John Tareugram presents his first physical EP on Tartine Records. It includes
four good groovy house compositions aligning strong rhythm sections. Side A
is very punchy and contains the title 'Panier de Basket' wich came out via Le
Tournedisque last year. Side B, more audacious and made up of two delicious
snacks will make you hungry for more in the late hours of the night...
Pioneer of the electronic scene and co-creator of iconic projects like Age Of Love and BBE, Bruno Sanchioni returns with the fourth installment of his acclaimed series: Capture EP 4.
This new chapter delivers four powerful and hypnotic tracks, each crafted with the precision and flair that define Sanchioni’s legacy. With deep grooves, acid-tinged lines, and a finely tuned sense of progression, the EP invites listeners into an immersive and energetic sonic journey.
Capture EP 4 further cements Sanchioni’s reputation as a master of electronic storytelling—pushing boundaries while staying true to the spirit of the underground. A compelling addition to his ever-evolving discography, and a must-have for those who seek depth and intensity on the dancefloor.
French:
Pionnier de la scène électronique et co-créateur de projets emblématiques tels que Age Of Love et BBE, Bruno Sanchioni revient avec le quatrième volet de sa série acclamée : Capture EP 4.
Ce nouvel opus dévoile quatre titres percutants et hypnotiques, façonnés avec la précision et la sensibilité sonore qui font la marque de Sanchioni. Entre grooves profonds, lignes acidulées et constructions immersives, cet EP embarque l’auditeur dans un voyage aussi intense qu’élégant.
Avec Capture EP 4, Bruno Sanchioni confirme une fois de plus son statut de maître de la narration électronique — explorant de nouveaux territoires tout en restant fidèle à l’ADN de l’underground. Un disque incontournable pour les amateurs de sons authentiques, profonds et puissants.
Époque - Charlotte De Witte's archival label of KNTXT - and Vinyl Classics proudly present a special 12" that aims to both preserve and reimagine the spirit, sounds, and discotheque culture of the late ’90s and early 2000s for a brand-new generation.
Originally released in 1999 and produced by Jan Vervloet & Daniël Moerenhout, this track is still a guaranteed floor-filler decades later. Now, Charlotte De Witte delivers a stunning rework as a heartfelt tribute to one of her all-time favorites — with the original mix included on this release.
Charlotte de Witte’s standout performances across continents - including being the first techno (and female) DJ to headline the mainstage at Tomorrowland - Mixmag and DJ Mag covers, high-ranking positions in the charts and lists confirm her status as nouveaux techno royalty.
YELLOW VINYL EDITION[23,95 €]
Époque - Charlotte De Witte's archival label of KNTXT - and Vinyl Classics proudly present a special 12" that aims to both preserve and reimagine the spirit, sounds, and discotheque culture of the late ’90s and early 2000s for a brand-new generation.
Originally released in 1999 and produced by Jan Vervloet & Daniël Moerenhout, this track is still a guaranteed floor-filler decades later. Now, Charlotte De Witte delivers a stunning rework as a heartfelt tribute to one of her all-time favorites — with the original mix included on this release.
Charlotte de Witte’s standout performances across continents - including being the first techno (and female) DJ to headline the mainstage at Tomorrowland - Mixmag and DJ Mag covers, high-ranking positions in the charts and lists confirm her status as nouveaux techno royalty.
Numbers hold the key to unlock the universe. So, a six-pack can either consist of six bottles of beer, very well developed stomach muscles or in our case: a string of smash hits. To take it even further, it’s exactly six tracks for the sixth part of the VA-series that is One Swallow Doesn’t Make A Summer.
Hit men include friends new and old: Llewellyn, Stereocalypse, Zillas On Acid, Storken & Hammer, Ede, Señor Chugger & Count Van Delicious. The pace is cool and hot at the same time. Rave signals by Ede foil the nouveau disco by Stereocalypse or Storken & Hammer, Llewellyn does a classic house piano hop, Zilles On Acid deliver, well. mid-tempo acid, and last, but not least, Señor Chugger & Count Van Delicious strike a delicious pose.
One for almost everyone! And if not, let your body go with the flow!
Nuovo Testamento is the Los Angeles & Bologna-based trio featuring members of Horror Vacui, Sheer Mag, Tørsö, Terremoto and Crimson Scarlet.
With the addition of Chelsey Crowley on vocals, synthesists Andrea Mantione & Giacomo Zatti found that their initial coldwave tracks, originally written for the male voice, took on an undeniable synthpop feel. While still recording these songs for the debut Exposure EP in 2019, the band leaned into this evolution and their shared love of Italo disco, beginning to write what would become the New Earth LP.
Recorded in isolation during a global pandemic, New Earth is a dark Italo record dappled with light. For eight new tracks, dancing synths perfectly balance the rich dream of a charmed life with melancholy. Guitars have taken a step back, allowing disco beats to flood the floor and joyful fun to prevail. The record anticipates a return to dance spaces, imagines shared experiences and celebrates personal power.
Produced by sound engineer Maurizio Baggio (The Soft Moon, Boy Harsher and many more), with vocal recording by Riki and featuring guest vocals from B. Sven Gustavson (Spectres, Nouveaux), New Earth reflects international influences from the goth club scene to Hi-NRG classics, reminiscent of Italian Baby Records, Mute Records and the spaces in between.
In 2024, Kyoto Jazz Massive released their third album as a digital-only project, 30 years after their debut. It now receives the honor of a special vinyl edition, featuring brand-new exclusive mixes by Young Pulse—elevating these already great tracks to even greater heights, for both your ears and your feet.
This marks the first and exclusive collaboration between KJM and Echoes Of A New Dawn Orchestra (aka Jéroboam), the unique Parisian band that has been performing live with KJM across Europe for the past three years. On this occasion, KJM recorded four new tracks with EOANDO, including three original songs ("Power", "Love Wars", and "Impulsive Procession") and a new rendition of “Stand Up”, a previously released composition. To complete the album, you'll also find a stunning cover of KJM’s iconic track "Substream" by EOANDO, as well as their signature piece, “EOANDO's Theme”.
"Power" and "Stand Up" were recorded with Vanessa Freeman, while "Love Wars" features Bembe Segue. This London-based duo has been singing live with KJM since 2004.
"Power" is a crossover anthem, blending jazz-funk and French disco with a gospel touch. Vanessa Freeman’s uplifting lyrics call for collective awareness and energize audiences. "Love Wars" is a live-band interpretation of broken beat with a boogie spirit, enhanced by Bembe Segue’s sharp and spiritual vocals. “EOANDO’s Theme” was specially composed by Echoes Of A New Dawn Orchestra for KJM, capturing the Okino Brothers' love for boogie-funk jams with Brazilian and Balearic influences reminiscent of Azymuth.
“Impulsive Procession” fuses Afro, funk, jazz, fusion, soul, rock, house, and techno—drawing inspiration from several of KJM’s most respected musical heroes. A brand-new version of “Stand Up”, originally released in 2008, was re-recorded live in the studio with EOANDO and fresh vocals by Vanessa Freeman.
The album closes with a reimagined version of “Substream”, one of KJM’s most beloved tracks, covered by EOANDO for the official Tokyo Crossover/Jazz Festival 2023 compilation. This new version was recorded as an organic disco interpretation at Danilo Plessow’s studio in Paris.
Die französischen Pop.-Connaisseure aus Paris, LA FEMME, veröffentlichen ihr zweites Album ,Mystère".
Die Band hat die kulturelle Landschaft des modernen Paris massiv beeinflusst und ihre Musik an beiden Seiten der Stadt an der Seine verortet: im Glamour und an den weniger glamourösen Schauplätzen. Seit der Veröffentlichung ihres Debüts ,Psycho Tropical Berlin" haben LA FEMME prominente Bewunderer gesammelt: darunter die Regisseure Jacques Audiard und Romain Gavras, Legenden wie JEAN MICHEL JARRE und Hedi Slimane sowie eine stetig wachsende junge Fangemeinde, die ihnen den Titel ,French Best New Band of the Year" bei den französischen Music Awards und Plätze ganz oben in den französischen Charts einbrachte; dazu sorgten TV-Werbespots von Aplles, Renault und Sonos mit der Musik von LA FEMME für gespitzte Ohren.
Die Band kehrt mit einem psychedelischeren Sound und einer ganzen Reihe von Gastsängerinnen zurück, die eine Schneise durch die härtesten Elektrobeats schlagen. LA FEMME feiern ihre wunderbare Heimatstadt und hinterfragen das Ver- und Entlieben. ,Mystère" ist tatsächlich eine Kollektion von Kurzgeschichten über Liebe und Verlust. Jeder einzelnen Song überspringt Sprachbarrieren durch reine Melodie. Der retrofuturistische Surfpop-Sound der Band beruft sich noch immer auf den gleichen glamourös-punkigen Krach wie zuvor, doch dieses Mal ist er durchzogen von einer Zusammenstellung eleganter Einflüsse zwischen ENNIO MORRICONE, dem Disco-Rock von MARIE ET LES GARCONS und THE VELVET UNDERGROUND.
,Mystère" ist ein Fundament für die neue LA FEMME Vorliebe für orientalische Klänge; türkischen Disco, Tuareg Blues, mittelalterliche Psychedelia lehnen sich an an BRIAN ENO und PINK FLOYD.
In Season 5, the long-awaited fifth full-length by beach-pop project The Tyde, frontman Darren Rademaker unveils his vision of an ’80s-inspired Suave Nouveau, with a clutch of sweet, melancholic love songs evoking lush mustaches, mellow macho, the ghost of Jimmy Buffett, white sand beaches, flamingos swooping across a cerulean sky, speedboats cutting through the bay and pastel linen suits billowing in the breeze as the sun dips beneath the horizon. “Spanish conquistador Juan Ponce de León ‘discovered’ Florida in 1513, naming the peninsula La Florida, the flowering land. In Season 5, Rademaker reflects on his own return to the flowering land, and the artistic diaspora that caused him to quit California in 2020 in search of a New World of his own. ‘I lived in Florida from the ages of ten to twenty-five, but never really got to explore it,’ he says. ‘When I came back, I decided to really embrace the whole Florida aesthetic. I moved into an art deco home in Sarasota with pink seashell lamps. I visited Key West, like seven times. I also quit smoking weed and cigarettes, and stopped saying shit like LOL and amazeballs. It felt different. It felt good.’ “The record features the talents of many good friends, including Dan Horne, Colby Buddelmeyer, Matt Correia (Allah-Las), Clay Finch (Mapache), Albert Hickman, Derek James (The Entrance Band), Alex Knost (Tomorrow’s Tulips) and Adam MacDougall (Circles Around The Sun / Black Crowes), with artist / musician Matt Fishbeck (Holy Shit) designing the deco-inspired album artwork. “And as much as they are inspired by the past, these songs are keenly aware of an uncertain future—because there is no such thing as a time machine, and there is no going back. Ultimately, Season 5 asks the question—where do we go after the sun sets on our dreams? Where the fuck is the New New World? In Rademaker’s eyes, it no longer exists in any specific American geography—rather, all hope remains in the timeless, unending power of music, and its power to take us to the places we wish we could be. Even if they don’t exist anymore.” — Caroline Ryder
"This Is a Manifesto of My Love of the Free Human, and My Affection for Those Sparks That Arise From Our Friction. When,
when We Are Open to Each Other, We Manage to Draw From Them a Friendship and a Sharing That Will Build Us Even More." Folamour Discover Manifesto , the New House & Pop Album Recorded in the Hustle and Bustle of Marseille and Amsterdam. This Album Conveys A
message of Peace and Communion, a Mix of Electronic Pop and Club Anthems. Funk/house Artist and Outstanding producer,
Folamour Draws on a Variety of Encounters to Express His Musical Desires and Ideas. Amadou Et Mariam ; Family Habits ; Tim Ayre ;
Khazali; Baccus; Emmanuel Jal and Jungle by Night Bring Their Talent and Energy to This Brand New Project. ...
Découvrez "Manifesto", le nouvel album house & pop enregistré dans l'effervescence de Marseille et Amsterdam. Cet album transmet un message universel de paix et de communion, un mix de pop électronique et d'hymnes club. Artiste funk/house, et producteur hors pair, Folamour se nourrit de rencontres diverses pour exprimer ses envies et idées musicales. Amadou et Mariam ; Family Habits ; Tim Ayre ; Khazali ; Baccus ; Emmanuel Jal ou encore Jungle By Night viennent apporter leur talent et leur énergie sur ce tout nouveau projet. En presque 10 ans, Folamour a cumulé plus de 600 dates dans plus de 30 pays ! Après une tournée en Amérique et en Australie, il a pris la route des festivals cet été, avec des performances inoubliables à We Love Green, Glastonbury, Primavera et dans toute l'Europe ! "Manifesto", double gatefold, artwork de Misterpiro.
As soon as Spike discovered punk, he wasted no time forming Reptile Ranch (Wales’ own Scritti Politti), starting a label (Z Block), and releasing the compilation of the Cardiff scene, Is The War Over? After an act dropped out of the cooperatively-funded venture, Spike approached the disbanded Young Marble Giants to contribute a track or two. Bemused, they agreed to reform, and it wasn’t long before Rough Trade rang the public phone listed on the back cover of the LP to poach the combo, leading to an album which hit immediately and has inspired hundreds of artists since. All the while, Spike worked with Debbie Pritchard in a number of unheard bands - but that’s another tale. After YMG’s breakup, singer Alison Statton started Weekend with Spike and Simon Booth, a project which saw chart success and the birth of a nouveau-retro style as individualistic as YMG’s, one later co-opted by lesser acts. Weekend, too, split after their debut album. Despite Weekend having become Alison’s second big act, Rough Trade passed on her next project with Spike. Vinyl Japan stepped in to release the duo’s debut, Tidal Blues and other releases followed, but as real life, jobs, and children beckoned, both Alison and Spike stepped away from music . . for more than twenty years. Their return is both unexpected. Bimini Twist is the work of the two alone. Apart from some vocal tracking in a local studio to best capture Alison’s still wondrous voice - everything was recorded in their homes, much of it ‘live’, and these new songs show the duo’s charm and diversity, featuring Alison’s most personal lyrics and Spike’s peculiar musical genius
All of us carry a piece of where we’re from with us, but these parcels of fallow land often in a uniquely mysterious way become the prey that nourishes our aspirations. Agnès Gayraud a refined thinker by day that transforms into la Féline at night left Tarbes many years ago in search of greener pastures. After making a name for herself with Adieu l’Enfance (2014), Triomphe (2017), and Vie Future (2019), the author and musician has evolved once again. Her latest release Tarbes reinvents the circle of life and challenges our preconceived notions. She welcomes us to her hometown with sweet and clear melodies over the backdrop of an electronic hum, reminiscent of Mark Twain classic Tom Sawyer. Tarbes is no more than a listen away. Physically prevented from returning to her hometown by the viral threat we all know all too well, Agnès found her way back with a small Electone home organ. The constraints of off-peak hours that called for some DIY savvy, slowly but surely, roused her spirit. With a drum machine, a bass and a guitar, she succeeded in making the young girl inside her smile again. With 13 songs and just as many adventures Tarbes is a concept album that tells the story of a young woman’s formative years, as spent in her hometown. The returning hymn doesn’t only imprint nostalgia, it paints the full emotional portrait of a town. Because for Agnès, Tarbes is not just her theater, but her whole world, showing how fiercely protective she is of her hometown in the song Solazur. Under a magnifying glass of emotion, and with the sentimental testimony that is La Panthère des Pyrénées, the artiste shows us the skeletons in our own closets. Tarbes, more than a brief stopover in a rail journey to the coast, broaches issues that touch on abandonment, desertification, aging and redevelopment that many French towns and cities face today. Alexandre Guirkinger’s photographs serve as album art that illustrates this strangely unique singularity. While fine-tuning this collection of stories, in an oh-so-intimate album where solitude rips away the mask of confidence, Agnès found solace in uniting with other spirits. For 3 songs Tarbes, Jeanne d’Albret and Fum, inspired by an Occitan poem of Louisa Paulin (1888-1944), she invited the young voices of Conservatoire Henri Duparc a building she knows intimately, despite never feeling allowed to enter as a child to breathe the energy of their adolescence into this record. She also collaborated with Lyon’s own François Virot to imbue his delicate rhythms into her work, as well as Belgian guitarist Mocke Depret. Lastly, La Féline entrusted the last production stages to her eternal partner in music, Xavier Thiry, with Stéphane “Alf” Briat on the mixing board. The final piece has a complex tranquility, surrounded by non-verbality, with Jeanne d’Albret, Louisa Paulin and the Pyrénées safeguarding Agnes’ secrets. With the calm reassurance of her metamorphoses, La Féline delivers a slice of silence to her town, serving as both her cradle and theater. Tarbes’ Théâtre des Nouveautés is where Agnès Gayraud, La Féline, has decided to present Tarbes to its residents on October 14, 2022. While “nouveautés” evokes newness, this theater is reminiscent of a future which is already outdated, where modernity is only vague and fictional, carrying reminders of French haute-kitsch accordionist Yvette Horner, whose parents were the caretakers of what was then called the Cani Eldorado a bastion of virtue through the 30s, with its lineup of Catholic films. However, by the 60s, it would have become a temple of pornographic cinema. Tarbes, “Les Nouveautés”, end card. In the mid 90s, then 16 years old, Agnès discovered the volatile dust and the ghosts of the past that were hidden in this apostate theater. This phantom bequeathed song the teenager with the gift of her undeniable talent at her first appearance on stage a high school performance of a guitar-laden ballad sung in Spanish, a language her Andalusian mother has infused her with. On October 14, 2022, Agnès returns to the stage, bass in hand and joined by François Virot (drums), Mocke Depret (guitar), Léa Moreau (keyboard) and the Conservatoire de Tarbes singers to perform the album in its entirety
Évariste is one of the rare specimens of artist-cum-scientists. Among his kind stand others like Pierre Schaeffer, a Polytechnique graduate (an engineer but also the father of musique concrète) and the eccentric Boby Lapointe (graduate of the École centrale and inventor of the Bibi-binaire system, patented in 1968). Évariste's songwriting, joyful and full of energy (albeit extremely critical), shrouds an original tragedy: born in 1943 among résistants, Joël Sternheimer (aka Évariste) grew up without a father, lost to Auschwitz. Although he makes little reference to Jewish culture in his music, his origins leave their mark: in 1974, he sings a Hebrew song on television. In 1966, the young Joël sports Princeton's colourful paraphernalia - that's because he's freshly returning from the US, where he was sent to pursue his research on "particle mass and the interpretation of observed regularities, such as the effects of a wave" (will understand who may). When he gets there the country's in the midst of the Vietnam War. With McNamara keen to find an alternative to the nuclear weapon and calling upon the country's biggest brains to undertake the task, there's a "fund shift" within the university - a diplomatic way to give notice to whoever may not be disposed to follow the government's scheme. Joël, who's under the supervision of a rebellious physician, is dismissed. He regardless keeps following the prestigious seminaries of the Institute for Advanced Study, chaired by Oppenheimer, inventor of the atomic bomb. Likely inspired by the hippie movement and music, Joël buys a guitar and starts playing in Washington Square - after all, Bob Dylan himself started there. He blithely skips Oppenheimer and receives a warm (though surprised) welcome from a crowd thoroughly unfamiliar with French. When the ageing physicist questions him about his decreasing attendance, Joël explains how drawn he is to music, and how he thinks it could help him in self-financing his research. Évariste recalls seeing the sickened man, his face torn by remorse, lighten up to his words and say: "What's keeping you - go for it! If I was still young that's exactly what I'd do." The student takes these words as a testimony from his professor - and it's enough to convince him . And so he takes the leap during the Christmas vacations he spends in Paris. A journalist friend he often sees around the Sorbonne introduces him to the artistic director of Disques AZ. The latter passes the tapes on to the label's boss, Lucien Morisse, also program manager on Europe N°1. Morisse is blown away - and signs him onto the label right away. Michel Colombier, arranger for Serge Gainsbourg and co-author of "Psyché Rock", with Pierre Henry, contributes some of his original ideas to the 7 inch "E=mc2": Évariste's preoccupation with the percussion sound on the track "Le calcul intégral" is that it goes "poom poom" and not "tock tock" - Colombier is aware of the issue and records Évariste's guitar like a percussion in an isolated booth. The organist Eddy Louis, who is to participate, in 1969, to the success of Claude Nougaro's "Paris mai", also appears on the record. It's 1966 and the Antoine phenomenon (signed on Vogue) storms through France. The two singers share similarities: Antoine is an engineer of the École centrale, gifted with a great originality in his song-writing. A godsend for the two labels who turn this resemblance into a commercial strategy, setting them out as rivals. To this day though, Évariste still denies what was little more than slushy tabloïd gossip. Success comes around swiftly and in 1967 Évariste launches into a second 7 inch, "Wo I nee", again arranged by Michel Colombier. Quantum mechanics fans finally get their anthem with "La Chasse Au Boson Intermédiaire" (or the "Intermediary Boson Pursuit"). To sum up what's a boson, say he's a close pal of the meson, photon and other gluons. A few months later, it's May 68 and everything's turned upside down. Évariste writes a series of songs inspired by the events, which he immediately submits to Lucien Morisse. When the man behind "Salut les copains", once married to Dalida, hears the song "La révolution" - a father and son dialogue - he can't take any more: AZ simply cannot release this. But there and then Lucien Morisse makes a gesture which will remain engraved in French music's history: sorry to be unable to officially stand by the singer, he encourages him to self-produce the record, but with his tacit support. He calls the pressing factory and asks they apply the same rate for Évariste as they would for AZ. The singer and his musicians use the same studio as for the previous record, all of them playing for free awaiting a return on investment. Évariste keeps singing at the Sorbonne with "Jussieu's gang" and "the young Renaud" he nicknames "le p'tit gavroche" (or "street urchin"). Renaud volunteers to type the lyrics of the song "La révolution" so that the chorus can be sung and recorded. A boy in the group is related to Wolinski and introduces them. The two get along so well that Wolinski ends up drawing the cover for the record "La révolution", for free. The self-released 7 inch "La révolution / La faute à Nanterre" is sold under the table and door-to-door for half the price of a standard record, on and around the boulevard Saint-Michel; and it runs out fast. In the end, there will be 6 releases of the record, and 25000 copies sold. When the theatre director Claude Confortès decides to adapt Wolinski's drawing series titled "Je ne veux pas mourir idiot" ("I don't want to die a fool"), he asks Évariste to write the original soundtrack. His friend, now cartoonist for Hara-Kiri Hebdo, often promotes him in accordance with a principle dear to him by virtue of which he gives a special place to his friends. Dominique Grange (writer of the song "Nous sommes les nouveaux partisans") soon joins the team. After 150 performances, Évariste leaves his place to Dominique Maurin (brother of Patrick Dewaere). Évariste composes the songs for Claude Confortès' next play, "Je ne pense qu'à ça" ("That's all I think about"), co-wrote with Wolinski in 1969. The comedians of the play record the songs on a 7 inch, with a cover signed, again, by Wolinski. In 1971, French television produces the documentary "Évariste et les 7 dimensions", but doesn't air it. Indeed, the scientific sub-comity of the programming comity (sic) censors the show. The given justification is that "Évariste dangerously mixed science with science-fiction, numerology and other non-scientific disciplines". The underlying motive might have been a will to censor the singer-mathematician's political discourse. In the documentary and among other things, Évariste discusses hierarchy, alienation and revolution. Half a century later the documentary remains invisible, though some excerpts resurfaced in 1992 in the cult show "L'oeil du cyclone", on Canal +. Though flourishing, Évariste's career is nearing its end. 1970 is the beginning of a decade in the course of which he is to make a decisive discovery in the musical and scientific domains. Following this breakthrough, he moves away from self-produced music and gaucho magazines to focus on science. He keeps Oppenheimer's encouraging words in mind, now freely pursuing his research thanks to the sales of his records. Joël realises that when decoding protein sequences, one finds musical sequences recognisable to humans. He names them "proteodies". If, when listening to a proteody, one responds by being so sensitive as to finding it beautiful, then it reveals a deficiency of the related protein - and this peculiar music may be the cure. We could trace back the music history in light of proteins lacking in a given artist, or within a public's majority. You always thought these hysterical groupies who'd throw their underwear with passion and faint in the pit had miraculously appeared because they had never heard anything as wonderful as the Beatles? Make no mistake! For Évariste, it all boils down to an intro's protein content. Indeed, the beginning of their first hit "Love Me Do" corresponds to dopamine, the neurotransmitter linked to compulsive buying. An intro like this could only unleash the fervour of groupies, victims of fashion and biology. Évariste's success is such that the income from his sales gives him the autonomy to which he had aspired when confiding to Oppenheimer. It made it possible for him to pursue his research without any institutional constraints. He now devotes himself to his proteodies, sat in the offices of the European University for Research, just around the corner from the Sorbonne he knew so well. Évariste is no more. Joël regained control of this strange and comical beast.
To avoid the “Quésaco?” on the sleeve of Piano Dazibao, François Tusques explains everything: A wall mural on which the Red Guard expressed their opinions during the Chinese proletarian cultural revolution. So much for the “Dazibao”, very good; but the piano in all that?
The piano, François Tusques was self-taught and his work was influenced by Jelly Roll Morton and Earl Hines before discovering Thelonious Monk, Bud Powell and then... free jazz. In Paris in 1965, Tusques mixed with Michel Portal, François Jeanneau, Jean-François Jenny-Clark, Aldo Romano or Jacques Thollot. He also met Don Cherry and above all recorded, with other like-minded Frenchmen (Portal and Jeanneau alongside Bernard Vitet, Beb Guérin and Charles Saudrais), the first album of free jazz in France, named... Free Jazz.
In 1967, Tusques again served up Le Nouveau Jazz, this time in the company of Barney Wilen (and Guérin, Jenny-Clark, Romano). Three years later his thirst for freedom led him to isolation; between May and September 1970, the pianist recorded, at his home, the first of two albums that he would release on Futura Records: Piano Dazibao and Dazibao N°2.
Under the influence of Mao and Lewis Carroll, the free spirit roamed and composed seven tracks which are not so much free as libertarian. As an homage to some friends (Don Cherry, Sunny Murray, Archie Shepp, Clifford Thornton but also Colette Magny, Michel Le Bris or the Théâtre du Chêne Noir), the pianist played cascading bouquets of notes, free-form wanderings, blues-ambushed dances, growls, discords, a fatal requiem... A cherished freedom, songs of hope and demands, François Tusques offers the most unrelenting of independent records.
Siv Disa, the Chinese-American New York singer currently residing in Iceland has announced her debut album, Dreamhouse on UK based label Trapped Animal. Dreamhouse is available on Sky Blue 180GSM vinyl with a printed inner sleeve including song lyrics. The outer sleeve is printed uncoated high-quality card. Also available on Digipak CD and via Digital streaming and DL. The artwork was conceived and built by Siv Disa. It features a dreamy hand-painted dollhouse—the front image is a photograph of a tangerine sherbet living-room-in-miniature, complete with a teacup table and a glowing salt shaker lamp. The artist herself is hanging on the wall ensconced in a gilded frame overlooking the tableau. The back cover explores the same dollhouse, from a distance: there’s a garden in the basement, a maze of threads in the gallery, and a small ocean in the bathroom. A callback to the intricate maximalism of 70’s psychedelia and Neo-art nouveau, there are layers of details embedded into each room for the viewer to discover. Dreamhouse is a wild journey through its creator's psyches. It moves from gentle break-up songs to dark nights out in the fluorescent haze of nighttime New York and Reykjavik city filled with deep hallucinogenic beats... before it finally closes on a song infused with the isolation of 2020. The first part of Dreamhouse was recorded in upstate New York with collaborator and producer Sam and the sea, they both chose to relocate when the pandemic hit the US – and regrouped at a studio cabin in the wilderness to complete Dreamhouse and take time to escape the ensuing storm we all faced. It’s important to understand, whilst a product finalised during lockdown – this album was largely conceived way before the lockdown or pandemic, this is Siv Disa’s debut album and it was always going to be luminous and otherworldly, as with its creators. Quotes : “psychedelic pop that converges the encompassing textures of Broadcasts with Joanna Newsom’s pleasantly off-kilter melodies” - Line Of Best Fit // “...a haunting feel, while her warm, soft voice invites the listener into even the darkest of stories…Fear is an embodiment of this distinct sound she’s mastered.” Audiofemme // “profound lyrics flow from an ethereal plane, it’s an utterly captivating offering” Get In Her Ears
2023 Restock
Within the elusive confines of this film awaits an unreleased album that defies categorisation by a musician who in a different time and space would be revered amongst some of the most important exponents of progressive rock, dark ambient, Krautrock and pioneering synthesiser composition - not to mention sound design and art-house film scores. As a protégé of François Bayle and Luc Ferrari who had studied classical music before immersing himself in found-sound manipulation and oscillators, Alain Pierre quickly became an enthusiastic go-to man for sound sculpture and technical studio proficiency in Belgium’s small film industry.
To the many generations of dedicated fans of the visual work of Philippe Druillet it might seem virtually impossible to adequately “score” the alien, futurist landscapes of the man who many called the “space architect” (on account of his space age reductions of Gothic cathedrals, Art Nouveau, and Indian temples), but once you have heard the sonic reactions of Alain Pierre on this the first-ever dedicated Druillet documentary, Ô Sidarta, complete with his own equivalent sound palette, it will be difficult to “hear” Druillet’s world via any other composer. Despite Druillet’s truly incredible record sleeve designs for projects like cosmic disco ensemble Black Sun, concept albums such as Attention by Jean-Pierre Mirouze (composer of Le Mariage Collectif), Parisian metal bands like Sortilège, gatefold portraits of Jimi Hendrix, later period albums by William Sheller and most relevantly on albums by Igor Wakhévitch (Docteur Faust, 1971) as well as separate releases by both Richard Pinhas and Georges Grünblatt (both from the cosmic prog outfit Heldon), it is fair to say that this criminally unreleased album by Alain Pierre would conjure up the closest synergy between sound and vision that either artist would come close to.
The almost twelve of continuous music that Alain Pierre supplied for Ô Sidarta in 1974 fortunately appears in its entirety, unedited, as it does here for the first time ever away from its original broadcasts. Broadcast on Belgian and French TV that autumn, the film received a warm reception from Druillet fans, prospective film producers and space rock fans lucky enough to catch the short feature.
Throughout his career Alain’s commitment to conceptual music excelled within both cinematic realms as well as with the live arena. Never shying away from the constraints of transporting heavy synthesiser technolog and unpredictable analogue equipment to public spaces, Alain took his self-initiated “live” work very seriously. It was within his lesser-documented performances that you would find the closest sound to the music on Ô Sidarta, proving that the Druillet collaboration was naturalistic and conceptually close to Alain’s personal stylistic agenda. A rare recording of a one-off concert at the Université libre de Bruxelles in October 1976 reveals a very similar set of movements and soundscapes found on Ô Sidarta. This rare artefact has been included on the second side of this record under its original title Notions de physique intérieure (Notions Of Interior Physics) and stands as a perfect companion piece to Ô Sidarta - complete with a very similar “kit list” including the welcome addition of an Arp Sequencer, a Korg Vocoder and a Theremin (a back line whose total would far surpass any stationary studio of the era never mind a live show!).
By looking back at his original composition for one of his very first solo soundtrack commissions, Ô Sidarta, you can hear that back in 1974 Alain had already successfully managed to combine more unlikely musical influences, experimental techniques, and previously unheard soundscapes and studio tricks in to one twelve-minute score than most musicians fail to cram in to a whole discography. But still there is so much music yet to be discovered and Ô Sidarta is just the tip of the iceberg in the middle of a cosmic sea. Much like a character from one of Philippe Druillet’s books, Alain Pierre is a rogue pilot, steering his own ship in to the unknown, uncharted, unnoticed and quite unbelievable.
