“Paris Spring Loops” was the title of this year’s international livelooping festival, organized by Nelly Meunier and Emmanuel Reveneau. The festival lasted for a week and contained several loop workshops and concerts in several venues.
Not only was Peters invited to give a workshop and perform at the 2017 Paris Livelooping festival (called “Paris Spring Loops”) – the organisers, Nelly Meunier and Emmanuel Reveneau, had also scheduled four concerts for Peters to perform at during this week – three solo sets (which were recorded and set out as an album – available on Michael Peters’ Bandcamp Page [link in footer]) and one duo set with his friend and “The Absurd”-band colleague Michael Frank (as “[mi.mi]”).
I have been following Michael Peters output for a while now – there is a grace to which he plays the guitar and “Paris Spring Loops” is no exception.
The first set features a digital setup based on the Plogue Bidule software, the other two sets are based on the dual-tape Frippertronics-type setup that can be seen in the background of the cover image. The analogue tapes add a certain amount of hiss to the music.
- Michael Peters
But what of the quality? Well – this is an exemplary release. Peters lone use of one electric guitar and various looping equipment is a source of inspiration. Tape or no tape the craft of the man is evident.
The track titles are all based around the venues that eh played to record the album. The artwork for the album is a shot of Peters playing live, taken by Olivier Malhomme
But what is the set-up? American minimalist Terry Riley used a delay/feedback system consisting of two reel-to-reel tape recorders for a concert in Paris in 1963. He invented the name “Time Lag Accumulator” for that setup, recorded several LPs with it (such as “A Rainbow in Curved Air”), and did tape delay based “all-night flight” concerts for a couple of years.
In 1973, Ambient pioneer Brian Eno introduced the Time Lag Accumulator to King Crimson guitarist Robert Fripp (recording the album “No Pussyfooting” on the fly), and Fripp loved the system’s possibilities so much that he went on tour with it for a few years in the 1970s, calling it “Frippertronics”. Fripp’s magical Frippertronics music soon turned many other musicians (including Peters) on to what would later be known as “livelooping”.
Peters seems to have the art of “Live Looping” down to a tee – this is an album I adore.