Through tenuous improvisations, reworkings and arrangements of forms, BRETCH creates buzzing, unstable yet firmly defined pieces, borrowing from minimalist music its quarrelsome considerations of space and duration, from noïse its darkness and caffeine, and from traditional chanson its poignant melodies and supernaturalism.
Sarah Brault and Ludovic Schmidt seem to share the desire to retrace the history of music back to its earliest gestures, its first breaths and its first noises, along with such adventurous and free-spirited artists as Thomas Bonvalet (l'ocelle mare), Audrey Chen and Peter Evans. BRETCH is an intense, constantly surprising debut album. We know they're already hard at work. We can't wait, you can't wait.

After producing a debut album released in July 2022, the fruit of 2 years of sonic experimentation, BRETCH began a new creative cycle in November 2022. This involves a change of aesthetic, focusing on a "chanson" format and exploring folksy colors, while retaining an experimental and noïse anchoring. The instrumentation has evolved, testing a trumpet device with feedback from vibrating DIY objects, and a balalaika with a lo-fi amplification system.
This creative residency will enable further research in this direction to develop a 45-minute live form that is coherent in terms of form and aesthetics. Sound engineering work will also be very important, to test different sound recording and broadcasting options, in particular the feedback device, in order to master it in all types of venues and with different broadcasting systems, and to find a homogeneous live sound with all the instrumentation (vocals, trumpet, synthesizers, balalaika, amplification device).