Jerome Noetinger is an improviser and composer of electroacoustic music based in Grenoble, France.
He also runs the record label and record distributor Metamkine and writes in the French magazine Revue Et Corrigee. He features on the album Secret Curve by Ron Anderson's PAK on John Zorn's Tzadik label.
SEC_ is the moniker of Mimmo Napolitano, b. 1985, electronic musician and sound engineer from Naples, Italy. He plays synthesizers, laptop, tapes and electronic devices, taking part to several projects of experimental music and improvisation. Co-founder, in 2003, of the avant-rock band Weltraum and of its harsh-noise appendix Endorgan, since 2008 he collaborates with electro-acoustic/impro band A Spirale, giving life to the project Aspec(t), in which concrete music and electro-acoustic/feedback experimentation merge with noise poetic, and to the supergoup Strongly Imploded, post-core band with a syncopated aggressive mood. With these formations he played concerts around in Europe, in heterogeneus situations (festivals, clubs, squats, museums, disc shops,...), collaborating with several musicians and improvisers (Jerome Noetinger, Valerio Tricoli, Olivier Di Placido, Franck Vigroux, Ignaz Schick, Basshaters, Jealousy Party, Nicolas Wiese, Dominique Vaccaro, Domenico Sciajno,...). Since 2009 he runs with other collaborators the label Toxo Records, which releases most of his records. In 2010 he starts a collaboration with the actress/performer M. Della Morte, giving life to The Obscene Bird Of The Night [L'osceno uccello della notte], a cruel-mood performance in which concrete musique and noise improvisation mix with a new gestual body practice, on the edge between Kabuki and new Aktionism.
As a sound engineer, he realizes the mixing and the mastering of all his works and of several experimental music works of friends and collaborators.
Actively collaborates in organizing Pestival, a small festival of experimental music and critical thinking in Naples, and Altera!, an annual festival between Avellino and Naples, at its fourth edition.
His sound research is on the edge of concrete music and digital processing, characterized by the use of heterogeneus sound sources and materials (analog synthesizer, feedbacks, samples, metals, radio waves), that are played/processed live through tapes or softwares. In his music there’s often a narrative factor obtained through the straining of sound materials, expecially in a rythmical way. The imperfect ripetitions and the spastic rythms generate a sort of chaotic structure, where the order is only a mask behind which are rather the uncontrolled, the unexpected, the possible to rule.
