New collaboration with New Focus Recordings

French guitarist, improviser, and composer Guillaume Gargaud is a restless musician, exploring many different corners of the avant garde and mining them for essential components that he can then integrate into his unique and powerfully expressive musical voice. On his 2011 release, Lost Sounds, we hear music for layered guitars and electronics, painting a maximalist soundscape. On 17 Compositions, Gargaud strips the texture down, presenting an austere twenty seven minute collection of linked works for solo steel string guitar that excavate the space between improvisation and cultivated notated work.

In a sense, 17 Compositions can be understood as an exercise to identify and then codify improvisational tendencies. Gargaud analyzed his improvisations to discern his “obsessions”, as he calls them, and then established constraints on his playing to try and focus the intention of the works. By choosing a pitch language that prioritizes dissonant intervals, Gargaud created a unified vocabulary for all of the pieces in the project, while establishing contrast through textural, gestural, and rhythmic means. For instance, on I, we hear angular arpeggiations played freely in irregular groupings of the pulse. On III and IV, the focus is on overringing sonorities and harmonics, while VIII introduces the evocative timbre of the string bend and X integrates those bends with quick flourishes, glissandi, and trills. The final composition, XVII, is written with perhaps the most conventional texture, a mournful chord solo that features more triadic material than the previous tracks, and reads as a farewell coda to the intimate space that the previous 16 short compositions have established.

This is music that asks to be listened to with focus and attention – the contrasts Gargaud establishes between the compositions are subtle, intended to draw us in. The entire set unfolds as a meditation on the melodic and harmonic vocabulary Gargaud has set up, reinforced by a phrasing approach that is not wedded to steady pulse, preferring instead to treat each gesture as a gem to be investigated on its own terms. While the genesis of 17 Compositions may have been quasi-didactic (an analysis and conscious manipulation of improvisational habits), the result is deeply personal and expressive, a retreat to essential components of music making.

– Dan Lippel

More information at New Focus Recordings

Avant Music News Reviews

Guillaume Gargaud’s seventeen compositions for steel-string, acoustic guitar are short—none is longer than a minute and three-quarters—linked pieces of an elegant simplicity. The simplicity is more in the concept than in the sound, which can be subtly complex; each piece involves self-imposed constraints that in effect attempt to convert some of Gargaud’s improvisational gestures into etudes centered on certain pitches and pitch relationships. And this is where the complexity comes in. For despite Gargaud’s focus on a paring down of material, the often-recurring pitch relationships that make up that material and that Gargaud introduces, elaborates, and plays variations on, are harmonically sophisticated and shot through with a dissonant tension that belies the rather quiet mood in which they’re presented. While each brief piece can stand alone as a kind of tone poem complete in itself, listening to the entire sequence is like seeing an object from many different perspectives which, taken together, give a picture of the essence of the thing.

Daniel Barbiero

Scores published by Bergmann Edition

I composed these guitar pieces to develop my improvisational skills. I analysed my guitar playing to understand my harmonic and melodic obsessions in order to give myself new directions. I imposed many constraints on myself in composing these pieces. I chose to use primarily dissonant intervals to create chords and counterpoints. I worked with an atonal and chromatic approach. Playing at a slow tempo, I notated the rhythm accurately; but I highly recommend playing these pieces as freely as possible.

Please BERGMANN EDITION for more information

New collaboration with Right Brain Records

Right Brain Records has assembled the second volume of its Guitar Improv Summit series. This compilation album is a celebration of spontaneity featuring some of the finest improvisers in the world, taking advantage of a global pandemic's pent-up creative energy. The Summit’s common threads are the contributors’ spirit of invention and their tool of choice.

Vol. 2 is a virtual festival of players with a five-decade age range from across the U.S., England, France, Finland and India. It includes 14 guitarists: long-established performers, rising stars and guitar improv pioneers. From these far-flung sources comes a sonic collage that explores the full range of the guitar, from experimental to traditional, ethereal to noisy, tonal to dissonant, and acoustic to electronic.

Guitar Moderne Top 10 Records Of 2020

Please go to the Michael Ross website Guitar Moderne.

Many of this year’s picks were recorded before 2020, for obvious reasons. Works by veterans (Sharp, Alcorn, Björkenheim) joined some newer voices (Naylor, Yalvaç, Gargaud) in offering us quality distractions from a nightmarish year. If you hear anything you like, please purchase something from the artist. With touring off the table, times are tougher than usual for experimental artists. "Michael Ross"

New Collaboration with Henry Kaiser

I had the honor to be invited to participate at Henry Kaiser  Show on Cuneiform Records (California)
Special guest at the electronic drum Weasel Walter ! Terrific
Thursday at 3PM, Paris time, it will be HERE and viewable

"Strange Memories" New album

Recorded at his home studio in Le Havre, France, “Strange Memories” is Gargaud’s eighth solo album. It features the guitarist in a beautifully intimate acoustic guitar setting, playing a collection of completely improvised pieces.

New collaboration with Chant Record (New York) and Setola Di Maiale (Italy)

You can buy the CD on SQUIDCO or Setola Di Maiale

Releases September 23, 2020

Review of Georges Tonla Briquet For Jazz'Halo
(this is google translation)
French guitarist Guillaume Gargaud regularly makes music in company, but this is now his eighth solo album. “This remains the most optimal and personal way for me to develop my ideas. Improvising with others is fascinating, but it is immediately a different field of action ”.

Strange Memories is an introspective style exercise on a steel-string OM model, presented in nine chapters. Pedantic and “art for art’s sake” or the soundtrack to flick through a coffee table book on a Sunday afternoon? Gargaud manages to avoid all these pitfalls. Okay, those who are not familiar with the idiom of guitar improvisations will have to empathize for a while, but once that step is over, you can enjoy a string playing full of surprising moments for almost 45 minutes.

No fingerpicking or rudimentary blues chords, but mainly cautious shuffling over the guitars, alternated with feverish plucking. The barbs are indeed everywhere and a few times the intimate atmosphere is even played to pieces. It is also very strong how he almost instantly switches from a mild setting to a harder and more frontal approach.

Pure pyrotechnic feats that would lead to a “huis clos”, he firmly suppressed. In contrast, he excels at creating crystal brittleness ("Stay Away"!). Gargaud is more concerned with revealing than shattering and prefers to immerse the listener in worlds where landmarks regularly emerge. The sense of craft takes precedence over reckless excesses. He omitted electronic aids. Only in a single song does he use an E-Bow.

"Strange Memories" is the summary of two days of probing and improvising in his home studio. “The first day I was looking for the specific sound I was aiming for for this CD, as I played this guitar for the first time. Then came the assignment to place the microphones in the correct setup to record that intended sound in the correct way. It wasn't until the second day that I actually started playing. The sequence on the CD is that of the studio. I started from the point of view that it was a concert and kept the same structure. After two weeks I listened to everything again and did the final mix. ”

To describe Gargaud as some sort of “incredible one man string band” is no exaggeration. Albeit that he ignores explicit references to well-defined styles and any narcissistic riff. In short, a "guitar pendulum" in the best improvisation tradition. Especially for fans of Dirk Serries.

Review of Ettore Garzia For Percorsi Musicali
(this is google translation)
For Guillame Gargaud's Strange Memories, considerations are made on the role of the acoustic guitarist dedicated to improvisation. It is only one album, of course, and it is not even the first: in 2008 Gargaud recorded Le Lieu, an excellent work played with the prepared guitar, controlled with a personal computer, an excavation that was almost in tune with the trends of Loscil and post-rock musicians; Gargaud was subsequently repeated with Here, with She and with Lost chords, all CDs where the function of the guitarist was not seen as that of a virtuoso, but rather as that of a chiseller of sounds, a filler of spaces. The free improvisation for Gargaud came after 2013 with a couple of albums at the court of Ernesto Rodrigues, with two songs collected in Solo and a Miniatures album with a reflective and relaxed character; for Strange Memories we can certainly speak of the work of maturity (if we remain attached to free improvisation) since the intuitions of Solo and Miniatures are developed here in all their strength. Thus, we discover a guitarist who plays the acoustics wonderfully, working on a condensation of moods that is a consequence of the techniques used: atonality, complex melodic lines and in the tradition of a contemporary guitarist, profuse accelerations on blocked strings, search for counterpoints, glissando places such as plot, search for sounds on the deck, etc. Strange Memories is part of that category of works that marvelously exploit the technical and emotional characteristics of the instrument, what can be perceived in the vibrations of the strings and in the subtle alterity of the phrasing; then, as for Gargaud, I think it is absolutely time to give him more consideration (here you can find his bandcamp page with the solo works that are absolutely worth listening to).
Reviews by Daniel Barbiero for Avant Music News
(...) Guillaume frequently plays electric guitar enhanced by pedals and computer sound modification, but on Strange Memories, his new solo release, he limits himself to acoustic guitar. Gargaud's fluency on acoustic guitar is well-documented; for example, just a year ago he played that instrument on Magic Intensity, a fine duet recording with pianist Burton Greene, who is himself a veteran of the avant-garde jazz world of the 1960s. The improvisations on Magic Intensity are free-floating but cohesive, a pattern that Gargaud continues to follow on Strange Memories. On this new recording Gargaud's improvisations follow a free-associative logic that takes them through harmonic and melodic developments constrained only by the chromatic imagination. The music is by turns abstract and melodic; Gargaud's playing is sharply-etched with the occasional garnish of some extended technique and scordatura and, on one track apparently, some hardly-there electronics.

Reviews by Dionys for Inactuelles Musiques Singulières
(...) Dès "Mystery travel", c'est l'impression que l'improvisation cherche avec obstination, qu'elle n'a rien de gratuit ou de futile, et surtout rien de démonstratif, ce qui m'agace toujours particulièrement chez nombre de musiciens de jazz. Oui, c'est bien un mystérieux voyage, avec ses haltes, sa frénésie passagère, ses hésitations, son recueillement devant la beauté soudain débusquée au coin du feu. La guitare chante, tranquille. "Free spirit" développe un climat d'intimité contemplative  : la guitare se fait coquillage à spirale, repliée sur ses cordes qu'elle pince avec une tendre ferveur, hoquetante de bonheur, et l'on entend le guitariste fondre dans un murmure d'acquiescement, à l'écoute de l'éblouissement qui vient illuminer la fin. Comme une plainte pudique, "Stay away" ondule au seuil de l'indicible, notes prolongées, infimes grincements. Le morceau se creuse dans les graves, un rien solennel et très énigmatique, prélude idéal au titre éponyme, "Strange memories", perdu dans des souvenirs enfouis que la guitare va débusquer, délicate. Entre rêverie et jaillissements brefs, un flux finit par se faire jour, une source vive qui se joue tout en courbures, en joie colorée de minuscules gouttelettes harmoniques. Frottements, doux pincements, énergiques poussées rythmiques, "Glissando" se laisse aller à ses vertiges, se ferait presque jazzy par sa mélodie assez attendue, mais se reprend, se tient, le morceau a un côté gitan trépidant, incantatoire, avec une belle coda à l'étouffée ! (...)

Review by Joao Morado for Beats for Peeps .

Finland Tour 2020

Collaboration with Eero Savela "trumpet" Simo Laihonen"drum" & Korvat Auki Ensemble .

Helsinki new record with Eero Savela

Guillaume Gargaud and Eero Savela met in Helsinki on 21st of February 2020. At that night in the former mental hospital Lapinlahti they did their first improvisation together and here you have it - music as it was from the first note to the last.
This album is a meeting of two new friends. Coming together is always a chance for new directions, a chance to learn from each other and enjoy the free flow of music.

You can buy the CD on SQUIDCO

Recording in Helsinki 21st of February 2020 by Eero Savela
Mastering in Paris by Richard Comte

New Reviews 2020

Ken Waxman  from Toronto wrote a great review for

about "Magic Intensity" Burton Greene, Tilo Baumheier

(...) With the exposition pulled tighter and tighter on “Space Rhythms”, the guitarist slides up his strings to meet the pianist’s percussive strutting, gamely picks up the musical quote and further strengthens it, until in a further detour, Greene slows down the narrative to a dirge, with the finale divided between twangs and frails from Gargaud and hard keyboard smashes. Although “Apart Together” is more percussive and is created with darker construction, by the end it also features an about face into duple higher pitches. Meantime two-handed stings and jumps allow Greene to sneak around the keyboard during “Climb Up and Float” as Gargaud’s slurred fingering evolve to confirm the tautness of his strings as until the narrative is calmed with lyrical pops and squirms. (...)

Review HERE

Free Jazz Blog By Nick Ostrum

(...) For his part, Gargaud seems to have inherited some of Derek Bailey’s fear of crisp sustain and Eugene Chadbourne’s percussive fidgetiness. Except for isolated moments, Greene, the elder statesman of improvisation, assumes the role of the melodic and rhythmic driving force of this effort. Gargaud’s contributions often weave in and out of Greene’s more determined directionality, sudden fishtails, swerves, and stops included. Bauheier, meanwhile, adds solemnity and pacifies some of the schizophrenics into an uncharacteristically soft (though still jagged) piece in the closing “Capricious Voyage to Serenity.” A fitting end to an album that modernizes the old, roots the new, and shows that free jazz, in the classic sense, is still alive, vibrant, and even fresh.

Review HERE Free Jazz Blog

Guy Sitruk  from Paris wrote for CitizenJazz "Black Hole Universe" with Marc Edwards .
Distribution Atypeek Music & Bandcamp of Marc Edwards.

(...) Dès le début, Guillaume Gargaud dégaine son canon de particules à hautes énergies dans une orgie sonore augmentée des roulements superlatifs de Marc Edwards. Il ne s’agit plus là de scansion mais de martèlement visant l’asphyxie alentour. Dans cette pièce et dans presque toutes celles qui suivent, on succombe à cette ferveur primale en vue d’une forme de purification, celle de l’acceptation de sons autres, de l’inouï.
« Black Hole Universe », en effet, démarre sur une convergence entre claques sur les cymbales et cordes fouettées. Un discours halluciné se déploie sur la guitare, privant les peaux de tout espace d’expression. Il faut l’insistance énergique de Marc Edwards et le secours de ses cymbales pour tenter de surnager dans ce tsunami, dans ces mitrailles de notes. Progressivement ces dernières se font averses, le fer se fait eau. Nous glissons de la Noise à l’électroacoustique. (...)

Review HERE

Guy Sitruk  from Paris wrote for CitizenJazz "Magic Intensity" with Burton Greene & Tilo Baumheier .
Label Chant Record

(...) Certaines phrases commencent sur un instrument et se poursuivent sur l’autre. Un jeu permanent entre mimétisme et anticipation-continuation des discours. Cela saute aux oreilles dès la première pièce, « Space Dialogue », que l’initiative vienne de l’un ou de l’autre. Un bout de comptine à la guitare donne lieu à des développements dans d’autres registres esthétiques au piano. Des quasi-percussions sur les notes aiguës du clavier trouvent leur écho sur les cordes pincées.

Cet entrelacs très dense concerne aussi les matières sonores, les couleurs, les rythmes comme sur le bien nommé « Space Rhythms ». L’incroyable inventivité de Burton Greene trouve le répondant idéal auprès de son jeune compagnon. D’une certaine manière, le pianiste semble se libérer de toute contrainte, avec la certitude que Guillaume Gargaud saura trouver la réponse, voire le nouveau jeu, ce qui ne manque pas de se produire. Car manifestement, ils s’amusent beaucoup. Un semblant de « A Love Supreme » ou de « Take Five » au piano (oui, Burton Greene se permet ce qu’il veut) est transfiguré sur les cordes. Une mécanique insistante de l’un ouvre des espaces vertigineux chez l’autre, sans élève ni maître. Parfois, la guitare devient résonance et prolongement de la main droite du piano. Si ce dernier développe des percussions éparses, suraiguës ou graves, la guitare en épouse la scansion pour aller visiter d’autres rivages. (...)

Review HERE

Revue & Corrigée n°125 by Joël Pagier

Guillaume Gargaud est un guitariste résidant au Havre qui vient de publier successivement deux albums en duo avec deux figures historiques du free jazz américain, le pianiste Burton Greene et le batteur Marc Edwards. Sans dissimuler pour autant le moindre coup médiatique, cette double parution nous permet néanmoins d'apprécier toute l'étendue de son talent puisque les deux enregistrements explorent chacun un univers sonore bien précis. En effet, dans le "Magic intensity" gravé avec Burton Greene, le guitariste s'exprime exclusivement en acoustique, un choix dont la pertinence apparaît dès la première écoute, lorsqu'on découvre le phrasé des deux musiciens et la clarté de leur timbre, mais qui prend tout son sens quand on le met en perspective avec le "Black hole universe" improvisé avec Marc Edwards dans un véritable déluge d'électricité.

Guillaume Gargaud & Burton Greene


Très actif à Chicago dès le début des années soixante, Burton Greene a traversé l'histoire du free, d'Alan Silva à Marion Brown, Sam Rivers ou Patty Waters puis, une fois en Europe, des trublions de l'ICP aux rockers du Gong, avant de s'immerger dans la culture klezmer et de s'intéresser de très près aux modes orientaux et aux rythmes africains. Mais c'est bien l'improvisateur qui met ici son feeling et son doigté au service d'une esthétique jazz mêlée d'influences diverses, dont les B.O. de polar et de cartoon, prodigues en breaks soudains et bruitages pataphysiques, ne sont certainement pas les dernières.

La liberté de ton adoptée par le duo se vérifie d'ailleurs dès les premières mesures où l'acier des cordes frappées ou pincées obéit aux exigences immédiates d'une conversation volubile et passionnée, ponctuée d'arguments définitifs, d'engouements respectifs et de fameux coups de gueule ! S'ensuit une série d'invectives annoncée par quelques frappes sur la table d'harmonie, puis un échange d'affirmations péremptoires ou l'énergie virtuose l'emporte parfois sur le discours, jusqu'à ce que s'instaure un jeu de questions/réponses dont la subite précision nous laisse pantois. Les termes de ligne, d'accord ou de structure deviennent obsolètes pour décrire ce free dont le jazz s'est enfui, mais où l'écoute prime dans la fulgurance de l'instant. Les cordes claquent quand les doigts talonnent le clavier, tolérant parfois l'ombre d'une accalmie, avant que la fougue contenue à grand-peine ne s'échappe dans le puissant vibrato d'une note solitaire arrachée au métal. Et l'album poursuit son chemin torturé, alternant l'embrasement d'architectures vertigineuses et la douceur éphémère de paysages horizontaux dont la limite pressentie ne tarde jamais à paraître.

Sur les trois dernières plages de ce flux torrentueux qui en comporte sept, la flûte de Lilo Baumheier perce l'épaisseur de la matière façonnée par les duettistes et s'insinue dans l'entrelacs de leur pistes convergentes. La joute, désormais, sera triple, accentuant la complexité des échanges dont l'humour transparaît au-delà des luttes perpétuelles et soumettant à un nouvel éclairage la brutalité lyrique de leurs empoignades sans lesquelles ce "capricieux voyage" n'aurait sans doute jamais pu atteindre la "sérénité" contenue dans son ultime titre.

Et pourtant, si cette intensité magique ne trouve un semblant de paix que dans l'éventuelle résolution de ses tensions, elle n'est qu'un avatar minimaliste en comparaison du "Black hole universe" enregistré avec le batteur Marc Edwards et dont l'urgence chronique touche à l'abstraction.

Guillaume Gargaud & Marc Edwards


Vers la fin des années 70, après avoir côtoyé des clients du calibre de Cecil Taylor, Charles Gayle ou David S. Ware, Marc Edwards disparaît des radars pour revenir, en 1990, avec un trio complété par Sabir Mateen et Hilliard Greene. Dix ans plus tard, il forme le Slipstream Time Travel, un quartet à la croisée du jazz, du rock et de la noise, prémisse à ses ultimes amours qui le mènent Downtown, au cœur du maelström new-yorkais orchestré par Weasel Walter et son Cellular Chaos. C'est donc un batteur extrême et branché sur le secteur que rencontre notre ami Guillaume chez qui l'on a déjà pu déceler une relative appétence pour les formes explosives et l'exubérance discursive.

Les deux hommes ne vont pas y aller par quatre chemins, mais par un seul : la ligne droite, verticale et soumise à la pesanteur. Dressés au bord du vide qui les contemple, ils plongent jusqu'au bout du vertige, dans une avalanche de riffs électriques et de rythmes inflammables, aspirés par la noirceur de ce précipice qu'ils traversent à la vitesse du son. Dès les premières mesures, le titre de l'album s'impose dans toute son outrance : "Black hole universe" ! C'est dans les couloirs obscurs de l'espace, là où les portes de l'imaginaire s'ouvrent vers des Mondes insoupçonnés, que voyagent les deux musiciens, dans un univers abstrait où les notions de silence et de tumulte s'interpénètrent jusqu'à disparaître. Au tout début l'on doute, pour ne rien vous cacher. Le son est admirable, des cordes saturées à la souplesse des peaux et à la brillance du cuivre, le guitariste mêle l'incandescence du free, l'urgence du rock et les dérapages contrôlés de la noise quand le batteur lâche la bride au foisonnement de ses frappes ponctuées de gifles assassines sur le métal des cymbales... Mais on peine à distinguer le propos de ces "Eruptions volcaniques" de 18 minutes aussitôt suivies d'un "Black hole universe" dont les 17 minutes 30 embrayent sur un tempo tout aussi infernal. En fait, on en viendrait presque à craindre la vanité d'une technique effroyable au service d'un vide absolu ! Et c'est quand l'inquiétude surgit que l'évidence s'impose. Cette apparente logorrhée brûlant de toute son énergie s'est effectivement mise au service du vide absolu, mais pour en percer le mystère, comme si le duo avait atteint les rivages du néant, dont la masse n'est jamais que le double inversé, pour nous en offrir l'exclusivité. Dès lors, une fois admise cette prise de conscience, le déluge sonore nous emporte peu à peu dans l'impétuosité de son cours et les doutes s'estompent pour laisser place à une sorte de fascination contemplative. On s'enveloppe dans la chaleur de ces coulées de lave dont la magnificence nous semble désormais évidente, au point que les deux plages de calme venant à la fin du second titre et après dix minutes du quatrième véhiculent finalement plus de menace et de drame que toute la fureur déversée par les cordes embrasées et les toms survoltés.

On l'aura vite compris : Guillaume Gargaud n'a pas peur de grand-chose, ni de frapper à la porte de ces artistes qui ont fait l'Histoire, ni de s'embarquer avec eux pour les expéditions les plus dangereuses. Pourtant, en dépit d'une technique infaillible et d'une réelle musicalité, le guitariste joue moins en France qu'à l'étranger, croisant régulièrement entre Naples, Helsinki et Lisbonne où il a d'ailleurs gravé un autre album sur Creative Sources avec Ernesto Rodrigues ainsi que le clarinettiste François Lebègue. Il serait toutefois bien étonnant que l'originalité de ces deux parutions ne vienne pas chatouiller les oreilles de certains programmateurs à la curiosité bien trempée...

New Album

Magic Intensity with  Burton Greene  & Tilo Baumheier distribution by Chant Record (NY)

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Renowned pianist and composer Burton Greene has been playing professionally since starting out in his hometown of Chicago in 1962. He was one of the first artists to record for ESP, the first record label devoted to avant garde jazz. With Alan Silva he formed the Free Form Improvisation Ensemble in 1963. He joined Bill Dixon's and Cecil Taylor's Jazz Composers Guild in 1964, and has played with a number of other artists including Rashied Ali, Albert Ayler, Gato Barbieri, Byard Lancaster, Sam Rivers, Patty Waters, Mark Dresser and Roy Campbell. Guillaume Gargaud is a French composer and guitarist who specializes in improvised music. He has appeared on 25 albums and composes music for contemporary dance and film. The duo is joined by flutist Tilo Baumheier on three tracks.

Burton Greene: Grand Piano
Guillaume Gargaud: Acoustic Guitar
Tilo Baumheier: Flute (tracks 5-7)
Recorded by Tilo Baumheier on Tilo’s Ark, Weesp Holland, April 19 2019
Edited by Tilo Baumheier and Guillaume Gargaud
Cover Art by Lali

Chant Records Soundcloud Apple Music Spotify Google Play Amazon iTunes


Black Hole Universe with Marc Edwards  distribution by Atypeek Music (FR)

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Marc Edwards - Drums & Percussion
Guillaume Gargaud - Electric Guitar
Recorded at Menegroth: The Thousand Caves Recording Studio, Queens, NY on November 2, 2017
Engineer: Colin Marston
Mixed and Mastered by Colin Marston

Rewiew for All About Jazz by Don Phipps.

Black holes are giant space predators—devouring light itself. Theory holds that, as one approaches a black hole's event horizon, time itself slows. So it is interesting that on their album Black Hole Universe, drummer Marc Edwards and guitarist Guillaume Gargaud have chosen to create five diverse yet similar spontaneous compositions which jettison time signatures and conventional rhythms to focus on a dark madness that evokes both the emptiness of space and the fluidity of existence itself.

In his essays, the "radical for his day" composer Charles Ives asked: "Whence cometh the wonder of the moment? From sources we know not. But we do know that from obscurity and from this higher Orpheus comes measures of sphere melodies, flowing in wild, native tones, ravaging the souls of men, flowing now with thousand-fold accompaniments and rich symphonies through all our hearts, modulating and divinely leading them."

Perhaps Edwards and Gargaud are expressing Ive's "wonder of the moment." But if this is so, then it is a moment in which no quarter will be given. Like being trapped in a falling elevator with no escape, this music induces sheer terrifying exhilaration. Demonic roller coaster? Coiled rattlesnake? Charging rhino? Or simply sonic experiments in space-time jazz?

Like the protagonist in Aronofsky's movie Pi, the listener is confronted with a musical enigma pointing to a future that is both alienating and terrifying. To some, this music might appear deceptively simple —musicians making noise. But given the technical virtuosity of the duo, nothing could be further from the truth. One can hear a mix of Jimi Hendrix meets Robert Fripp in Gargaud's efforts while Edwards sounds like Edwards—a drummer who exhibits a knack for musical nuance while employing preposterously powerful attacks.

For an introduction to the world created by the duo, one might start with "Electrical Acoustic Synapses." The piece begins with an Edwards hot all over drum solo, which flows out of him so naturally, it's as if body convulsions had turned into drum technique. Gargaud enters with long abstract chords and howling rips, supported by Edwards' powerful strokes. At a certain point, Edwards adopts a bumpy rhythm that hops and lands like some chasing space monster while Gargaud's frenzied playing makes the chase seem all too real. Eventually Gargaud's notes turns into one long extended howl—uniquely expressive—while Edwards rampages like a charging stampede of water buffalo. The piece ends on an extended guitar note.

On "Volcanic Eruptions On Lo," there's an engaging rawness between guitar and drums, even at such a high level of technical brilliance. Edwards' cymbal splashes and all over drumming provide a perfect foundation for the guitarist's blinding runs. The music suggests an angry ocean, with waves that dash and fall apart against rocks that tower to the sky. Towards the end, Gargaud produces an almost-violin sound with his guitar.

The relentless intensity continues on the title cut, "Black Hole Universe." Gargaud races like an extended sprint over a marathon's worth of music. The notes turn into a raging river—bucking across Class V rapids at accelerated speeds. Edwards drumming is always supportive of these efforts and occasionally rises to lead the charge. Only on "Supernova Aftermath" is there a break from the action. Yet this piece features subtle eerie echoes, like a surface devoid of life. Edwards uses bells for effect and Gargaud adopts an acoustic tone. The chords are dark and mysterious. There's a gentle feeling— Edwards tapping lightly on the drums with brushes while Gargaud explores growls and bristles at times and then suddenly leaps out. The piece dies off with a soft roar.

Mind bending, mind warping and mind altering, the music of Black Hole Universe has a cyberpunk jazz vibe—like basement music where beings collide like atoms in massive mosh pits. It may be best to approach this music with blinders on, a horse traversing a busy intersection. Else panic might ensue.

Track Listing: Volcanic Eruptions On Lo; Black Hole Universe; Gravitational Waves; Supernova Aftermath; Electrical Acoustic Synapses.


Rewiew by Grego Applegate Edwards for Gapplegate guitar

Words are not entirely sufficient to describe the intensity of this session. Both Marc and Guillaume make full use of their seemingly near limitless troves of rapid-fire expressions to create some remarkable sounds. Guillaume has a highly electric Speed Metal exhaustiveness to his performances, especially the opening 20-minute salvo. Marc counters with the sort of superdynamic all-over busy free bombardment that rivals and even at times surpasses the recorded dynamos of relentless high-intensity flights with his eloquent Slipstream Time Travel outfit. This is edge-cutting sharp!

The music is best described as Free Avant Metal I suppose you could say. It is some of the best such I have ever heard and as a duet does not let up at any point, though each segment concentrates on a particular spectrum of feels without loss of built-in high kinetic density. Edwards and Gargaud hit record heights and we can only hang on as we hear it!

If you wonder where Free Jazz and Psychedelic Metal might join, here's an excellent example. Kudos! Devastatingly heavy.

Review Music and More by Tim

(...) The music comes out white hot, beginning with "Volcanic Eruptions on Io" as the duo creates an exciting amalgam of free jazz and progressive rock that is played at a very fast tempo and demands great stamina and technical expertise from the performers. Both musicians are more than up to the task and engage with each other completely, exploring the available territory as Gargaud extends the playing field with guitar effects and rapid fingering and Edwards uses a wide range of percussion instruments in addition to a traditional drum kit to vary the texture and granularity of his sound. The title track "Black Hole Universe" takes us even further out moving from modern psychedelia to the spiritual jazz realms and resolving to a pummeling duet performance that doesn't let up. Eventually, the sound opens up and they played music using softer dynamics, on the track "Supernova Aftermath" which allows more space into the music and gives the musicians a chance to take their improvisation in a different direction, one that involves gradation of sound rather than full out squalls of noise. This works well as a change of pace, allowing this section to be characterized by constant change and progress, allowing them to set up for the final push to the finish line. "Electrical Acoustic Synapses" ends the album in excellent fashion, with increasingly developing music that is complex and intricate, inhabiting outer and inner space, gradually unfolding like a time lapse flower, with pulsating rhythms around the guitar and drums that evoke a sudden storm. The duo plays with frenetic abandon, in a wildly excited and enthusiastic whirling dervish like maelstrom of sound, creating magic seemingly out of thin air. This album worked very well, and it's hard to believe that the musicians had only played together once before heading into the studio to record this album. Things went so smoothly that their spontaneous performances from the recorded session are presented here in their entirety, without any editing. Fans of avant garde jazz or experimental rock music should definitely make time to check this album out, the music is fresh, the performers are deeply engaged and the results are very impressive.

Recording with Burton Greene in Netherlands

miniatures - new composition 2019

Twenty miniature compositions for acoustic guitar from French composer and improviser Guillaume Gargaud, each under one and a half minutes, the shortest just 53 seconds, each composed in 12 measures creating a lovely reflective and introspective set of abstract melodies, poetic and evocative music from a player dedicated to solo guitar work. SquidCo

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Concert at NY & Recording with Marc Edwards

Website Soon a new album. You can see a video extract here

Concert with Stephen Grew, Munich Offene Ohren e.V

Some photos of my last concerts

Photos ©Vincent Connétable


Photo @Resonant Digit

Les mondes clos - creation 2018 by Zwann eï

« Désirer c’est construire un ensemble, désirer c’est construire une -  région - ». (Gilles Deleuze, Abécédaire, Lettre D : Désir) .

Des écrivains comme Faulkner, Benet, García Márquez ont créé des mondes totalement clos (comté de Yoknapatawpha, Région, Macondo) pour y développer un agencement de désir destructif. Tels un studiolo, une pièce sans porte ni fenêtre, une monade leibnizienne, ces mondes n’ont pas d’extériorité, pas de rapport référentiel. Faulkner voit ainsi la vie comme un tout fermé et accompli qui n’a aucune autre explication que celle qui émane de son aspect et de son histoire. Ce qui constitue alors une révolution dans le roman est de créer un monde, de l’étaler froidement sur une table devant nos yeux étonnés pour montrer la preuve définitive de la ruine. Le lecteur entre dans un monde parallèle qui est la formulation d’une excroissance de l’éternité, une substance cosmique où évolue la chair morte de la pénombre : « L’homme est l’être pour qui la vie implique le vide en avant et arrière de lui » ( Fréderic Worms, Arnaud François ( dir.), L‘évolution créatrice de Bergson, Vrin). Le huis clos de Carson Mc Cullers ( 1941), Reflections in a golden eye évoque ces êtres à qui il n’arrive presque rien, de petits drames intimes qui, ramassés tout au long d’une vie, finissent par lui donner une dimension tragique : ni libres, ni aliénés, les personnages piétinent dans un univers fermé et entropique. À propos de l’œuvre de Beckett, Alain Badiou écrit qu’elle se situe « aux confins de l’enfoncement ténébreux et corporel des existences abandonnées, des délaissements sans espoir et d’une démonstration absurde sous la forme d’un baroque moderne » (Alain Badiou, Beckett, L’increvable désir, Pluriel, 2011, p. 9).

La performance Les mondes clos construit une région, un agencement désirant où l’homme sans possibles ne peut être appréhendé que selon une fatalité absurde et fermée. Le duo emprunte les éléments d’un discours chorégraphique et théâtrale inspiré d’un quotidien qu’il élève à l’abstraction. Il s’agit d’opérer un tracé selon un modèle orbital qui revient sur soi, se reprend, se répète en un infini ressassement... Dans ce parcours immobile, la musique opère comme une ponctuation cinématographique, à la fois calme, dissonante et saturée ; le trajet vide et compulsif du personnage ne vise pas à l’esthétisme mais à créer une syntaxe de la variation continue, en expérimentant des limites mentales qui concernent aussi la limite des langages et des représentations.


ENDIOSADA New Creation of Zwann eï

Faith «struggles insanely, if you will, for the possibility» as «without possibility it is as though a person cannot draw breath» (Sören Kierkegaard, The Sickness Unto Death) Such is the  existential struggle: believing despite inevitable loss and despite the impossibility of any help. Believing is what prevents from perishing. Drawing from the themes of faith and belief, the performance Endiosada (literally entrusted by God ) explores freely the points of contact between life devoted to the permanent quest for help and transcendence.

WebSite   © Jean-Luc Nail

New composition- Fendre Les Flots

Film annonce Fendre les Flots from Christophe Guérin on Vimeo.

A 42 days journey aboard a container ship results in a filmic diary in which is written, between the departure and the return to Le Havre, the flow of days. In the continuity of the route, the illimited horizon of the Atlantic ocean, stops in Central America and in major ports of the northern range, commercial operations, life on board ... are visual and sound material of the film which materiality is crossed by the music of Guillaume Gargaud who comes as moments of retirement.
Christophe Guérin distribution Light Cone from Paris

It's an composition for the movie of Christophe Guérin. I took my electric guitar to make this seven tracks. The movie was screened at Ciné Salé Festival & Les inattendus Festival

SOLO-New Album

This album has recording with an acoustic guitar "000" It's the result of my last two years of work. It's an improvisation. One shot recording in october 2017 at Le Havre. If you want a CD write me at

Collaborations with Speet Silex

ZKRAAP is the latest manifestation of improvisational rock and free jazz drumming. The avant-garde free jazz has a small following, however it has made an impression in the music world. Rock musicians are very knowledgeable about other musical genres. Thurston Moore of Sonic Youth, for example, has worked with several free jazz artists. Electric guitarist, Guillaume Gargaud takes this concept even further via his long melodic excursions, while drummer, Speet Silex, is exploring via free jazz drumming. ZKRAAP is a highly combustible duo that grabs the audience and doesn’t let go. They maintain the high energy free jazz approach at length, gradually, returning to the earth to more familiar surroundings. For those that like adventurous music, look no further than this exciting duo.

                                                                  Marc Edwards From NY Free Jazz/Noise Rock Drummer

Album cover made by Speet $ilex

Collaborations with Speet Silex