French avant-garde artist Ghédalia Tazartès cultivated a nearly uncategorizable aesthetic which he referred to as impromuz. Utilizing tape cut-up techniques equally reminiscent of musique concrète and experimental film, he created engrossing, multi-layered, ever-shifting soundworlds, editing his highly idiosyncratic releases from lengthy improvisations. While he played several instruments, including the accordion, Tibetan bowls, and percussion, his voice was his primary instrument, and he had a distinctly shamanic approach to vocalization, switching from throat singing to punk-like screeching to spoken poetry at a moment's notice. Debuting with the seminal Diasporas in 1979, Tazartès sporadically performed and released records during the 1980s and '90s, earning a living through his cinema and theater work. He returned to the stage in 2004, and remained highly prolific for the rest of his life, releasing solo works such as 2009's Repas Froid as well as collaborations with Jac Berrocal, David Fenech, Chris Corsano, and several other artists.