(Français) Et après 2_2

Impacts of the pandemic on musicians in Switzerland and the United States

Laurent Estoppey, composer, saxophonist, sound artist and artistic director of the Ensemble Babel Lausanne, has been a musical bridge between Europe and the United States for many years.

As expert of both continents, I invited him to state his points of view on the consequences of the corona virus pandemic relating to musical creation on both sides of the Atlantic.

Read the second part of his large-scale survey:

Portrait Laurent Estoppey©Wayne Reich

(re)inventing the aftermath ⎜2/2 

Laurent Estoppey
The most important losses and needs musicians faced during lockdown times are easily identifiable and generally shared: playing with others, playing in front of an audience, hugging family and friends.

However, this situation allowed some people to develop a great variety of long-term thoughts and projects, explore new paths, at a different pace. Approaches to the digital world and its possibilities are also very different from one person to another.

“Physical distancing opens up interesting ways of reflection and questions related to performance in a constraining framework for example, the limits of the body and the way in which sound flows out of it, inhabits the space, extends a gesture, encounters others. This kind of directions captures my attention at the moment.”


Laurent Estoppey, Caroline County

New forms of projects are born and it is still very difficult to know if they will be really satisfactory, but they do respond to a desire, an urge to create, to pursue a quest. (see links below)

Many “records” will be released in the next few years…but for which public? And at what price?

For if musicians clearly need an audience, we don’t know if the opposite is true? Has free music made its way into the minds of the (digital) public?

The example of a rock concert in Geneva in May, watched by 13’000 people of which everyone was kindly asked to pay a proposed amount or make a free offer… and only 13 people paid something, is obviously worrying.

The “revival” initiated by some cities by offering free shows – where the artists were payed – also leaves one wondering. The public is accustomed access easily and free, preventing it from being truly professionalized.

“I am afraid that as the economic situation is improving, this interlude only served to forge the next speeches on crisis and austerity, despite the promises of support regarding some essential professions and the promise to review priorities.

I hope, however, that the fact of having experienced a rare moment of “deviation” in our production pace, including in the cultural industry, will remain in the memory of a few people who will look at all this differently.”


Dragos Tara, Horde

The passion of musicians on both sides of the Atlantic is intact, but will we have the energy to make our activities viable and recognized as real professions?

Many artistic questions remain:
Do we have to reinvent the concert situation in terms of new and sustainable health standards?

Will the creation and performance modes of the recent months become the new standards and if so, will we settle for lesser quality and experiences?

Will the crisis reinforce our demands and our artistic needs or will it push towards a quasi-economic renunciation of musical practice as experienced in the USA?

What we realise, is also that musicians’ associations such as SONART or FGMC (Fédération genevoise des musiques de création) also have a very important role to play in the reflection and management of the “aftermath”.


Viva Sanchez, Brice Catherin, Numéro 2

In conclusion, two reflections by American musicians:
I believe the music scene was very exciting but definitely dying. What I miss the most is maybe something that actually never existed.

The pandemic saved me from a burnout. I appreciate this period and try to make the most of it, through meditation, reflection and gardening. The health crisis and the (potential) political awakening are extremely inspiring and stimulating for composing music and songs. »

It’s up to us to react and to dream!

Laurent Estoppey (2/2)

Here some links to specific projects carried out during lockdown times:
Atomwrec Bob Parking Garage Bidness
Brice Catherin / Noisebringers
Jacques Demierre Decálogo Sonoro – 3° entrega
Nicolas Lira 72 seconds solos
Dragos Tara Lisières (avec entre autres Patricia Bosshard, Laurent Estoppey…)
Andrew Weathers Llano Estacado Monad Band
Association Insubordinations / Cyril Bondy, Jacques Demierre, Anouck Genthon…
ensemBle baBel Walking Venezia
Hyper-Duo (Julien Mégroz et Gilles Grimaître)
Article suggested by Julien Mégroz

Quotes in italics are from musicians who participated in the survey:
Antonio Albanese, Aaron Bachelder, Cyril Bondi, Patricia Bosshard, Laurent Bruttin, Brice Catherin, Vattel Cherry, Jacques Demierre, Susan Fancher, Edmée Fleury, Antoine Francoise, Shawn Galvin, Anouck Genthon, James Gilmore, Gary Heidt, Jonas Kocher, Antoine Läng, Nicolas Lira, Julien Mégroz, David Meier, David Menestres, Luc Müller ,Raphaël Ortis, Robert Pence, Will Redman, Noëlle Reymond, Viva Sanchez, Dragos Tara, Vinz Vonlanthen, Andrew Weathers.

Many thanks to you all!

Neo-Profiles: Laurent Estoppey, Association Amalthea, Julien Mégroz, Jonas KocherDragos Tara, Ensemble Babel, Jacques Demierre

What next???

Impacts of the pandemic on musicians in Switzerland and the United States

Laurent Estoppey, composer, saxophonist, sound artist and artistic director of the Ensemble BaBel Lausanne, has been a musical bridge between Europe and the United States for many years and launched many intercontinental collaboration projects between experimental, transdisciplinary, improvised music as well as sound art.

As expert of both continents, I invited him to state his points of view on the consequences of the corona virus pandemic relating to musical creation on both sides of the Atlantic.

After conducting a large-scale survey, Estoppey concluded that the pandemic revealed the system’s fragility and encouraged a fundamental questioning of the music industry as such, but also inspired new methods of creation and collaboration.

Read his insights in the two-part series below:

Portrait Laurent Estoppey©Wayne Reich

1/2 face the facts

Laurent Estoppey
Well, let’s not beat around the bush, we’ve all been hit very heavily by this situation and not “only” financially, but deeply and on all levels, we faced an existential crisis that forces us to imagine and seek other possibilities.

Is the pandemic and its consequences experienced in the same way on both sides of the Atlantic?

To try and answer this question – since there are almost as many situations as there are musicians – at the beginning of June I sent a short questionnaire to some forty musicians who all have rather independent activities in the fields of contemporary, improvised and experimental music.


Ensemble Babel, Christian Marclay: Screenplay part.2

I was particularly touched by the feedback’s generosity and honesty, which of course reflects the need to express oneself in this time of need and frustration. I had expected rather short answers, but many developed several points and gave numerous inputs for reflection.

To my great surprise, the artistic reactions are absolutely the same for most of them.

The only big difference is that musicians in the United States have little or no possibility of compensation (knowing that fees – when they exist – are much lower than in Switzerland or Europe in general and the possibilities of private or public subsidies are five to ten times lower).


Ensemble Batida, Haiku

“We all realize that, even if money is important, it is not the main thing. The last few months have prevented projects from happening, which generates an immense feeling doubt for most of us. »

“This situation influences my life and therefore also my artistic practice, but in a rather global way, which will reveal itself entirely only later on, I believe.»

If for many Americans, making music has little to do with economic aspects, Swiss musicians faced the great precariousness of our profession through the pandemic. “Like many people in this profession, I protect myself by having a second job. »


Julien Mégroz, Défibrillation décongelée

The general reactions to the crisis were – of course – quite similar: first frustration, the reaction to the forced stop, then discovery of other spaces, physical as well as temporal, which led to a deep introspection and to a great questioning – at least until the activities seemed to start again – of the “previous” situation.

“Am I creator or project manager?”

Let’s go back to that “previous” situation with a few statements many can relate to:

In a way this shows the fragility of a system. Music is the weakest link of performing arts. Mainly because it has not been able to professionally develop and establish itself in the same way as theatre or dance.”

This crisis highlights the precarious way the musician’s profession is considered in Switzerland, one does what he or she can to earn a living and put aside enough time to create».

This brought the precariousness and dysfunctions of the creative music branch to light. »

Does this approach really generate quality or does it just add ‘events’ to the quantity of cultural products in an area?

What do I really have to say as an artist? Do I want to depend on a cultural market and state or private funding and support for a long time to come? 

Am I creator or project manager?


Laurent Estoppey, Always something there

All the issues that were already at hand before the crisis are crucial. However, there is a frightening difference on both sides of the Atlantic. Whereas the Americans have long since given up on the possibility of real income through their artistic activities (most of them teach full-time or have totally different professions “to pay the bills”, such as computer scientists, translators, graphic designers, etc. and very little time to devote to concerts), the Swiss want to believe in a greater appreciation of their art.
But: “We are asked to be creative, to bounce back, find solutions, whereas in my opinion the fight is political and the question is: do we want real and proper working conditions for artists and musicians? »
Laurent Estoppey (1/2 )

Here some links to specific projects carried out during lockdown times:
Atomwrec Bob Parking Garage Bidness
Brice Catherin / Noisebringers
Jacques Demierre Decálogo Sonoro – 3° entrega
Nicolas Lira 72 seconds solos
Dragos Tara Lisières (avec entre autres Patricia Bosshard, Laurent Estoppey…)
Andrew Weathers Llano Estacado Monad Band
Association Insubordinations / Cyril Bondy, Jacques Demierre, Anouck Genthon…
ensemBle baBel Walking Venezia
Hyper-Duo (Julien Mégroz et Gilles Grimaître)
Article suggéré par Julien Mégroz

Quotes in italics are from musicians who participated in the survey:
Antonio Albanese, Aaron Bachelder, Cyril Bondi, Patricia Bosshard, Laurent Bruttin, Brice Catherin, Vattel Cherry, Jacques Demierre, Susan Fancher, Edmée Fleury, Antoine Francoise, Shawn Galvin, Anouck Genthon, James Gilmore, Gary Heidt, Jonas Kocher, Antoine Läng, Nicolas Lira, Julien Mégroz, David Meier, David Menestres, Luc Müller ,Raphaël Ortis, Robert Pence, Will Redman, Noëlle Reymond, Viva Sanchez, Dragos Tara, Vinz Vonlanthen, Andrew Weathers.

Many thanks to you all!

Neo-Profiles: Laurent Estoppey, Association Amalthea, Julien Mégroz, Jonas KocherDragos Tara, Ensemble Babel, Jacques Demierre

The now In Sound

The renowned Swiss-based online magazine Norient, founded in 2002, has recently been integrated into the new online platform Norient Space – The Now In Sound. With a community of 700 journalists*, musicians* and scientists* from over 70 countries, this new platform bundles digital reflection on global contemporary and experimental music creation.

Snapshot Iokoi ©Norient

On March 5th, Norient Space’s beta version was launched at “Haus der Kulturen der Welt” in Berlin. A panel as well as a sound installation complemented the opening of this new “virtual transdisciplinary gallery and community platform between art, journalism and science”. The Swiss launch is scheduled for September 24.

Julia Vorkefeld was there at the Berlin launch and reports for neo.mx3 about Norient Space and the panel Life after Music Magazines-the Norient Way.

The independent Swiss music and media art platform Norient reinvents itself after almost 20 years. Culture’s glory days are over and in times when music analysis consist of the hearts and likes of the post-digital era, the challenge for music journalism is to keep innovative. The Now In Sound is Norient’s motto and the sound of now is a mirror of global events – which is what makes music journalism still relevant. The platform relaunched its project in a strategically smart way, starting from Berlin with an event in the prestigious “Haus der Kulturen der Welt”.

Snapshot Bruno Spoerri ©Norient

A relaunch is a rather brave undertaking these times. We had no idea that shortly after the Berlin launch, a virus would completely freeze all cultural industries and throw many of its actors into even greater precariousness. Not to mention that many renowned music magazines, such as Spex and Groove, had buried their analogue products and the Swiss magazine Dissonance had to abandon completely.

Independent music journalism has therefore eventually been declared an endangered species. The relaunch’s kick-off was accordingly complemented by a panel on the future of music journalism under the title “Life after Music Magazines-the Norient Way” which announced the fact that virtual, interdisciplinary, global, collaborative and transmedial should be some of the solutions for contemporary music journalism.

No – Orient: virtual, interdisciplinary, global, collaborative and transmedial..

Under the motto Connecting the dots – the network stands for shared knowledge production and its makers pursue ambitious ideas with it. Norient has been committed to diversity from the very beginning, long before it became a buzzword in the German-speaking cultural branch. Diversity not just as an empty phrase, but as serious policy for the name alone, a play on words from No and Orient, contains the avoidance musical exoticism and the associated power relations.


Norient Snaps Trailer 2020

The panel reflects the platform’s internationality and diversity and global players, such as Jenny Fatou Mbaye (Centre for Culture and the Creative Industries, City University of London), Faisal M. Khan (curator, Akaliko Collective, Dhaka) or Kamila Metwaly (music journalist, musician Savvy Contemporary Berlin) were involved.

The main focus was on how the platform could improve its content and formal orientation, with the aim of achieving more diversity, more internationality, new formats and events, and thus more quality overall.


Joy Frempong, The sample shapes the song, 2012

We care about content – is another motto and all speakers agreed that journalism in general and thus also music journalism should refocus on quality and that creating high-quality content has its price. However, since music platforms and editorial offices usually pay poorly, it is no wonder that music journalism is degenerating more and more into a badly paid hobby. It is a sad fact that music reviews are used as a corporate and marketing tool by global brands such as RedBull or Ballantines, as in these cases money would actually be available for cultural knowledge production. In order not to leave the shaping of culture to the brands, other solutions for financing independent music platforms, free of advertising, censorship and algorithms must be found. One solution the speakers pointed out could be more generosity in sharing content.

Financial precariousness in music journalism, however, was not discussed in depth and as I personally raised the issue, it was clear that all those involved were well aware of the problem. The input to consider as many professional areas as possible was however hardly convincing.

Snapshot No Orientalism ©Norient

Norient tries to finance itself through a membership model. Connoisseurs who appreciate the platform support its content through subscriptions, and selected in-depth content such as dossiers or specials is reserved for subscribers while the rest of the platform is free of charge.

Whether Norient will be able to survive with its new model is not certain but we really hope so, because in an era of ethnic backlash, such cultural platforms are deeply needed.
Julia Vorkefeld

Norient Space is currently in beta mode. The official digital launch will take place on September 24th.

Norient – The Now In Sound, Wael Elkholy, Jing Yang, Jonas Kocher, Joy Frempong/Oy

Sendungen SRF 2 Kultur, 22.1.2020

Neo-Profiles: Norient, Wael Sami Elkholy, Jing Yang, Jonas Kocher, Bruno Spoerri