[GR] Live at Trickster, Field Notes review. 

“The Trickster is a small, not to say clandestine club in Kreuzberg and a set like the one by Francesco Corvi & Hugo Lioret in October last year was obviously in good hands there. "Live at Trickster" documents a twenty-minute improvisational dialogue between live coding in the Supercollider (Corvi) and a Buchla synthesizer or sample processing (Lioret). The conceptual starting point was the Japanese concept of wabi-sabi, in short: the beauty that is revealed in the hidden - for example in human errors in a very technical setting. Where exactly the machines (re-)produce human errata, however, remains an open question on this mini live album. Or it has to be discovered by listening very carefully.”

[UK] Live at Trickster, Boomkat review.

“A toothy, hallucinogenic mix of SuperCollider processes and Buchla squirts, 'Live at Trickster' is a convincing debut from Berlin's Francesco Corvi and Hugo Lioret.

Not only is 'Live at Trickster' Corvi and Lioret's first album, but it's a recording of their first ever public performance. The two came together to examine the Japanese concept of wabi-sabi, the idea that beauty can be imperfect or incomplete, so the risk of a live performance might be the best way to approach the theme. Inspired by free improvisation and the liminal zone between digital and analog techniques, they carve out a curious niche. Corvi live codes in SuperCollider, forming jagged sputters and bubbly squelches, while Lioret works on a Buchla modular system, adding processed samples where necessary.

The set works best when cautious, itchy metallic rhythms surface from the noise, almost cutting through the textural experimentation. Like an early Mego deployment, 'Live at Trickster' is filled with ugly imperfections and stop-start ruptures, but the noisier elements are surprisingly well-tempered, at least at first. When the beat forms into a windy dub, the duo snap into gear, coaxing grotesque digital saw-blades and sonic hiccups - it's the payoff we were waiting for.”


[UK] Artificial Biota, Bookmat review. 

“Lioret’s ostensibly abstract music is distinguished by attention to strange timbres, gripping textures and shearing dynamic on ‘Artificial Biota’. His characterful animations of the rare Buchla synth and up-to-the-moment SuperCollider software range from resonating drones to more fractious noise squabble and scree, prone to shift from chaos to calm in the blink of an ear, spitting us out into zones of precise high register suspense or subaquatic sensations with a quality sure to pique the interests of weirdos and fans of Dave Burraston’s systems based music as NYZ”.

[GR] Live & Talk at Cashmere Radio, Berlin. 

[GR] Live & Talk at Sphere Radio, Leipzig. 
[FR] Converstion with Barry Truax at Radio Grenouille, Marseille.


[GR] Unreleased piece (Forasong) on Bauhaus.FM / Sphere Radio. 
[NL] Original bniaural piece (Inner Library Space) on Electronic Frequencies, Concertzender. 

[UK] Pomone review on Resonance FM.  

“Bref: Pomone is a piece of beautiful and inventive sound-art. The label press finds that the record “echoes the work of Bernard Parmegiani”, and though that’s high praise indeed, Lioret lives up to that claim.”

[NL] Interiew at WORM Radio with Tisa Neža Herlec and Ruben Verkuylen. 

 [NL] Live review with Farzané. 

“They created interesting timbres that were reminiscent of women's choirs, but slightly more ethereal, whistling reed sounds and softly blown metal sounds alternated in a dance in which the timbres shifted subtly each time. Soft pulses in the background provided a sense of rhythm, and themes already created returned in subtle variations. A piece that carries you away.”

[NL] Sonology Electroacoustic Ensemble contribution trough Richard Barett’s artistic research on improvisation.


[US] Honorable mention prize for the Collaborative Contest, served by Dr Martin K. Koszolko.
[US] Pomone premiere on WRCT88.3FM

[NL] Things Are Quiet premiere in Zenevloed.

“ Things are quiet is the debut work of French sound artist Hugo Lioret. A sonic resting place, wrapping the listener in the cosmic architecture of a womb-like inhabitance, where time feels infinite. The palette: a mixture of treated field recordings with modular electronics, a wide spectrum of subtle greys hinting at a warm center. Things are quiet here in the expanding universe.”

[US] Pomone review.  

“On the 30-minute piece Pomone, Lioret presents a thickly detailed sonic panorama replete with enough mood and dynamics to allow the listener to experience it on many levels. The Natural (water, church bells, voices, and more) lives comfortably with the synthetic.  Lioret’s intent is to create a blended soundscape where the origin of the sounds, in this case the natural and the synthetic become immaterial to the listener’s perception and their desire to consciously (or even unconsciously) attempt to identify their source.

This ethos jives well with the classical definition of Acousmatic sound and Lioret does an admirable job of achieving it.  At one point, around the 5-minute mark, the sound of church bells is mixed below an airy and slightly menacing drone that succeeds in not highlighting either sound.  The overall combination melded together in a completely organic fashion and produced a beautiful sound tableau that gently sent this listener’s mind to other places.  Similar experiences with different natural/synthetic juxtapositions are scattered throughout the piece yielding equally pleasing results.”

[US] Interview for NINU NINA. 

The question of organicity drives my work. For  example, I can look at the sea, its evolution, its different textures, its proportionate disorganisation  or its material or immaterial presence. In the same way, I develop sounds, images,  constructions that make us feel the characteristics of these organic bodies. In this perspective, I  wish to participate in the deconstruction of the binarity between technology and nature.

I am  interested in what the hybridization of these bodies produce, underline, disturb, reveal, imitate. This  is where I place my work: the organic.

[US] Presentation in Miami New Times 

“Dystopian wonder is a phrase that could be used to explain much of the music released by the DIY label. Acts from Paris (Hugo Lioret), Taiwan (Ariana Van Gelder), South Africa (Alex Hing), and even Boca Raton (Larry Montelerone) seem to find their way to Vergez, all crafting sonic atmospheres and digitized vignettes.”

[UK] Review in Otfos 

“Hugo Lioret's Chronotropism, is a well thought, carefully crafted compendium of works that depict the universe from here and beyond. Some of it sounds very organic and earthy. Some of it is more ethereal and otherworldly without coming cross too Sci-Fi or cartoonish in any way. Overall, listening to this release is well worth it if you're looking for music that goes beyond predictable, humdrum, tried-and-tired mainstream sounds. I assure you that if you're looking for something different while meditating, reading, relaxing, or exploring nature, Chronotropism will leave you in for a real treat.”

[JP] Presentation in Cold experiment

"Noir Age is a label focused on artists who play experimental electronic sounds. Noir Age's catalog includes minimalism (...) French sound artist Hugo Lioret , and ambient project Taupe Set XL by Miami artist Kristen Soller . A lineup of gems with emotional depth that straddle the boundaries of ambient music."

[FR] Review in JETFM. 

"Hugo Lioret worked for some time on this radio with the program le son du vide, which documented experimental music. He works on the side of field recording these days and Chronotropism is part of a series around the possibilities of this music."