Suche:frederic ba

After a small nap, Tokyo’s finest Studio Mule is back on the scene, bringing the world some deeply composed guitar music from Japan, crafted by Shin Sasakubo.

Since almost 20 years the guitarist is specialized in classic and contemporary Andean and Peruvian music. a knowledge that he deepened through a three-year stint in Peru between 2004 and 2007.

During his time in Latin America, he played live in Argentina, Chile, or Bolivia and researched in the works of Peruvian novelist, poet, and anthropologist José María Ar-Guedas, as Shin Sasakubo’s take on art is not one-dimensional.

He also loves movies, painting, photography, writing, and theater - artforms that con-stantly influence his music on many different layers. since his return to his hometown Chichibu City in the japanese Saitama Prefecture, he launched the "Chichibu Avant-Garde School”, a college that looks through art and lectures on the Chichibu region, and his en-vironmental and folkloristic history.

As sincerely driven composer, he released three guitar leaning albums in the past ten years. his latest sensation “Chichibu”, originally only released in Japan, now travels the globe via Studio Mule, making his fantastique listening voyage available for all those souls that seek joy through the sound of guitar strings.

Compiled by Sean Marquand and Greg Caz, 2 DJs well-known for their epic parties at Williamsburg’s legendary Black Betty club, that sadly closed in 2009. The duo played a deep variety of strictly vintage samba, samba-rock, Tropicalia, and Brazilian funk under the banner of ‘Brazilian Beats Brooklyn’.

Sean is known as half of Embassy Sound Productions. He took his team to Brazil to help resurrect Black Rio legends Uniao Black for a new release. Greg has DJ'd at some of the hottest Brazilian parties around the globe and presents a monthly radio show ‘Warm Wave’ on Soho Radio NYC.

Featuring Noriel Vilela’s singular “16 Toneladas,” a sublime cover of the Tennessee Ernie Ford smash “16 Tons” with a spare samba groove and unbelievable baritone vocals and hot jams from Tim Maia, Erasmo Carlos, Joao Bosco, Toni Tornado.

Included in this compilation of original 60's and 70's Brazilian gems are some of Greg and Sean's favourite tracks that have been filling dancefloors for years.

Favorite Recordings presents Dark Is The Color, the first LP by Alan Shearer reissued on vinyl for the first time. Despite being initially composed and produced for the French library label PSI, this rare
and obscure in-demand gem from 1985 sounds retrospectively like a proper album with great coherence and sophistication all along. Indeed, these 11 tracks will delight synthesizers addicts. Expect deeply emotive instrumental compositions, with ingenious analogue sequencing on stimulating chord progressions. The result is a highly retrofuturistic album, sometimes almost anticipating 90's videogames
scores. Just imagine Wally Badarou in a bunker with Talking Heads watching New York 1997 from John Carpenter.
Composed mostly step by step on a Sequential Pro-One synthesizer, Dark Is The Color is the product of the exciting state of mind from the 80's era with new sounds, new tools and new trends on the music spectrum. Influenced by bands like Talking Head or Japan, the sirens of the new wave scene strongly resonate here with Alan Shearer's familiarity and craftmanship with synthesizers.
Back in the days, Alan Shearer aka Frédéric Viger was working for his father’s music label, “Musique Pour L'image”, and their sublabel “PSI”. He started with Marathon Life under his real name before taking the Alan Shearer monitor. These records were produced for radio, TV and cinema industries but as well for companies’ internal communication. They represented a real investment from the label and these catalogues are usually full of amazing music from great artists such as Martial Solal, Vladimir Cosma, Joël Fajerman, Harlem Pop Trotters and even Manu Dibango.
About his musical illustration process, Alan Shearer tells: "Soundtracks are indeed my biggest influences and I'm a real fan of American composers as Jerry Goldsmith or Elmer Bernstein. I've always considered soundtracks as the new classical music or classical music of our century. There is a real state of mind producing music for illustration: you have to stick to the video. You should not tell what the image is saying but accompany what it is saying. You have to find a unique link, people always told me music should not be noticed for itself in a movie, that's what makes it good.”

"The stakes are high; if I mess up the last bar, the whole recording is ruined." As Dutch pianist Nicolas van Poucke acknowledges, there is an electricity in the room whenever the lathe is on. Direct-to-disc recording generates tension and release unlike other methods, not least in the final moments of a 20-minute solo piano recital. Described as "the young freethinker" of his generation, van Poucke relished the challenge. Having spent day one setting up to record works by Frédéric Chopin, van Poucke changed tack on day two to perform two Beethoven piano sonatas - Sonata No. 12 Opus 26 in A flat major, and Sonata No. 23 Opus 57 in f minor, also known as the "Appassionata".



For fans of great jazz soloists like Keith Jarrett and Bill Evans asmuch as for classical aficionados, van Poucke’s recordings make thebest of the process in capturing a sense of timelessness in the music.

Following two stunning singles, prodigiously talented producer and composer Frederic Robinson is set to drop his debut album,
'Mixed Signals', on Blu Mar Ten Music on 14th October. The album is the culmination of over a year's work and a lifetime of musical
obsession for Robinson, comprising of a series of intricately crafted and delicately emotive tracks exploring a forward-thinking
electronic vision, which he describes as "music for the listener with a broad horizon and a short attention span'.
Over its eleven tracks, 'Mixed Signals' gives Robinson the canvas to showcase the full breadth of his talents like never before.
Amalgamating the many influences that inform his productions, from drum & bass and electronica to contemporary classical
composers, 'Mixed Signals' is a brilliantly crafted and coherent artistic statement that draws upon his talents as a classically trained
multi-instrumentalist as well as an electronic producer. Filled with light and shade, impact and intricacy, 'Mixed Signals' is much more
than a drum & bass record or a collection of club tracks; this is an album in the truest sense of the word.
"So far, this album is my biggest musical project and my greatest achievement. I worked on it for about a year and went through many
different creative phases in that time, all of which are represented somewhere on the LP. It is a summary of my current talents, skills
and interests. It marks the end for some ideas and concepts and the beginning for many others." - Frederic Robinson.
Built from a collage of acoustic and electronic elements, Robinson's music is a dense patchwork of skittering rhythms, found sound
and lush instrumentation, which harnesses a compelling emotional draw as much as it does an undeniable dance floor energy. Both
immediate and nuanced, 'Mixed Signals' is a brilliant balance of contrasts.
The sweeping drama of previous single 'Theme Park' opens the album, remaining as fresh and brilliantly unique as ever, while 'Off
Topic' and 'Bloom' featuring Stray both also provide familiar touchstones, exploring esoteric manifestations of 170 bpm's outer
possibilities. Three vocal tracks are scattered throughout the tracklist, with the soft, otherworldly tones of Melanie Robinson providing
an entry point to Robinson's world of broken percussion and wandering melodies.
Elsewhere, 'Vamp Till Ready' balances rich string orchestration against a wave of skittering percussion and 'Shut' offers an expansive
beauty in its naïve, dreamlike melodies. 'Particles' showcases an innate understanding of drum & bass constructs, warping tight
breaks and deep bass against bold blasts of colour while the eponymous track explores a playfully off-kilter and delicately nuanced
downtempo vision, before the album is played out on wave of hazy melodies and light-footed rhythms with closer 'Static Float'.
'Mixed Signals' provides the broad canvas that Robinson thrives in painting with his sprawling musical influences and complex
arrangements, and the results are phenomenal. The album is a masterpiece in dance floor escapism from a talent whose career is
undoubtedly in the ascendant.

'The Fantasy Life of Poetry & Crime' is another beguiling left turn by one of our most prolific artists, Peter Doherty and is some of his finest work to date Peter's deft lyricism combined with Frederick's delicious francophone musical arrangements is a marriage made in heaven.
Written during lockdown and produced by Frédéric Lo 'The Fantasy Life of Poetry & Crime' was recorded at Cateuil in Étretat (Normandy) and Studio Water Music in Paris and mixed by François Delabrière at Studio Moderne, Paris. All words are by Peter Doherty and music by Frédéric Lo.

'The Fantasy Life of Poetry & Crime' is another beguiling left turn by one of our most prolific artists, Peter Doherty and is some of his finest work to date Peter's deft lyricism combined with Frederick's delicious francophone musical arrangements is a marriage made in heaven.
Written during lockdown and produced by Frédéric Lo 'The Fantasy Life of Poetry & Crime' was recorded at Cateuil in Étretat (Normandy) and Studio Water Music in Paris and mixed by François Delabrière at Studio Moderne, Paris. All words are by Peter Doherty and music by Frédéric Lo.

"Même Soleil" is the result of a dialog between the French photographer Gaël Bonnefon and the French musician Frédéric D. Oberland initiated by IIKKI, between December 2019 and June 2021.

Self-taught multi-instrumentalist & photographer, Frédéric D. Oberland finds himself at the crossroads of image and sound, favoring a synesthetic approach. He articulates different modes of narration, combining the raw character of the documentary form with the transfigured reality of myth and poetry, allowing him to question notions such as the sacred, the monstrous, the fraternity, while at the same time returning to the political news of the present. Attentive to the pulse of the body, his work is willingly itinerant, modulating between the ripples of dreams, watching the points of incandescence and the bursts of electricity that act as revelations of our presence in the world, here and now. He’s the co-founder of leading bands such as Oiseaux-Tempête, FOUDRE!, Le Réveil des Tropiques, FareWell Poetry and is co-curating the label NAHAL Recordings.

"Fueled by travels and their emanations, Frédéric D. Oberland’s music had to build new horizons this year, outlined by the curves of semi-modular synthesizers, the avalanches of effect pedals and the zigzagging paths of electric circuits. Même Soleil, his third solo album, manages to merge mystical visions of the unconscious and the absurdity of an apocalyptic present in a sensory whirlwind, operating an astonishing mutation with tones still unexplored in his previous releases. A visual as well as a musical journey that takes shape in a book and a record of the same title, Même Soleil is the result of a collaboration with the photographer Gaël Bonnefon. Seeking the tension between the blinding light of day and the glittering visions of saturated night skies, the two pieces in dialogue transcend reality to deliver their own truth, as bright as the first light of the sought-after morning." (Alice Butterlin)

Gaël Bonnefon graduated with highest honours from the Fine Arts School of Toulouse (Isdat) in 2008. He has exhibited at Villa Pérochon, at the Eté photographique in Lectoure, at the 104 in Paris during Jeune Création 2012, at Rencontres Internationales de la Photographie d’Arles and at PhotoEspaña, at the Abattoirs Museum in Toulouse in 2014, at the Château d’Eau Gallery in 2012 and 2019 and in the Vitrine of Frac Île-de-France in 2020. His work is part of the collections of Frac Midi-Pyrénées, Château d'Eau gallery, Kulturamt in Dusseldorf and Kiyosato Museum in Japan ; he participated in Temps Zero projects Berlin, Braga, Rome, Bucarest, Groningen and Thessaloniki. He has also been granted artist’s residencies in Germany, France and Israel. His first book Elegy for the Mundane was published by La Main Donne in 2019. He continues his intimate and dense journey and presents his second publishing, Même Soleil with photographic works from 2009 to 2021.

"At first brutal and declining, the substance of Gaël Bonnefon's photography is just like a gaze that fears being one day extinguished and that is always looking to be born again. In photography as in love, recoil and desire, tension and easement, repetition, wandering and rest, flight and pursuit. Here photography allows itself to be traversed by flashes of life, renewed forces, echoes of far-off kindnesses and lost joys. It sings silently, lover of a thousand faces from which the thread of a single and same image is born, followed without relent, from the snowy peaks of childhood to the lost worlds of the present." (Michaël Soyez)

Take the freaked-out punked up soul of The Stooges and MC5 mix that with 60s garage trash, blend in Sabbath, AC/DC and heavy rock n roll and then hot wire that sound to a handful of freaks located in Fredericton, New Brunswick. Here it is that The Angered Wrecks were located - in an old Victorian style house in downtown Fredericton. It was here they set up a permanent rehearsal space on the main floor taking up the dining room and living room area with a full P.A. system and the long parties would begin as the Angered Wrecks cranked out an unholy primal serving of mind-numbing, eyeball-popping guttural pure rock and roll.

Lucky for us the Angered Wrecks had a primitive DIY recording set up as they recorded live off the floor with one cardioid mic taped to the ceiling to capture the entire room sound and straight into a cheap Alpine cassette deck. The results of these previously unheard recordings capture the essence of trashy rock’n roll at it’s finest, delivered with pure dereliction, and always a side of extra sleaze.
Keeping warm in the winter at another old salt box style house they would later rehearse and play gigs in, a large circle was cut in the floor so that the rising heat from the pottery kiln downstairs would (along with the right mixture of beer and ‘Purple Jesus’, weed and often speed and hot dogs) keep these boys fuelled long enough in sub zero temperatures to keep pumping out the rock’n roll savagery.
The last show they played was in the fall of ’81 at the Bug Shack after the household was served an eviction noticed with the house to be entirely demolished (just like Stooge Manor aka The Fun House).

They got a gig together the weekend before demolition, packed the bottom floor and played a blazing set. At the very end, walls were kicked apart, old cans of paint strewn about, general wanton destruction to furniture, doors, windows etc…insane. The bug shack had come to an end and shortly thereafter, The Angered Wrecks.
That these tapes have survived to this day is all thanks to John Westhaver’s archival hoarding (even though the loss of a 90 minute session of the Angered Wrecks still haunts John to this day).
So CRANK these tracks as loud as you can – these audio tapes are not for the faint of heart

Exclusive Fronk-en-steen Green Vinyl! Original London Cast Recording - Mel Brooks' Young Frankenstein Presenting the original London cast recording of Mel Brooks' Young Frankenstein on Vinyl LP! Legendary filmmaker and comedian Mel Brooks brings his classic monster musical comedy Young Frankenstein to life on stage in a musical collaboration with Tony-award winning Broadway director and choreographer Susan Stroman. Recorded live in London's West End. Grandson of the infamous Victor Frankenstein, Dr. Frederick Frankenstein (pronounced 'Fronk-en-steen') (Hadley Fraser) inherits a castle in Transylvania leading him to fulfill his grandfather's legacy by bringing a corpse (Nic Greenshields) back to life. With help and hindrance from hunchback henchman Igor (Ross Noble), buxom assistant Inga (Summer Strallen) and needy fiance Elizabeth (Dianne Pilkington), his experiment yields madcap success and monstrous consequences. After opening on Broadway in November of 2007 the show ran until 2009. A revised version of the show opened in London's West End in October of 2017 to mostly positive reviews. ABC was set to air Young Frankenstein Live last October and delayed it due to COVID-19 restrictions. The show has been rescheduled to air October 2021 on ABC. Mastered and mixed at Abbey Road Studios. This is the first LP release of music from either of the Young Frankenstein live shows.

DJ Cam & sommelier Frédéric Beneix present Wine4Melomanes, an eclectic and unique
compilation album concept, matching fine wines with rare pieces of music produced in the
same year.
Connecting the complexity, sensuality, liveliness of a drink with the harmony, arrangements,
voice, orchestration, rhythm and melody of a song, Wine4Melomanes tours France,
Germany, Holland, the USA and even Slovakia in search of only the finest musical flavours.
Ranging from jazz, to pop-rock, to blue-eyed soul from the early 70s right through to 2016,
Wine4Melomanes is defined by its sense of musical opulence, with warm rich tones and
understated quality evident throughout. DJ Cam is known for his pioneering abstract hip-hop musical
compositions, his virtuoso use of technology and his fascination for acoustic jazz gaining him
international acclaim.

Emilie Levienaise-Farrouch’s dark, throbbing score to
Prano Bailey-Bond’s horror debut ‘Censor’ is out now on
vinyl, after previously being released on digital platforms.
 The vinyl is pressed on clear vinyl with black smoke effect
and comes housed in a deluxe spined sleeve with double
sided printed insert featuring beautiful imagery from the
film.
 Emilie Levienaise-Farrouch manages to inhabit a space
between Ennio Morricone, Goblin and John Carpenter in
her stunning score to ‘Censor’.
 “I wanted the original score to focus on two different
elements of the film’s storytelling which slowly intertwine
as the movie progresses,” Emilie told Booklyn Vegan.
 “One sound palette represents the trauma of our lead
character Enid, with a use of manipulated vocals and
synthesisers, slow moving, almost suspended, and at
times disorientating cues, with short melodic motives, little
lullabies Enid might softly sing to herself to sooth her
anxiety and guilt of having lost her sister. The other palette
is much more anchored in the time period (1980s) and
genre the film explores.” She calls that second sound
palette a “love letter to classic Carpenter and Goblin
soundtracks, using vintage synths, rare Japanese
instruments and choirs to bring us deep into the fun,
surreal, and meta elements of the film.”
 ‘Censor’ received critical acclaim upon its release,
including a 5-star review in The Guardian, and is available
to watch now.

This LP is extracted from the CD “Cello” box set which received rave
reviews. Awarded the first prize at the Conservatoire de Paris by
unanimous decision of the jury when he was only 13, Andre Navarra was
barely 20 years old when his soloist career began, taking him across Europe
as he performed with the finest orchestras to play all the concertos
of the repertoire.
Navarra took first prize at the Vienna International Competition in 1937. But
the war put a temporary obstacle in the way of his ascension. Unlike some of
his fellow musicians, he refused to collaborate with the occupiers and he took
refuge behind his music stand, playing as an ordinary member of the Paris Opera orchestra. From 1945 onwards, he could again be heard in the capitals of
Europe, conducted by the likes of Munch, Paray and Barbirolli, and later Mehta,
Ristenpart and Ancerl.
A parallel career opened up for him: teaching. He taught in Paris, Sienna, SaintJean-de-Luz, Nice, London, Vienna, Sion and Detmold. His mastery of the bow
was unique: he borrowed the technique used by violinists. It revolutionized
the method of cello playing, bringing roundedness, sensitivity and strength. He
pursued his two callings with equal intensity, one career enriching the other, as
this collection shows so clearly.
He approached every repertory with the same passion: contemporaries such
as Jolivet and Schmitt; classics such as Bach, Boccherini and Haydn; romantics
such as Dvorak, Brahms, Schumann, Bruch and Bloch; and early 20th century
composers such as Prokofiev, Kodaly and Martin.
Navarra died under the Tuscan sun that was so dear to him, his legacy a school
of cello playing that is unique in the world and whose technique and phrasing can still be recognized in the playing of those who use it, from Heinrich
Schiff, Frederic Lodeon, Philippe Muller, Roland Pidoux, Marcel Bardon, Rene
Benedetti, Anne Gastinel, Valentin Erben, Dominique de Williencourt, Marcio
Carneiro, Yvan Chiffoleau and Christophe Coin to Gautier Capu on, Yan Levionnois, Xavier Phillips, Taeguk Mun, Victor Julien-Laferriere and Bruno Philippe.
His perpetual, intense energy notwithstanding, Navarra leaves us with the image of a warm-hearted, unassuming man, who could, after a day alone with his
cello, invite his students on the spur of the moment to fun-filled spaghetti parties. Pablo Casals, who admired Navarra’s free spirit, said to him at a competition in Mexico City, “Ah, there you are, Andre. The man who never comes when
I invite him. I thought you were afraid of me. But no, the cello is your only love.”

Hand-numbered vinyl edition of 500 copies is 180gramLP in window-cut artboard jacket that frames eight different images from Magid's The Barragan Archives project, printed on four 12"x12" art card inserts including an artworked inner sleeve. The original score for the acclaimed feature-length artworld documentary by multi-disciplinary artist Jill Magid: an exploration of the contested legacy of the Mexican architect Luis Barragan and an art intervention in its own right. Griffin wrote, performed and recorded The Proposal soundtrack with an understated but wide-ranging electro-acoustic sensibility that organically compliments the film's enigmatic narrative and the discreet beauty of Barragan's architectural spaces. Various acoustic instruments combine with electronics, sampling and ambient treatments for an ever-shifting suite of musical vignettes across the album's thirteen tracks. Guest musicians include Matana Roberts, Reut Regev, Jim White (Xylouris White, The Dirty Three), Jason Ajemian (Helado Negro), and Sophie Trudeau and Timothy Herzog (Godspeed You! Black Emperor) alongside Griffin's own contributions on multiple instruments, field recordings and production. Griffin weaves an iridescent musical tapestry, threading various genres with sublime thematic and atmospheric coherence, echoing Magid's contemplative, cerebral journey. The music also works enchantingly on its own as a subtly haunted, evocative and meditative album.

KINK GONG — ZOMIANSCAPE I - II

"When asked what were my early influences in music, I get reminded of my teenage years in Parisian suburbs, simultaneously discovering from public libraries two important French record labels: OCORA and GRM.
Then the roots of my interest in traditional music and electro-acoustic experiments grew into doing it myself, recording ethnic minorities of the zomian plateau of south-east Asia and composing a soundscape around it. This is what is happening here."
Laurent Jeanneau aka KINK GONG

Mastered by Raschad Becker, Berlin.
Cut by Frederic Alstadt, ANGSTROM STUDIO, Brussels

Artwork by João Basto,
The edition of 300 copies are silkscreened and individually hand numbered on the back

Silkscreened at Atelier Ice Screen, Brussels.
Inside A4 risographed at Frau Steiner Studio, Brussels.

Transmeridian is the first album from Departure Lounge (ex-Bella Union) in 19 years. It features all four original members plus a guest appearance from legendary REM guitarist, Peter Buck, one of many long-standing admirers of a band that embodied a lost age of reflective, experimental pop music coming to the fore at the turn of the Millennium alongside The Beta Band, Tunng, Boards Of Canada and Gorky’s Zygotic Mynci.

The surprise new album, named after the defunct ‘golden age of aviation’ cargo airline for which singer/guitarist Tim Keegan’s dad was chief pilot, is released on Violette Records (formed by Michael Head (Shack, The Pale Fountains) and Matt Lockett ) on digital and vinyl formats on Fri 26 March 2021.
Originally scooped up by Simon Raymonde’s Bella Union label (labelmates with John Grant’s Czars) following the self-funded release of their debut album Out Of Here (1999), Departure Lounge’s sophomore outing, Too Late To Die Young (2002) was equally acclaimed and was honoured as the first ever Album Of The Week on the emergent BBC 6 Music. The band toured extensively in the UK, Europe and the US, including outings with The Go-Betweens, Morcheeba, Paul Heaton and Robyn Hitchcock, peers whose stylistic contrasts reflect the eclectic nature of Departure Lounge themselves.

Calling a halt in late 2002, citing family and geographical reasons (drummer Lindsay lives in Nashville, where their second album Jetlag Dreams (2001) was recorded), the four members remained firm friends and occasional collaborators, before reuniting in late 2019 for shows at The Green Door Store, Brighton and The Lexington, London, ostensibly to support the digital reissues of their first three cult-classic albums. With no plans other than to make some new music, the next day they set off for Middle Farm Studios, Devon.
Tim Keegan (vocals/guitar), Chris Anderson (lead guitars/keyboards/bass), Lindsay Jamieson(drums/keyboards) and Jake Kyle (bass/guitar/drums) channelled their evident joy at being back together into a complete 13-track album, largely conceived and recorded in just one 24-hour session in the company of studio owner and co-producer, Peter Miles. Ranging from soulful Americana to piano and mellotron-fuelled melancholia via pastoral musings on the nature of post-youth and eerie Spaghetti Western-tinged instrumentals, the next leg on the Departure Lounge journey is a multi-mood expression of pure artistic freedom.
The ‘leak’ of instrumental track Al Aire Libre (remixed by Parisian groovemeister Kid Loco) in October 2020 gave little away as to what fans could expect from a new Departure Lounge record, the track going gracefully everywhere and nowhere on a whistled Latino breeze. First single proper, Mercury In Retrograde, covered in the twinkling lights of a music box Casio CZ101 melody, turned the clock back - this was an old live favourite that never got past the studio door. Unfinished business brought to a happy conclusion, the single returned Keegan’s honest and distinctive lyrical voice back to British music at just the time listeners needed it.
It was an emotional thread, rather than one musical style, which gave the first three Departure Lounge albums their coherence. The songs told the story of the band. Transmeridian has the same sense of deeply connected musical energy. The purring, campfire acoustica of Timber and So Long bear no obvious resemblance to the ethereal, end-of-the-evening, piano-led interlude Paging Marco Polo, whilst the quasi-glam stomp of Mr Friendly would normally have no business sharing space with the strange, spacey Gurnard Pines (named after an abandoned holiday camp on the Isle Of Wight). Yet the journey’s ebb and flow, accelerations and pauses make for compelling, grown-up listening. Australia, showcasing the chiming Rickenbacker 12-string of Athens, GA’s finest guitar slinger, leaves no doubt that Departure Lounge’s pop sensibilities also remain solidly intact.
These four friends from different musical backgrounds came together originally with the stated aim of ‘creating music to soothe the troubled soul’. Citing their love of (and placing on record their debt to) influences including Robert Wyatt, Nick Drake, Talk Talk, Lou Reed, Arvo Pärt and Cocteau Twins, the band’s diversity of taste is reflected in the music they create.
Transmeridian is only the second full-length LP released by Violette Records, formed by Michael Head (Shack, The Pale Fountains) and Matt Lockett as a platform for Head’s work and developing into a respected independent label as well as multi-disciplinary event organiser, drawing in outsiders working in music, literature, art and design. The label continues to host live events whenever possible and recently initiated an ELP (halfway between and EP and an LP) vinyl series, putting out acclaimed releases by The Pistachio Kid and Studio Electrophonique.

Color Vinyl
Musica Elettronica Viva, or MEV for short, was formed in 1966 in Rome by Allan Bryant, Alvin Curran, Jon Phetteplace, Carol Plantamura, Frederic Rzweski, Richard Teitelbaum and Ivan Vandor. From the very beginning the group was based on musical freedom and the shunning of convention. Using contact microphones to record and manipulate sound wherever it could be found – from box springs to vibrators – and improvisationally combining those recordings with tenor sax, homemade synths and the very first Moog to trek cross the Atlantic, MEV made some of the most imaginative and abrasive sounds of the time.

Recorded in live performance at the Academy of Arts (Akademie der Künste) in Berlin on October 5, 1967, Spacecraft is made up of a single piece of the same name – a slow building, jarring and disquieting work that reveals the entire MEV ethos in its lone half hour. As group member Alvin Curran put it “The music could go anywhere, gliding into self-regenerating unity or lurching into irrevocable chaos - both were valuable goals. In the general euphoria of the times, MEV thought it had re-invented music; in any case it had certainly rediscovered it.” Our Swimmer is pleased to present this first ever vinyl issue of MEV’s Spacecraft, an early piece from the most free-spirited group of the 20th century avant-garde.

The cult French game is celebrating its 25 years old with Wayô Records! Philippe Vachey, the original compositeur of this game series, achieved this fantastic Symphonic Suite with the Scoring Orchestral, recorded at the Seine Musicale of Paris!

1994-2019. For the 25th anniversary of the Little Big Adventure game series, here come the fully-licensed Symphonic Suite based on the music from these cult games by their composer Philippe Vachey, with the official support of the original team led by Didier Chanfray and Frederick Raynal! This project is, of course, led by the composer himself!

In the mid-nineties, Little Big Adventure (Relentless: Twinsen’s Adventure in USA and Asia) revolutionized the video gaming with an innovative system, a captivating storyline and characters that live in everyone’s memories. The hero, Twinsen, fights evil in a journey that leads him to discover the secrets of his destiny and to explore fantastic places around the world, and beyond!

It is the symphonic music composed by Philippe Vachey which adorns the two opuses of Little Big Adventure, with an extraordinary orchestration and quality of writing. These two titles are two standouts in the action adventure and fantasy genre. 25 years after the creation of the game, Philippe Vachey finally realizes the project of arranging the music of Little Big Adventure 1 & 2 for an exceptional symphonic suite, in collaboration with the best talents of the symphonic production in Europe!