Rosa Crvx is a training of two musicians. I work with Claude Feeny since the 15 years age… We always made music together. Its speciality, the piano, which it plays since its youth, comes to him from his/her parents pianists both. There always was a piano at it… For my part, I was placed in a choral society at six years age in the boarding school of the Jésuites brothers. The song remained my favorite instrument. The group was formed in 1986, and since we left six discs:

In vinyl: "Ales & Blowpipes" 1987 "Eli-Elo" 1989, "The Profanations" 1991. Out of CD: " Dance of the Earth "in 1992," Proficere "1995," Noctes Insomnes "1998. like several video clip and a short film entitled" Rosa-Crvx/Jeux of Irons "which presents another part of our work specialized in the performances. We gave approximately three hundred concerts in France, Switzerland, Italy, Spain, Ireland. We played only twice in Germany with the Festival of Leipzic into 97 and Erlangen last September…

Continued work is a kind of search, searches oneself, daily research without knowing exactly what is required. It is an evolutionary work which proceeds by elimination: the principle is to encircle what it is necessary to do while knowing what should not be made. It is a series of choice, standpoint compared to the music but also compared to the world, the colors, the objects, etc…

If it were necessary to define a direction in the "mission" of R+C, it would be to give life to an imaginary world, a complete world with all that will be useful for him. It is a kind of scenario for a film, this kind of scenario which is written from day to day and an uninterrupted way. When we present a concert, it is as if we tell our history with a message which implies "to follow".

Our work is a permanent research. Music and image are worked without never being dissociated. The topic of this work is the man. The Sets of irons speak about the human body as an object. The music evokes the more cerebral things like the desires, the anguishes, spirituality. It is practically impossible to explain with words a search for this kind. We chose to manufacture objects because it was the only possible means of expression to translate certain ideas, the music to express certain feelings.

Our work speaks about anger, violence, the beauty or the ugliness, all these abstract things characteristic of the human one.

It is obvious that such a work requires organization enormously.

We have each very precise spot in all that relates to the administration of the group. Concerning creation itself, the things are never held in the same way. Each composition is an adventure with whole share… One can sometimes "lay" a melody of piano without being the pianist of the group, simply by what one evening one does not arrive has to sleep and who it is the first instrument which falls under the hand, There were randomly made compos circumstances as "Organ" in CD Proficere where Claude found itself one day in front of an organ of church with the possibility of playing about it… Sometimes it will be a rate/rhythm of drums which involves arrangements thereafter.... Or then of the old texts found at the time of research in library which gives desire for being put in music…

Once the base of an established compo, arrangements often runs source. We work them by seeking the environment which we want to emphasize. Most difficult can sometimes be to find the "reason" of a composition. They have a whole a history which we translate by the performances which accompany them.

A legend of XIIIeme century tells that a hermit gave himself the pseudonym of Rosenkreicht and devoted his life in the search of the body and his limits… This history interested us much and the pseudonym which it gave itself illustrates the climate exactly that we seek in our music, i.e. a confrontation of all great contradictions: the audible one and the inaudible one, the pleasant one and the unpleasant one, the layman and crowned, without seeking a compromise or an average, but by presenting coast at coast two opposite ideas in order to work on contrast. The name of R+C is a symbol which underlines the topic of contrast. It is the only thing which is truly significant with our direction, because without contrast, all is flat, morose, uninteresting.

The common point which connects to us with this character it is the total investment of oneself which makes that one devotes oneself entirely to an objective. This character would be perhaps only one myth, according to certain authors, because the testimony which it would have left in the form of writings was ever found. It is about a simple legend or of a real fact, can imports. It is perhaps for that which one knows it only under his pseudonym: as if the concept alone of this word were enough to wonder about the great universal subjects.

Rosa, the beauty, life, the transitory one, symbol of love and purity; Crvx, the sacrifice, exposed death (in spectacle) cruelty and intolerance… Pascal quoted "the sizes and lownesses the man whom one discovers as one has of lights."

The compositions of Rosa Crvx follow a direction opposed to the principles of the influence. At the beginning there is a concept will generate itself as it develops. A kind of natural growth.

We began this group with a total desire of purity in our research so much so that we do not have discs, do not listen to music to avoid the ambient air polluting.

We have all the three same interests of the things and it is for that which we have a so great complicity in work. For my part I have a very fast allergy compared to what I listen to. I cannot prevent myself from seeking the major motivations of the type-setter, and that very narrowly limits my possibilities of appreciations.

The work of R+C is timeless. Time does not exist. We use indifferently a numerical sampler or an old Scottish bagpipe. Indeed one finds in our work of the things which are taken in all the ages, and the concept of mode is here except subject. The History offers a pallet of tools to us, sounds, various means which we use without least gene. I believe that it is that progress, modernity, it is to also use the past. If one is satisfied to work with the present, one passes beside thousands of discovered very interesting which were made at any age. What me fascine it is to be able to take an old instrument of the Average Age and there to stick 2 KW of power or it to him could sound only with its small case of resonance.

We use Latin, but also Hebrew, sometimes of the phonemes which do not have any direction, sometimes we build words because we wish certain particular consonances. This definitively removes us from all "message" of the first degree to leave room to the pure feelings. The words have summers removed to leave room with the symbols and the direct language of the emotion. We sing with "the cry of the voice".

Noctes Insomnes/nights without sleep

Nights. Horrible moments or all closes itself, is closed again, or the man folds up himself like the animal in his den. To refuse, wish to continue, why this imposed stop? why this punctuation? To take freedom to sleep apart from the context of the night, to live without schedules, freely. Freedom, it is of that that it acts. To refuse the imposed conventions, ancestral practices, the schedule.
To create its own time, that which the things inspire, to place time at its disposal, to be unaware of the hour. To live during the night why not.
The Night: the body is in a state second, very differ. It that I want to make the most things, is this is the night a state of contradiction? a way of living differently? I like the night. It is silence, the stars are there, it is one moment favourable with the reflexion, with the concentration and, while everyone is under its cover or in front of the tele one, I want all to awake, all to shake. The night it is the black, the coffee to be maintained, loneliness. The telephone does not sound any more, all is released, insulation.

Very quickly the brain is alone with itself it is one privileged moment. In CD, we present a photograph of an Anatomical Board of the average age on which one sees insane (wise) who teaches with a beginner the influence of planets on the human body. Moment of conscience, the body is broken up. The old ones believed that Saturn or Jupiter following their position in the vault of heaven influenced the lungs and the chest. The moon the tète and sun the stomach. That summarizes all that I have just said. The day is the moment of the meal, the existential things and the night the moment of the reflexion and the dream. This disc was lived of night.

The discussion thread of this disc was created of any part, in a very natural way, the title was essential by itself. The cranium, the teeth, the hair on the small pocket, it is the state of a body after one year of night life. There remain about it nothing any more alive; the body and the spirit separate in a kind of dissection. The disc transcribes all that. The order of the compositions to a great importance. It is a descent towards the state second, a slow and progressive descent.

The first title evokes one twilight moment by the melodies and poses the subject: it spent the almost whole nights without sleep… then Aglon in a desire has just flown away as a corbel… then Ab Irato which means in fit of anger… Rosa Signat plunges itself in the melancholy

and then the fall, the great dive In Orbem comes (in a circular motion, in orbit) it is the descent without end, the plunging spiral inside oneself, the point of no return… is then connected the second part of disc black, dark, we are the different with dimensions one.
"And that for them the light without end shines… Happy deaths which die in the door of the hell… "with Beati Mortui connects Loewe with its voices which repeat infinitely Cirvmdedervnt (turning around me) then Qvi Non Ceasing… clamare (which does not cease shouting) it is the total moment of madness, the influence with the interior madness, this madness which is of each one among us, hidden, latent…

and finally the disc finishes on the Exurge revolt in Will go Killed (picks up you in your anger) and the final, visible act into video in the CD-Rom, the act of madness and mystery, that who occurs the every day, the insane one in the night, in the night of the body, at the bottom of the thought: the cave, the labyrinth, in which is a lost building, the exploration of this place, destruction of the place, the firing, the flames which invade the interior, anger which take its rise, fire in the major black, Incendere (the firing) and the day which rises outside in the world of reality, the fire of the sun which puts an end to the nightmare… I can finally sleep calms and quiet.

The lapse of time run out between these two albums was necessary. It appears obvious to to me than ever we will not be able to produce a disc per annum in a regular way. All depends on what occurs in our research. I imagine very well that we can remained two or three years in silence then to leave two CDs a blow. From a commercial point of view it is a great error but one cannot always combine the strategy with sincerity.

Moreover being very demanding on the traces which we leave behind us, it sometimes happens to us to start again hundred times a mixing until we have the impression accurately to have translated the subject. A recording remains unfortunately reproduction a one moment of creation from where importance to find the initial state, which, a priori, is absolutely impossible.

We always led face the two with dimensions ones of the work of R+C to knowing the image and the sound like two indissociable things.

Our musics evoke precise ideas, particular topics which are not told with words, this is why the text (with the direction message) misses. We retranscribe emotions.

The music can make reappear an emotion, an image also…

We employ its and image as some would employ words and music.

The word is a means of translating an emotion, the proof is that one can retranslate the words, to find synonyms to them or to say the same things in various manners. The music is not translated, is not told, just as it is impossible to tell a dream… Its and image seem much more direct to me.

In 1994, I invented an electromagnetic process allowing me to actuate rods of percussion in a way precise and able to reproduce a drum roll of a level of academy. The system is midday, (programmable by computer) what allows programming and reproduction of play having the fidelity of a box rate/rhythm…

This new instrument, baptized "BAM" (Acoustic battery Midi)

It is the practice of limps at rate/rhythm which brought me has to build this instrument. The big problem of one limps at rate/rhythm it is its with dimensions not-presentable on scene especially when the percussions of the music enormously are used. We tried to work with beaters, percussionnists, high level however, but when one took the practice of the programming on computer, one very quickly becomes maniac on the interpretation of play and the small human errors can become unbearable!

Leonard de Vinci belongs to the unconscious collective and for this reason it inspired certainly us in an indirect way… I also remember to have been very surprised the resemblance which existed between my sketches and those of Léonard. That obstructed me much. I feared that one makes a bad reading of my work. Then I had the occasion to discover the sketches of Marcel Duchamp and I understood that dice that one mixed on the same sketch the drawing and the writing, certain with dimensions "Léonard" came inevitably to mind. That is with the fact that the drawings of Léonard are the most famous sketches of the world! But finally all the drawings and all the plans of constructions resemble each other.

It should be also noted that I never use electricity in my work. It is the force of gravitation or the man power which generally actuate my machines and that attach them a little more to the Middle Ages. If I add that these machines dimensioned phantasmagoric, that they seem to emerge from a nightmare, that they always refer to the human body, that they are built according to the proportions of the body and the golden section, that they are out of wrought iron etc… then yes, of course, have can frankly raise the question of an influence with dimensions "rebirth". This said, Léonard did not manufacture his machines, it remained has the state of sketch. He sought to discover new military weapons and new means of transport. My machines do not have any practical utility absolutely and are not created that to live its phantasms.

When I left diploma the school of Beautiful arts of Rouen in 1986, I obtained three years of subsidies of the Ministry for the Culture and that enabled me to build to it first performances of Sets of Irons.

We carried out the creation of a site on Internet. What us with enormously allured it is the idea to be able to be consulted permanently everywhere in the world, to be able to announce our dates in concert, the publication of our discs, to present our work in detail…

I do not have any fear on a possible danger of these new data-processing tools. They simply make it possible to save time, to have its own studio of recording at home, to make its small pockets of disc… Internet or CD-Rom replaced the complete file of presentation which it was necessary to send to the organizers in concert to be programmed some share. I was to send CD + a video + a press kit! That cost money enormously! Today I leave an address Web, and no matter who can have access has our file which is much more complete than all than should send to us! And we also had many surprises! we sell many discs in Argentina and in Chile, Japan and in Australia grace has Internet. That would never have occurred differently.

Generally, I am convinced that nothing has really the capacity to denature or to pollute an artistic work if one is vigilant and being wary and when one succeeded has to be polluted by television, plus nothing cannot more reach you!

When I was student at the school of the fine arts, my professors often said to me that I should go to live in Germany. They found that my research was very close to the German expressionnism. I believe that C ' is for this reason which the Gothic Scene is very developed in Germany… There is a certain sensitivity which one does not find elsewhere. We noticed that even in France our public is concentrated in North. We make a music which, behind its consonances moyenâgeuse, remains very industrial and very repetitive.

A music which is listened to the night, which cannot be appreciated if the black is not liked, steel, if there is not a certain attraction for the melancholy and violence… and Philosophy too.

It y will have an exceptional concert of Rosa-Crvx in Switzerland on December 31. We will finish the year in large is delirious… Much French will make displacement, Germany is really not far… I hope for only those which appreciate us will be there.