"Born in 1958, Fred Loisel began teaching himself guitar at the age of 15 and quickly became interested in drums, which he studied with Adriano Zampieri and played in various variable geometry formations with a rock, metal and jazz tendency (clubs, New Orleans, Big band).

His experiences as an accompanist for contemporary dance classes, carried out alongside his architectural studies in the 1980s, led him to create and develop specific sound islands, composed of traditional percussion elements, cowbells, rattles, plates, tubes, various materials and disparate sound objects that he made or diverted according to projects and encounters... This modular instrumentarium served as an event base for multiple performances: openings, choreographic workshops, theater, film concerts.

Today, he is particularly interested in the vibratory universe specific to gongs and sound blades.He has also been working for several years on the "electronic" translation of this notion of sound islands in eclectic formations such as Vox Copuli (voice), Katabatik (plates, feedback), Chirotractor (lapsteels), frAgÏlE (Wave-drum, bowls, musical saw), Tzara (field-recording), ManiKarnika (sampled percussion).

From a more personal perspective, he continues to explore contemporary painting and combines pictorial and sound space by playing on their correspondences in his compositions.

Fred Loisel has collaborated in: Duo Fred Loisel-Albert Plet (mixed music for prepared double bass and multi-track broadcasts), Jacques Schab Quartet (Cine-concert in collaboration with the Goëthe Institut: "Schatten" by Arthur Robinson-1923, "Germinal" by Albert Capellani-1913), Brutus minor, Electropus, Intento, Lawrence Casserley trio, Duo VaLoi (with Christian Vasseur - album "Procession" )And in various programs offered by Muzzix: pieces by Sam Sfirri, Michael Pisaro-Liu, James Sanders..."

"Philippe Lenglet: Guitars, objects. Philippe Lenglet plays in Feldspath, La Pieuvre, Gaw !, Philippe Lenglet , Le Grand Orchestre de Muzzix

Born in 1960, studied clarinette, then guitar (self taught) at 15. Member of the MMD (free-jazz band) since it was founded in 1987. Took part in the Rhys Chatham's 100-guitar concerts in 1989. Played in la Pieuvre, Electropus, Electric Cue, Soliloques en loque, Tricky Co (Brussels), Kind of Ply, l'Effaran and in other projects as well as solo work. Has played with Jean-Marc Montera, Edward Perraud, Tony Oxley, Roger Turner and Michel Doneda. Has developed a special way of playing prepared and modified electric and acoustic guitars.

He is also a photographer and works with pre-digital film techniques and in black and white, his favourite subject being concerts... for these he has developed a special technique of camera movement, following the music which he is photographing. The project " pictures to listen to " was presented at Gare St-Sauveur and in an interactive form at la Maison Folie in Lille-Moulins.

Philippe Lenglet has been part of the big band La Pieuvre since its creation. He has been part of numerous groups within to the Muzzix collective (Electric Cue, Electropus, etc.) Has been a member of MMD (a regional free-jazz band) since its foundation in 1987. He sometimes performs solo concerts for which he has developed a special way of playing prepared or modified guitars."

"Christian Vasseur began classical guitar as an autodidact before taking classes with Pascal Boëls and Jean-Philippe Gruneissen at the Lille Conservatory. He learned the lute with Eugène Ferré at the Toulouse Conservatory and with Yasunori Imamura and Paul O'Dette during master classes. For 15 years he led musical theatre and free improvisation workshops for different audiences: children and adults, adolescents in detention, adults and disabled children. Meeting vulnerable or destitute people has had a profound influence on the way he works today.

He has composed numerous pieces of music for various instruments and ensembles. Christian Vasseur's music owes as much to classical tradition as to popular expression. It is protean and free of any dogma. Improvisation plays a large part in it. Over the years, beyond the forms it takes, it develops an imaginary folklore that seems to come from familiar lands. Yet a little nothing, something ineffable says that we are elsewhere.

Classical compositions, tinkering, sound collages, cinema without images and iconoclastic chaos are all side roads towards spaces with depth of field, superpositions of shots and panoramic views. In works with voices, interjections are the traces of a language of origins, the sound fossils of a great primitive sensual poem. Words, syllables become abstract objects, bricks of poetic and musical constructions. In the theater, his music is a counterpoint to the text, another voice, melodic, dissonant or noisy according to the dramaturgical needs. Acoustic sounds are often combined with electronics.

He has long been passionate about multi-string instruments such as the eleven-string alto guitar, the archlute, the mohan veena, the weissenborn-harp and the ten-string lapsteel electric guitar. These instruments allow him to explore new sound universes."