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BIOGRAPHY
David Vilayleck aka Ayankoko
Sound artist, composer, producer, performer.
Guitar, bass, guembri, electronics, laptop.
ayankoko@gmail.com
+33683227751
+212655653545
+34693861161
www.last.fm/music/Ayankoko/
www.myspace.com/ayankoko
"With sakda sissi, first i wanted to put the listener in a sound
anestaesis with deep long ambient sounds where you can feel cyclic
frequencies as a rythm comp: then comes playing with free broken noises
and beats."
"Who the hell is ayankoko!!!!? What´s the mistery behind such peculiar
name? Well, ayankoko is the artistic name of Laos- born, french- adopted
David Vilayleck, a young musician with a very personal style offering a
multicolured solo project which embraces jazz, electronics and noise
music, blues, traditional sound forms, techno, rock (in its least
obliging sense), audio and video montages and all other artistic forms
that happen to estimulate this prolific artist´s grey matter…
David uses guitar, electronic devices and a laptop to create an
hallucinatory curtain of sounds in which Aphex Twinʼs obscure ambient
meets Schaeffer and Pierre Henryʼs musique concrete. In his musical
approach, he develops either minimal slow tension, restless harmonic,
repetitive forms or placing spatial elements in a significative density
of sound; mechanichal soundfields, as well as atmospherics, ambient and
anecdotical noises." ( LEM, Bcn 2004)
Working on others levels of subconsciousness with sound art, then using
sound as medecine, like in the old traditional trance musical forms.
One shot improvisations exploring high and bass frecuencies in a slow,
minimal repetitive mood, he develops his singular universe, density of
sound, curious rhythms and well placed spatial elements, minimal noise
and dark beauty: a meditative digital translation of what is inside.
Like rays of light or midnight songs, bending spaces and continuous
lines.
Ayankoko is David Vilayleck's solo project on sound art> A formerly
guitar player with various background influences as jazz, electro,
traditional music turned himself into an electronica ambient noise
artist since 2004> Releases works through internet labels and use of
creative commons license with hazardrecords, headphonica, dog-eared
records, amp-recs, clinical archives, colin johnco records, tecnonucleo>
Developing structures and tensions in the contemporary sound art
landscape>
In ambient tracks you get this perfect feeling of cold, digital sound
paintings, when other tracks are just some "no-matter" ,experimental,
dancy breakbeats with great, well-placed spatial elements and wonderful
crackles, noises and glitchy sounds. The album reaches a culminating
point in its digital concept in the down tempo,visual track staff with
this permanent kind of larsen note disturbed in beautiful random chord
changes. It has this permanent lost, obsessive, (non)-urban sound even
in his strangest, most curious tracks.
Since he began this project in 2004 under the artistic name ayankoko, it
has been a constant evolving process, either in the music in itself or
in the different ways of producing it. There have been an impressive
bunch of releases for various international (net)labels: hazardrecords,
colin johnco records, clinical archives, dog eared records, amp-recs,
headphonica.
Some of these releases were about noise experimentation, others more
about a minimal thing, what is sure is that each of them can tell a
story to the listener, as the artist is constantly minding about how to
fill the 50-minutes-space-for-a-release in a free, personal sonic way of
appropriating time's and sound's perception.
At first it was also a true instant composing process, with whole one-take
improvised sessions as releases and minimum editing. Different ways of
making make different results, so it is the interesting point in music
and in an artist's work.
Now the incredible potentialities of creating and communicating are so
easy-enabled with technology that each artist owns different "sound" IDs
: electronic, virtual, instrumental, visual, or acoustic performer can
be all in the same one: as he was yesterday a contemporary jazz
performer and today a noise artist.
This results in an amazing era for those who dedicate themselves to arts
because of the huge panel of inspirations they can be fed with at any
time.
discography
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DISCOGRAPHY
Superhumanos, HazardRecords 2004.
Hello you, HazardRecords 2005.
Kokobass HazardRecords 2006.
Histoires Mauves HazardRecords 2007.
Red Rose and Two Moons HazardRecords 2008.
Sakda Sissi Headphonica 2008.
Dermine Atrae Clinical Archives 2008.
Stereosexline Dog-Eared Records 2008.
Nowhere Colin Johnco Records 2008.
Oscillatorfruitjuice Clinical Archives 2008.
Aji Drey Mud Amp-Recs 2008.
RectomotorecDrainigbeatsonthebrain 2008.
upcoming
Plojj Clinical Archives 2009.
GPHTHLBSDXCTCPC Clinical Archives 2009.
Strasbourg Dog-Eared Records 2009.
Chance-Baby! Noise! Amp-Recs 2009.
Dreaxine Tecnonucleo 2009.
.frances
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BIOGRAPHY (Français)
Né à Bordeaux, France, en 1980 , il apprend dʼabord la guitare en
autodidacte, fasciné par le blues de Jimi Hendrix et lʼénergie du rock.
De 1995 à 2000, étudie le jazz et les musiques improvisées avec le
guitariste Serge Lazarevitch
(Berklee, ONJ) et le pianiste Stéphan Oliva (Paul Motian, Ducret…) au
conservatoire de Strasbourg.
Etudie également la composition acousmatique dans la classe de Denis
Dufour (GRM) au conservatoire de Perpignan et s'intéresse dès lors à la
musique électronique et aux manipulations sonores. A participé et joué
dans de nombreux festivals de jazz dans les villes de Toulouse,
Montpellier, Nancy, Strasbourg, Vannes ,Narbonne, Colmar, Perpignan,
Paris, Rouffiac au sein principalement de la formation de jazz
expérimental Pitch quintet.
Guitariste des groupes Al-Azhar, gnawa fusion jazz , Projet Lafaille,
electro free rock, Violeta Duarte, folklore sud américain. Participation
à de nombreux évènements culturels du Sud de la France ; résidences
artistiques, enregistrements studio, festivals. Il a enseigné la guitare
dans plusieurs écoles de musiques, organisé et dirigé des
stages de jazz et de musiques improvisées, animé des ateliers et master-classes
dans des festivals et conservatoires de musique.
Depuis 2003, il étudie les musiques traditionnelles de transe yoruba de
Cuba et gnawa du Maroc. A travaillé avec la famille de bataleros «
mambis » à la Havane, Cuba, rencontre Lazaro Ros ; au Maroc ,avec les
maîtres Abass Baska, Mustapha Bakbu, Abdeltif Sidi Amara, Hamam, la
famille Guinia.
Il a joué avec Serge Lazarevitch, Manu Codjia , le sax John Tchicai ,le
pianiste martiniquais Mario Canonge, le trompettiste guadeloupéen Franck
Nicolas, le joueur de kora sénégalais Souriba Kouyaté , le
percussioniste vénézuélien Gustavo Ovalles, Khalid Bennaji (Nettle) …
Les musiciens barcelonais Gorka Benitez , Raynald Colon ,le bassiste
Tchildo , Aziz Erradi (Nass Marrakech, 08001), Mixi Mano, Abdu Salim,
l'artiste sonore berlinois Klaas Huebner, Esmée Olthuis, Gerri Jaeger. A
travaillé avec le collectif visuel l'Oeil Marron, les studios Nemo Art
(Madrid), diffusé aux archives de la Couronne du roi d'Aragon à
Barcelone.
En 2004 , il crée le projet solo Ayankoko qui regroupe la somme de
toutes ses influences sous une forme totalement improvisée et sonore.
Musicien au parcours éclectique, pluridisciplinaire, sa maîtrise de
lʼinstrument quel qu'il soit lui confère un sens aigu de lʼimprovisation,
une approche futuriste et à la fois brute de la matière sonore, où la
prise de risque appelle à lʼabsence de concessions, et dénote dʼune
sensibilité musicale profonde et sans barrières.
Actuellement résident entre le Maroc et Berlin, son inspiration musicale
se nourrit des rencontres et des expériences de la vie quotidienne,
ainsi que des voyages et de son goût pour les langues et la
communication.
REVIEWS
REVIEWS
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REVIEWS
"Yet another headache for the fuzzy librarian in me; Ayankoko!!! strikes
me as an unclassifiable artist from where I'm sitting, and if I had to be
precise in my assessment of his work I would fail miserably, for how can
a man be exact when trying to describe a river of lava free-flowing its
way through someone's subconscious carpark and wildly twisting and
turning everything that stands in its path? Concrete... improvisational...
electronics... collage. See? Wild blurs and melted metamorphoses may be
fine for a Bacon painting but I can't use that strategy to tag
Stereosexline (though blurs
and metamorphoses are key elements here). For all its concrete and
collage qualities however, there is no single straight line separating
one substance from the next. This is more of a glutinous, quivering mass...
like an acephalous dust bunny drowning in a sea of jell-o. But don't let
that scare you off from a mighty fine musical experience,
Ayankoko!!! has a great ear for tone and texture, and his sense of
structure and logic, however stream of consciousness it may be, is in
fact strong as an ox... or strong enough to kill an ox with one single
blow to the head. An acephalous ox, mind you."
Eduardo Padilla, Dog-eared records, Mexico.
"Wie klingt wohl eine Banane? Oder lieber doch ein Apfel? Ich wäre ja
mehr für Orangen, die habe bestimmt einen äußerst gesunden Sound. :D
OK, Spaß beiseite. Was Klaas Huebner, seines Zeichens Sound-Artist, und
Ayankoko da produziert haben ist wirklich etwas ganz spezielles. So
wurden für die Aufnahme Früchte genommen und ganz einfach zu
Oszillatoren umfunktioniert. Wir wissen ja alle das Früchte geringe
Spannungen abgeben, spätestens seit dem Physikunterricht, wo ein Apfel
eine Glühbirne zum leuchten gebracht hat. Da liegt die Idee ja garnicht
fern diese Spannungen zum kreieren von Musik zu benutzen. Natürlich
haben diese Früchtchen keinen MIDI-Anschluss und verfügen auch nicht
über ein BPM-Regler, somit ist das Endprodukt doch ziemlich Speziell, es
piepst, brumt und krakählt da überall. Erinnert an Soundtracks von
Indipendentfilmen.
Wer auf Experimente und gesunden, unberührten Sound steht, ist es ein
wahrer Hörgenuß, alle anderen sind hier wirklich fehl am Platz. Ich
frage mich grad die ganze Zeit wie wohl Gemüse klingt…. ;)"
Tonmagnet blog, Germany.
"Qu'il soit seul, ou présentement en compagnie de Klaas Huebner,
Ayankoko est un bien étrange phénomène, un EVP oublieux de son V, une
esquisse d'onde tangible mais impalpable, accessoirement ludique ou
partiellement inquiétante, un phénomène en absolue opposition à tout
rationalité (noumène), la recette d'un pétillant et délicieux jus de
fruit, néanmoins oscillant, en quelque sorte."
Thierry Massard, noCo...mment netaudio blog, France.
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