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Édouard Ribouillault (C_C) is known for his unique mix of bass distortions, and breaks, his love for dub, as well as his hypnotic one-hour performance with a table brimming with various gadgets and electronics. He has released records on independent labels such as Cold Moss, ZamZam Records, Fougère Musique, Kraak. He is also the founder of the unstoppable label «ThirdTypeTapes». These last years Édouard Ribouillault has been a force of the underground music scene. Active in the European soundscape as a musician, he is also the main instigator of the «DistoMobile», this XXL sound system decorated with green and yellow horse busts, which can be found in festivals from Brussels to the more remote lands. Since 2020 the Sonic Protest festival hosts and program «A night on Distomobile - The sound system of the TTT galaxy». So far hundreds of musicians from all over the world have already been able to taste the pleasure of real SOUND. |
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SIX CROSSINGS
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Between basic writing and improvisation, all the songs were recorded in a single take during the same day, at ZZLand, while he was back from the ZAD of Notre Dame Des Landes, charged with the good vibes of a huge party in support of “Les Soulèvements de la Terre”. The party was the first to be sonorised with the DistoMobile, a homemade sound system inspired by dub sound system, but dedicated to atypical music. 'Knot theory is a fascinating field of mathematics, an already beautiful and interesting everyday object in itself that becomes medium and support of an extremely advanced and complex abstract research. As a layman, the essential escapes me, but the poetic and imaginary potential of the vocabulary forged by the mathematicians of this field seems to me very powerful beyond its primary meaning. Knots in the head, knots in the legs, Six Crossings is also how rhythms and textures intermingle to create autonomous forms with complex structures, which we observe evolve in time organically.
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Brumas, Nieblas, Neblinas
music by c_c
drawings by
c_c
layout by H
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"My name is Eduardo Ribuyo. My stage name is c_c.
So you can put whatever you want after c and c.
I make electronic music, often saturated,
At least, when i play live...
For one of my first concert,
I wanted to find a small lamp,
Just to have some light on my machines in the dark.
And at the store near my house, they didn't have any small lamps.
They only had mini strobs. So I bought one and tested it that night, a long time ago,
And I liked it!
For me, since I'm always looking at my machines,
And they are basically illuminated by the stroboscope,
I feel like it creates an effect, where I sort of loose it a bit.
I'm used to play in front of the stage, among the people.
I need to hear exactly what the people are hearing.
I feel weird being far and not at the same level.
It's also kind of an “ethical” thing, if you will.
When people talk about trance and meditation,
The states I'm in when I play, it feels like that sort of thing.
One thing's for sure, I became a little addicted to that sensation.
The rhythm boxes, even the effects pedals, the mixer,
To me, they are part of the instrument in their own right.
The venue's sound system, amplifiers, or even the room in which I'm playing,
All that is the prolongation of my instrument.
I have several rhythm boxes,
And a few little synths that generate sounds.
Then all of that goes into my mixer.
From my mixer, I have two effects outputs,
That allow me to send the sounds that are generated, into the effects pedals.
Then, the effects go back to the mixer, through over inputs.
So it creates a loop and generates a sound on its own.
And it's the same phenomenon as with a mic in the air,
A mic with a speaker : feedback, larsen.
To me cassettes are quite natural.
First, because I use them.
Also, my mixer is a cassette four-track.
So for me, cassettes are not a thing of the past,
Since I use them today.
And also, I like this sound,
a bit amiss, warm, a little crushed..."
Interview by Max Parasite
