sun stabbed s/t (7"), doubt01

Side A. De l'ambiance sonore dans une construction plus étendue (5:42)

Side B. Toute l'eau de la mer ne pourrait pas... (4:32)

France : €6 postpaid / Europe: €8.50 postpaid / World: €9.50 postpaid.

Two different live cuts from 2006 of the guitar duo Sun stabbed (Pierre Faure and Thierry Monnier). One was recorded in an empty big space, playing for an exhibition at St Etienne. The live was recorded out of the room by Christian Malfray of Nappe, while he was drinking a beer. So the music is made of guitars and ambiant noise with people, animals and cars. An ambiant drony track made with guitar feedback and effects. The other selection, was directly taken from the mixing board of the Sonic at Lyon. Here, it was more nervous, noisier and lo-fi. All of this is well wrapped in a thick white paper, silkscreened by cotoreich. Limited to 300 copies.

sample

Listen to De l'ambiance sonore dans une contstruction plus étendue (MP3, 5:42)

reviews

Paris Transatlantic

Hats off to anyone who launches a label into the stormy seas of the current credit crunch / recession / depression (delete where appropriate according to mood), even if this seven-incher leaves you hungry for more. Grenoble-based Thierry Monnier's Doubtfulsounds imprint kicks off with him and Pierre Faure following on from their debut release Radio a couple of years back on PseudoArcana – that New Zealand connection gives you a clue as to what to expect: Dead C heads sit up and take note – with two all-too-brief extracts from live appearances in Saint Etienne ("De l'ambiance sonore dans une construction plus étendue", recorded there in October 2006) and Lyon ("Toute l'eau de la mer ne pourrait pas...", dating from six months earlier). The A side, whose wonderfully rough recording captures the ambiance sonore of St Etienne local traffic as well as the guitar duo, starts off rambunctiously but soon settles into a more contemplative tick / loop mood. It's impressive how much these guys cram into just over five and a half minutes; Tardis-like, there's more on the inside than you'd expect to find. The same is true of the B side, a somewhat more stable but no less tense exploration of guitar resonance. With true analogue missionary zeal, Monnier's website (if you want a copy of this you're encouraged to contact him directly at doubtfulsounds1@gmail.com) announces that the label will be vinyl only – let's hope his next release will be a full-length LP from these lads. Nice.–DW

Fear Drop

Sun Stabbed est un duo de Grenoble (l’un des musiciens est aussi membre de Nappe), dont la musique est principalement fabriquée de guitares, d’effets et d’objets. Sur le premier morceau de ce vinyle 7’’, De l’ambiance sonore dans une construction plus étendue, les cordes, les résonances, les chocs métalliques, participent, comprend-on, d’un plus large paysage. Imaginons-le puisqu’il englobe ce que l’on entend. Imaginons l’extérieur par la résonance que le son lui fait produire : quand une vague rugit doucement, un accord décharné lui répond. Ils semblent à tous les deux former un curieux appareil, avançant contre sa nature. Les cordes, dans leur puissant mais lointain grincement figurent l’effort de ce qui se tire et se tend : l’évocation du Caspar Brötzmann Massaker est toute proche, jusque dans le lent démembrement final. Sur l’autre face, Toute l’eau de la mer ne pourrait pas… : le tremblement, la percussion sur corde, y figurent une autre tension, à eux deux ils vibrent comme le dos des poissons sous la vague profonde. On peine à dénombrer dans le banc. Repos, fusion dans le bleu, quasi-naissance du drone, mais toujours le frétillement électrique couve, volcanisme sous-marin, qui plus loin s’exprime en promesse de rugissement domestiqué par la cadence métronomique d’autres cordes. Qu’importe, la corde aiguë se retend et contourne, elle siffle et devient pierre d’affûtage. Toute l’eau de la mer ne pourrait pas… éteindre le feu qui pourrait en jaillir ?

Denis Boyer (2009-02-22)

Foxy digitalis

The e-bow may be, in a way, a bit of an overrated accessory in the contemporary guitarist's toolbox. Still it's hard not to recognize that some of its users have developed a very valuable skill at it; think Charalambides' Tom Carter, or Portland's Subarachnoid Space, to name a few. And as a guitar duo, Sun Stabbed (Pierre Faure and Thierry Monnier) may, at first, bring to mind their American counterpart, Zaika, formed by Tom Carter and Marcia Bassett, with the same mood for noisy soundscapes where plucked strings now appear like the accidents in a drone environment. But the French Sun Stabbed has, since their rightfully named "Radio" on Pseudo Arcana two years ago, developed a sound of its own, mostly based on radio-like sounds and parasites, and sparser ambiances.

This new release, second in the discography of the duo, is comprised of two snippets of live recordings from 2006, and marks the debuts of Thierry Monnier as the head of the label Doubtful Sounds. A 7-inch is not a bad way to start things and everything is here beautifully packaged and illustrated. Now, thess kinds of noisy, improvised guitar works are often hard to appreciate on short formats, creating deceptive pieces, too much edited down, where a couple more minutes would have helped in setting up the mood, instead of falling into a kind of abstract miniature-genre. Well luckily and surprisingly, considering the longer tracks they've released so far, Sun Stabbed manages here to avoid this format annoyance. The two tracks, reminding one of Fly Pan Am by their names (but only by their names), manage to restitute their live nature in less than five minutes. Surely the fact that the A side "De l'ambiance sonore dans une construction plus étendue" has been captured in a live show, away from the stage, helps at giving that live and "alive" feeling. The second track, "Toute l'eau de la mer ne pourrait pas…" is already closer to what I called an abstract miniature, setting aside the live sound and concentrating more on short, noisy loops; but the ability of the duo to quickly change their sound, and not to get imprisoned by their loops, gives this three minute track a very worthy diversity and progressivity.

So this is a real success, I think, as there's not a moment too much nor too few in these ten minutes. A beautiful way to start the Doubtful Sounds label and a nice one to keep us posted on the French duo activity, too. 8/10 -- Constantin Dubois (30 July, 2008)

Vital weekly #637

You could wonder if the format of a 7" is suitable for the music of a band like Sun Stabbed. Its a duo of Pierre Faure and Thierry Monnier from Grenoble, France and exist since 2005. Both members play guitars, effect pedals, electronics, amps and objects. The two pieces here are from 2006, and on one side, 'De L'ambiance sonore dans une construction plus etendue' is an ambient piece, using a large empty room with sounds from outside (cars, people, birds) coming, mingling with the feedback like rumbles of the two and other sonic events happening. An atmospheric recording, due to the use of microphones. The b-side is taped from the mixing board and results in a more clearer sound. Here they play a more nervous, hectic and a more noise based piece of music called 'Toute L'Eau De La Mer Ne Pourrait Pas...' which shows a good combination of improvisation within given limitations. Both pieces, though very different, are quite good, but both may have lasted a bit longer too. Perhaps next time a 10" or LP? (FdW)

Revue & Corrigée #77

Vite fait alors, parce que pas la frite. Certains soutiennent que l’on ne peut pas critiquer bien ce que l’on aime, exceptionnellement on s’en va leur donner raison. Ce premier 45 tours (tirage limité à 300 exemplaires) de SUN STABBED donne de l’agrément. Oui. Pierre Faure et Thierry Monnier sont aux guitares électriques avec moults effets. Leur nom vient des Dead C et la musique bien qu’évoluant dans les marécages grand cru du bruitisme sauce néozélandaise des années 90 s’en distingue par une originalité discrète ; de la douceur. La classe, les mecs. Si. Un 45 tours et deux faces telles, veuillez m’excuser, deux fenêtres ouvertes sur une "poétique" du sonore. Le tout genre ambient. Mais rien de ces débilitantes productions où la mollesse règne en toute quiétude. Ici il faudrait dire les charmes de la rouille et de la répétition, la joie du feedback et la mélancolie, le temps qui, mais oui mon bon monsieur, file, et les rapports complexes qu’entretiennent les faiseurs de boucan de ce type avec la vicieuse invention de Brian Eno puis noter au passage que les plus belles œuvres d’ambient de l’après Eno, vous suivez ?, sont celles de ceux-là. Il faudrait développer mais là, j’ai la flemme.Vous l’avez échappé belle. Bref, ça donne l'impression qu’accoudé à sa fenêtre on contemple une friche industrielle alors que pas du tout. Tout ça est drôlement onirique, reposant et sans niaiseries, c’est sa qualité. Bon maint’nant on va s’rejouer Superfuzz Bigmuff de Mudhoney que Subpop vient de rééditer avec soin. Voilà.

Fabrice Eglin

The Wire #315 (May 2010)

Another solid chunk of feedback duality from this excellent French guitar two-piece. They manage to balance abstract sonic rainbows with a surging insistence that implies more form than is ever actually manifested. Gotta like that. (Byron Coley)