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a mention for BM in Craig Leon’s interviews for The Ransom Note and Decoder Magazine (July 2014).

« (...) But anyway the ones that I’ve found interesting on RVNG – I’m not an expert on what they do or anything – the one that I liked the most is a lady named Holly Herndon who I think is using the computer as a way of doing ‘found’ music like in a William Burroughs cut-up way. I think she finds sources rather than actually composing them. So again bridging the intuitive and compositional but she still moulds them into new compositions. I like what she’s doing a lot. There’s a girl – well I mean woman, anyone’s a girl to me at my age – Berangere Maximin who is absolutely at the forefront of doing that very same thing and she does it in a style closer to what I do and what I like. But those two come to mind in particular. But you know, Annette Peacock did a lot of it too in the 70s. (...) »

« I have a few classical projects I can’t talk about, though I’ll actually be touring with someone that… if it works out, would be a very different pairing, not at all what people are going to expect. There are a couple of people who’ve asked me to do concerts with younger electronic artists, and I don’t know who I could necessarily jam with or who would do well with me. There’s one thing I may do with a French artist, Bérangère Maximin, but she actually does musique concrète. I definitely tend to want to play with older artists that I’m influenced by and who are still around. I did some very informal sessions with Famadou Don Moye and Sabir Mateen in Russia. Sabir was the principal saxophonist in Sun Ra’s orchestra for a while, among other things, and Famadou, again among many other things, worked with the Art Ensemble of Chicago. (...) »

BM’s currently working on her new double album and an EP to be released on a UK label within the next few months, details soon.

LOVESICK, Solo in the dark on tour In BERLIN (DE) in September 2014 @ NK, Ausland, West Germany and on Reboot.fm.

BM (digital chimeras) in residency with Christine Abdelnour (alto sax) at La Muse en Circuit (Paris) in September and further on.

BM’S NEW SOLO LOVESICK reviewed in the Swedish newspaper Gelfe Dagblad and on Musikindustrin.se (SE)

« Her beautifully minimalist soundscape thickens to a smoky sound jungle full of rhythms that excites and weaknesses and takes us to a chanting voodoo ritual, where it seems to be time to take the dead out on the walk. »

BM in residency at EMS, Stockholm, April 7th - 15th, 2014 (SE)

BERANGERE MAXIMIN ET SES SIRENES EXTRATERRESTRES, feature article by Jacques Serena, in L’Oreille Absolue #47 (FR)

INFINITESIMAL on the Office Ambience #361 in the March 2014 issue of The Wire (UK)

INFINITESIMAL on the best albums of 2013 list of  The Esoterrorist (USA)

« The title for Maximin’s latest is apropos for such a minimalist record, but beneath the hush is a quiet tension, a possibly impending outburst that makes you reluctant to lean in too closely. Soon the tension is loosened and hypnotic loops envelop your preciously terrified ears, but not too much. »

INFINITESIMAL on Pitchfork - The Out Door  - Long Careers, Busy Years - Reflecting on some of the best experimental sounds of the year. (USA)

« Bérangère Maximin’s Infinitesimal is so alive with the sounds of the external world that I initially couldn't locate her musical voice inside all of the activity. But as the album proceeds, ghosts of order emerge, through glimpses of symmetrical shapes and flashes of matching colors. Slowly, Infinitesimal establishes internal logic, matching the way things make sense in your head even if you can’t explain them. Maximin credits herself only with “voice, laptop, and various objects,” but she uses those minimal tools to drill a bottomless sound-well. And where previous records were more collaborative, Infinitesimal feels like her most personal statement yet. »

INFINITESIMAL on the  Drowned In Sound 13 FINEST AMBIENT RELEASES OF 2013 list. (UK)

«A disorientating mix of sounds from French electroacoustic composer Maximin. At times Infinitesimal lulls one into a false sense of security with its disembodied soundscapes, but at others it has much the same impact as subtler harsh noise releases in that it slowly rearranges your brain without you even noticing. »