% by 2050 (according to a report by the United Nations Environment Program (UNEP) which also denounces noise pollution in cities as a growing danger to public health).
The piece is based on analog signals, recorded over and over through various circuits (filters mostly) in order to create subtles stereo differences, mouvements and depthes. The music breath to its own puslation, always slightly off-the-grid, saturations and hisses act on the expressive and dramatic level.
D'INCISE Kaûma
(« chaleur → calme »)(« heat → calm »)
Le mot καῦμα (kaûma) nous a donné le « calme » en perdant son sens premier de « chaleur ». Ici une musique expérimentale archaïque, une technologie électronique plus ou moins de pointe à la durabilité discutable, de fausses boucles, d’oscillations et de glissements, entre série harmonique immuable et composants chinois douteux. Si « kaûma » donne aussi « chômer » (de l’occitan « caumar », « se reposer durant la chaleur »), un autre réchauffement appellerait à déranger le calme, le modèle, de sortir de notre torpeur (κῶμα, kôma (« sommeil profond »). Avant tout musique syncrétique, étirée, entre langueur induite par cette poésie du souffle et du défaut et une volonté processionnaire spéculative enjouée.
The word καῦμα (kaûma) gave us the « calm » losing its primary sens of « heat ». Here an archaic experimental music, a more or less advanced electronic technology with questionable sustainability, false loops, oscillations and glidings, between immutable harmonic series and dubious Chinese components. If « kaûma » also gives « chômer »(« not to work ») (from occitan « caumar », « to rest during the heat »), another warming would call to disturb the calm, the pattern, to come out of our torpor (κῶμα, kôma (« deep sleep »). But above all a syncretic, stretched music, between languor induced by this poetry of white noise and defect and a playful speculative processionary will.
MS20 synth recordings, analog filters, tube overdrive, spring reverb, laptop & softwares
Enregistrements de MS20, filtres analogiques, distorsion de lampes, reverbe à ressort, ordinateur & programmes.
2022
Thanks to Kro for the synth.
It's kind of enough no...?
Scores as d'incise
Lisière (2023)
Octet
Ghazal (2021-..)
Saxophone (or other reeds)
In progress...
Sigh (carried away) (2021)
Guitar, cymbals
.pdf
Cheer no leaders (2020)
Any instruments (min 2.)
.pdf
L'épaisseur innombrable (2017)
For Double Bass
.pdf
(french version, translation soon)
Appalachian Anatolia (14th century) (2016)
For Modified Guitar
.pdf
Ukigusa (The sky is as blue as a tragedy) (2016)
Vibraphone, preparations, two players
.pdf
"May my wrongs create no trouble (soft, soft and)" (2015)
Violin, Viola, Cello, Double bass, Recorders, Vibraphone & snare drum , Electronic
.pdf
Ilhas (2013)
Two or any number of Prepared snare drums & loudspeakers
.pdf
It repeats at intervals of 12 seconds (2014)
Any instruments or sources
.pdf
8CMY (2013)
Two sustaining sound insrtuments
.pdf
Scores by BONDI-D'INCISE
Zgodnosc (2020-21)
Viola, Cello, Double bass, Trumpet, Bass clarinet, Accordion, Harmonium, Tape
.pdf
La Lavintse (2020)
Trumpet, 2 Flutes, Spinet, Guitar (or other instrumentations)
.pdf
Kirari-Kirari (2017)
Piano, Spinet, Viola da Gamba, Violin, Vibraphone, Objects
.pdf
Mem, Aleph, Lasis(for The Pitch) (2018)
Vibraphone, Clarinet, Electric pump organ, Double bass
.pdf
Levitas (2018)
Voice, Tapes, Bass Flute, Electric guitar, Double Bass and Percussions
.pdf
as Diatribes
Roshambo (2014)
Two or three perfomers, any instruments/sounds
.pdf
Two Cymbals (2014)
Two (or three) cymbals, electronic
.pdf
Scores for INSUB META ORCHESTRA
with Cyril Bondi
Proliferation (2024)
Exhaustion (2024)
Polytopies. (2023)
Acceleration (2022)
Tutti-soli (2020)
.pdf
Sparge (20120)
.pdf
A la Denzler (2020)
.pdf
Uro-uro (2018)
.pdf
Two Choices (2016)
.pdf
27 times (2016)
.pdf
13 unissons (2016)
.pdf
Autonomous melodies (2016)
.pdf