Buscar:musique

"Minor Planets completes a trilogy of cosmically themed electro-acoustic albums by UK and Berlin based trio Twinkle3, 15 years in the making. This third installment is once again all about the unique synergies the group discover in combining free group improvisation with studio and musique-concrete techniques. The group's combined love of everything from Lee Perry to Noh Theatre via Karlheinz Stockhausen and King Sunny Ade lead them to respond musically to create a single universe where they all coexist and interact. Aleatoric analogue sequencing, chamber-like acoustic improvisation and dub treatments become distilled into a distinct and emotive narrative that takes us on an exhilarating hyperspace cruise to the outer reaches.

Clive Bell is a virtuoso of the Shakuhachi. His aesthetic takes us on a timbral journey between noise and pitch, expressed and phrased rhythmically by the contour of human breath. This creates a perfect context and focus for a music that moves seamlessly between rhythm, suspension, time modulated analogue states, dissonance and melody. Richard Scott and David Ross share a background in acoustic free improvisation and have pioneered new approaches to rhythm using self-designed analogue systems. On Minor Planets these seemingly paradoxical orthodoxies cross-pollinate in a spirit of wonder and optimism to produce original and experimental music that is both life affirming and uplifting.

Album artwork by Benjmain Kilchhofer captures the feeling of peering through the vacuum of space and catching a rare glimpse of the mysterious alien biomes, fossils, and silhouettes cast by dwarf planets, asteroids, Kuiper belt, and other trans-Neptunian objects."

Reissue of very rare (wild prices on Discogs!) French spiritual/political Avant-garde Jazz, think Brigitte Fontaine meets Alice Coltrane Via the Middle East.

"I am sitting in a garden, I haven't left the property in weeks, someone is dropping off food once a week. I haven't seen a human being in ages, I feel like a reverse Schroedinger cat - do I exist when nobody sees me? I must be somewhere in France but I don't remember. I have lost my consciousness again. When I wake up I hear a broken record looping somewhere in the mansion. A washed-out opera. Behind the trees I see the dilapidated hermaphrodite sculpture in a field of verdant nettles and fern. I hear gunshots far afield, aeroplanes in the sky, sirens on the main road.
When unconscious I dreamt of sitting on the Concorde observing the scarab blue ocean and iridescent clouds from above, an erstwhile receding memory. Sometimes I hear the organ of the nearby Renaissance Cathedral merging with the Russian Church bells.
I am hallucinating again. Someone's humming in the kitchen? Singing? A Radio? I overhear two young women talking about art galleries in the neighbour's garden. Bees attack, again…..again and again. The hairspray finally intoxicates them. An amphoric japanese voice is whispering in my head saying I will die soon. Someone (something?) bangs on the vases. The fountain's water turns dark red.
Fleur calls and says mum died. The funeral will be televised on tuesday. We opt for the synthetic choir for the service. The call is suddenly interrupted. Mold is slowly taking over the house.
I go back inside."

Une Fille Pétrifiée is the debut album of new Black To Comm related entity Mouchoir Ètanche (after one recent 12" on Richter's own Dekorder label). Combining real and fake acoustic instrumentation, sampling, field recordings and excessive yet inaudible post production this is another sublime and ethereal statement. Influences are ranging from (French) Classical & Opera to the anecdotical compositions of Luc Ferrari, Chinese Opera, Chanson, Sacred Music / Church Music, JG Ballard and Surrealism.

Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produces soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe and Kunstverein Hamburg.

With our first vinyl release in 15+ years, RESOURCE RECORDS is excited to welcome back San Francisco’s THE TOURIST for MEASURED SPACE, with serious remix support by DAVE AJU (Circus Company, Mule Musiq, MFF, Planet E), JAY TRIPWIRE (Mr. Barcode, Kwench Records, Superfreq, Motuer Ville Musique) and CHRIS JACKSON (Resource Records, Sonic Groove, Cloned Vinyl). 4 fresh mixes, all tech influenced!

Classically trained experimentalist Aarp releases his compositionally expansive and pointedly political debut album via InFiné. ‘Propaganda’ is an album that rewards repeat listens and inspires research, pushing listeners to look for the truth beyond the headlines. The title ‘Propaganda’ is inspired in part by the death of a young man in Nantes who drowned following a police altercation at “Fête de la Musique” in 2019. Despite the fact that he was only dancing and there was clear evidence of negligence, the media campaign that followed cleared all involved and disinformation spread, distorting the truth and allowing French authorities to evade any consequence. This blatant and very recent example of press propaganda lead Aarp to explore a multitude of moments in history, each one informing a single track from his new record. Each song title is a direct quote taken from different examples of these moments, from George W. Bush to Margret Thatcher and French philosopher Gilles Deleuze to the infamous Oxycontin commercial by Purdue Pharma.

Siegmar Fricke has made a name for himself in the tape culture since 1981 - with a mixture of Musique-Concrète and Post-Industrial. As a former label owner of "Bestattungsinstitut" he released numerous works that went beyond EBM, Electro, Techno and Ambient. In the heyday of the netlabels he focused mainly on his own productions, which he then made available as free downloads. Since 2002 Siegmar has been active with clinical sound experiments under the pseudonym "Pharmakustik". In 2005 he started his collaboration with Maurizio Bianchi from Milan, who has dedicated himself to "industrial decomposition" since 1979. For his Time Compression EP on Infoline, Siegmar Fricke has unearthed compositions from the period 1992-1994 and curated them anew. A phase in which he listened to the radio day and night and connected his sampler to the stereo to record material around the clock. He listened to many radio shows from England or Holland, which often broadcasted techno, trance and acid. At that time those sounds were new territory for him. He recorded inspiring sequences at first go, edited them and then let them flow into his own productions. The result was "future-pop collages mixed with sequencer-controlled trance and sampled voices", to put it in the words of Siegmar Fricke.

Actual Music is a Swiss record label with a focus on Detroit House, Deep House, and Nu Disco. Taking inspiration from the masters of Detroit, the label was started by Alexandre Gazzola & Michel Catanese in 2017.

Alex Mota is a DJ and producer based in Switzerland and as a member of Los Cruzeiros, he released on Crossfontier Audio, Monique Musique and Tenampa Recordings, working with Pier Bucci, Marc Poppcke, Hernan Cattaneo and Nima Gorji.

Here Mota provides us with a diverse four tracker. Opener ‘Senses’ is an uplifting nu disco stomper with nods to New Order with the vocal. ‘Buenos Aires’ fuses Flamenco guitar and Latin flavours a plenty fitting for the most Balearic dancefloor scenes, whilst working itself up into a rhythmic house beat too.

The relentless ‘Chicago’ goes heads down and four to the floor with some well-placed trumpet flourishes. Closing out the EP is ‘Bogota’. Latin flavoured House as the title would suggest, with scattered percussion and cheeky vocal samples.

LIMITED TO 300 COPIES. NOT TO BE REPRESSED.

Raw and wild soul-funk-r&b-garage from 1970, recorded and released only in Algeria! Imagine JAMES BROWN fronting THE SONICS!

Born in Puerto Rico, Bob Destiny grew up in Harlem (USA) and has a fascinating story: from starting playing piano as a child (self-taught) and tap dancing with the Five Chocolate Drops when he was 6 years old, to meeting Billie Holliday and playing with her; from appearing in a film with Shirley Temple to musicals in Broadway, dancing at Mankiewicz’s movie “Cleopatra”, singing at the San Remo Festival...

In 1969, Bob went to Algeria to teach music at the Algerian National Theater. He also continued with his singing career while living there. In 1970, he released a couple of 45s featuring “Wang Dang” and “Mahna (Troubles)” on the Freedom Musique label. He was also involved with the creation of the first Pan African Festival with Mahboud Bati and Frank Pourcel.

These 45s are very rare and were first discovered by the great Habibi Funk label a few years ago, who included “Wang Dang” on one of their compilations. For our Pharaway Sounds 45, we’ve selected one track from his first 45 and another from his second one.

After playing in Morocco with Hahmed Maraki and forming bands like The Fingers, Bob arrived to Spain in the 80s. He created a jazz school in Zaragoza and was involved with the famous “Jazz en la Margen” festival. In the 90's, Bob move to France, focusing in composition, gospel, musicals and soundtracks. Sadly, he passed away on March 31, 2016.

Los Angeles based artist Evan Caminiti returns with the follow up to 2017’s Toxic City Music.

Living in the wrong timeline, dreaming of possible utopias; Varispeed Hydra beams in like a collection of broken transmissions, terrestrial sounds melting into the abstract and rising again as vaporous specters. Three years in the making, Hydra was recorded utilizing a variety of electroacoustic processes and honed in live performances ranging from the sound art setting of NYC’s Issue Project Room to the future-club environment of DOMMUNE in Tokyo. While thematically following Toxic City Music, it moves past that album’s emphasis on superfund sites and the proverbial rat race to turn an ear towards more rural environs.

With a focus on some of the sounds we stand to lose if we continue on our current trajectory of ecological destruction, birds, insects, and water are most often found among the glowing synthesizers and warped electric guitar that comprise the album’s melodic and rhythmic core. Connecting a thread between musique concrete and dub, these sounds are atomized and diffused before being woven together with a sense of urgency, a colorful and restless haze. Phasing percussion and blurred melodies are wrapped in a fog as they tumble and glitch, occupying a space where ominous rumblings and bucolic bliss blur together. An offering of cautious optimism in the age of anxiety.

Written and produced by Evan Caminiti, featuring electronics by Lisa McGee.
Mastered by Rafael Anton Irisarri at Black Knoll Studios.
Artwork by Michael Vallera and Zane Morris.
Vinyl cut at Dubplates and Mastering Berlin.

die ANGEL, the duo project of ILPO VÄISÄNEN (ex-PAN SONIC) & DIRK DRESSELHAUS aka SCHNEIDER TM, starts its 3rd decade of sonic explorations with the release of album #10 which bears the programmatic title "Utopien I".180g LP and DL on KARL.

die ANGEL (or just ANGEL in the early days) was born in 1999during a joint European tour of PAN SONIC and SCHNEIDER TM with the aim to use electronics, string instruments and effect loops to develop a sonic world that goes beyond fixed structures and clearly defined genres. Coming from different musical backgrounds proved quite an advantage for the duo as it meant that ILPO VÄISÄNEN (ex-PAN SONIC) & DIRK DRESSELHAUS (SCHNEIDER TM) had to find their particular modus operandi: communication through noise and action, instant composition, spirit.

Over the course of over 2 decades now, die ANGEL crafted a catalogue of 9 albums released on labels like EDITIONS MEGO or EDITION TELEMARK that were recordings of either the core duo or featured like-minded artists like cellist HILDUR GUDNASDOTTIR, OREN AMBARCHI, LUCIO CAPECE or BJ NILSEN. die ANGELdelve deep into the microcosms of tones, shaping nuanced layers of abstract sound that integrate elements of Musique Concrète, Minimal Music, Industrial, Noise, Blues and Psychedelia, and yet bear the unmistakable die ANGEL signature.

"Utopien I" is not only the duo's latest effort (feat. OREN AMBARCHI) but also a clear political call: in a world of a general decline, we need new ideas and approaches to design the future.

All tracks performed & recorded December 2015 - January 2016

by Ilpo Väisänen & Dirk Dresselhaus at ZONE, Berlin

Overdubs on 'Cargo Cult'by Oren Ambarchi (Milano, Italy) April – May 2016

Edited & mixed by Dirk Dresselhaus May 2016 at ZONE, Berlin

Mastered by Helmut Erler at D&M, Berlin, December 2019

Ilpo Väisänen : electronics & effects

Dirk Dresselhaus : electric guitar & effects

Oren Ambarchi : electric guitar & effects

DJ Dem’s new 12”, called I Videre, translates into I See in English. Continuing the sonic explorations of timbre and rhythm, the three tracks that comprise the new EP are an envisioning mix of the artificial and the natural acoustic environment. Streets, ambulances, laughter, air; hints of Berlin techno intertwined with the cymbals of an acoustic drums set and Berlin itself; synthetic and human voices creating mazy soundscapes. A blend of house tempos, techno’s futuristic take on sound synthesis, ambientesque stillness/movement and musique concrète’s intertemporal idea of montage music. Rather than going for the usual tropes of dance music’s canon, the music on the EP folds and unfolds on an axis of her own, giving DJs a multi-purpose sonic twister.

Ryan Crosson takes care of the fifth EP on tastemaking Detroit label My Baby Records with a fantastically forward-looking four-track vinyl offering. Ryan Crosson is a complex artistic creature who has roamed far and wide in his storied career. His always innovative music has come on groundbreaking labels including Wagon Repair, M_nus, Spectral Sound, and of course his own Visionquest. Each time he explores a new sound world and draws on things as diverse as musique concrète, Downtown New York funk, and East African jazz. Now he cooks up more beguiling brilliance on this fresh new EP. Opener ‘Speaker Dubs’ is a deep, bubbly rhythm track with dub chords rippling out to infinity. It’s a stylish track full of far-sighted reverence and supple groove that locks you in a trance. ‘Ogilvie’ is a piece of absorbing ambient with found sound recordings of muffled voices that sounds like you’re in an underground station. B-side opener ‘FutureTheory’ is another minimal masterpiece with glitchy sound design and eerie chords peeling off a tight, kinetic groove. Ghoulish voices add more late-night atmosphere and the whole track grows ever darker and more consuming as it unfolds. The excellent ‘OortCloud’ takes you back to the heart of a dance-floor with futuristic menace: the smooth drum loops are militant, the voices are dehumanised and the searching synths speak of a desolate landscape. It’s heady, brilliantly bleak stuff that is utterly infectious. This is another hugely inventive EP from one of the underground’s most consistent talents

Istanbul based global record company Caz Plak proudly presents “KÜN”, the first solo album of Cem Yıldız, one of the preminent faces of the electronic-traditional hybrid music in Turkey.

Cem Yıldız known as one of the important musicians of past years
and has an impressive career; from his education in Istanbul Technical University Conservatory to the Orient Expressions band; from Montreux Jazz Festival to one of the world’s most esteemed music festival Sonar Barcelona, “İnsanlar” the band that he founded with Barış K, soundtracks of various TV shows and movies; the smash hit song called “STIL” which he composed and read on the Musique de France album of Acid Arab and made a tremendous impression all over the world.

Kün album, in this respect, is the first solo album of Cem Yıldız and represents a new phase of hybrid music retaining his signature sound, blending traditional, electronic, psychedelic music and Anatolian philosophy.

“Kün” has recorded in Istanbul, mastered in Los Angeles and produced by Caz Plak in 12’’ LP format in limited numbers.

”Are you ready to take your turn now?” asks a mischievous voice at the beginning of DJ Marcelle’s new album. But by this point you don’t have a choice: you better buckle up for a joyride through the wild, unpredictable imagination of a true electronic music auteur. ‘Saturate The Market, Now!’ is stuffed with the kind of raw, rhythmic workouts and playful humour we’ve come to know and love from the long-serving Dutch artist. Let’s start with the music: Marcelle pinballs between pumping outsider house, brilliantly weird acid and musique concrète experiments where anything could happen at any given time. Then there are her famous track titles, which take another aim at nightclub patriarchy (‘Technicians And Their Light Effects’, the successor to last year's 'Technicians And Their Smoke Machines') at the same time as displaying a keen sense of satire (‘I Fell In My Own Cesspit!’) and revealing a difficult relationship with the sour, massive rock that for her is ‘German Bread’. With artwork featuring a collage of puppets found in her Amsterdam house and Marcelle’s own on-the-road photography, this is yet another album that sets her a mile apart from the paint-by-numbers dance music producers - or “accountants” as she’s witheringly described them.

Marcelle arrived via punk, post-punk, avant garde and dub and lives by the independent, forward-thinking spirit inherent in those scenes. A sense of freedom is imbued in her work, unsurprising given that this album was written in two weeks and was made entirely on her own collection of machines (save a few choice vocal samples). It’s Marcelle’s eighth vinyl-only release for Jahmoni Music from Munich and follows on from last year’s ‘One Place For The First Time’ which swiftly sold-out and is now onto a repress. The vinyl is released alongside a 10” featuring extended and dub versions of triumphant album-cut ‘Everything Not Yet’.

So are you sitting comfortably? Well Marcelle would prefer if you weren’t. Because this is music for misfits to move to. The very opposite of business techno. A missive from a cult DJ with an enviable record collection and a fearless artist who couldn’t give a flying fuck about dance music norms. Saturate the market with pure energy – let’s do this!Seb Wheeler, Mixmag

The long standing and hugely respected label and events company Astropolis welcome Blutch for a new single that comes ahead of his debut album on this same label later in 2020, and includes a remix from Michael Mayer.

Blutch has had numerous releases on the likes Nowadays, Dance Around 88 and Délicieuse Musique, has collaborated with heavyweights like Terrence Parker and Red Rack’em and has received support from NTS and Radio 1. He is a respected talent in France and deals in classy electronica that blurs the lines between dream states and reality, and the forthcoming album will be presented as a gripping audiovisual tale with the help of video maker Romain Navier.

First up here is expressive techno masterpiece ‘Beau Rivage’ which soars on supple synth lines and elastic drum programming. It’s elegant stuff awash with melodic beauty and emotion. Single, ‘Compétition’ which gets an early release on December 18th is another excellently mature and musical track with symphonic synths reaching to the heavens and colourful arps lighting up the uplifting grooves. ‘2014’ is driven by vast, pounding and cavernous drums, with distant vocal harmonies bring an angelic feel to the celestial synths and chords. The final vinyl-only original is the brilliant ‘La Cité Des Etoiles’, which is layered up with pixelated leads, soft chords and found sound percussion samples that fire your every synapse.

Remixing is Kompakt label boss and one of the most revered names in electronic music, Michael Mayer. He flips ‘La Cité Des Etoiles’ into deeply rooted techno that is riddled with claps and synth lines that bright real light. Buy the digital version and we’ll also get the added bonus of ‘Vorlen’, which again brims with fantastic synths, chords and sorting grooves.

This is a fantastic package that more that whets the appetite for the forthcoming album.

Arandel's new opus, 'InBach', released 24th January 2020 by French label InFiné, pays a poetic, infinitely respectful and innovative homage to Bach's sacred workings.

Arandel was granted limitless access to the galerie of (sometime rare and ancient) instruments, as a well as a countless recordings of the prestigious Musée de la Musique in Paris with a view to sounddesign his brand new creation. He performed a few months after at Philharmonie Paris a hybrid live performance/DJ set 'Switched on Bach', named in acknowledgement to the legendary 1968 by American composer Wendy Carlos (Tron, A Clockwork Orange, The Shining).

From candles to LEDs, from DJ sets to museums, from historical instruments to machines, from Bach's themes that have entered the collective unconscious and inspired contemporary flesh and blood musicians… 'InBach' was a foregone conclusion.

In the immensity of Bach's oeuvre, in the company of his fellow wanderers, within the constraints of his-torical instruments, emboldened by the delightful, sometimes technically dangerous friction between acoustics and electronics: Without a net, Arandel walks a tightrope without a faux pas.

Vital Sales Points:

- Strong French environment including institutional support from Philharmonie / Musée de la Musique in Paris with a big shows' scheduled.
- A hybrid album with a mix of rare instrument sounds, synthesizers and innovative creative bias.

Maybe it’s too much to ask for a moment of your attention. As we grow older and keep
diving into this era of information, disinformation, fake news and all that, we also tend to
take a step back and listen to the intents of those social media adverts that tell us to slow
down, breathe in, breathe out, enjoy everything around you a little bit. So, if it’s not too
much to ask, you can press play and start enjoying “D-A-D”. If you’re doing that, you can
even stop reading this, because you don’t need further instructions.

It’s the second time in less than two years that we release music from London based
Greek musician Tasos Stamou (Athens, 1978). The wordplay of “Musique Con Crète”
(CREP54, 2018) was a backdoor to an adventurous and ‘concrete’ experience with
sound. “D-A-D” follows up on that. Recorded between 2015-2018 as an homage to both
his Dad and the more commonly used tuning on the Greek Bouzouki, D-A-D, Stamou
delivers 40 minutes of music that explores ancient and modern languages, while crossing
his unique instrumentation with celebrations of new/old folk, field recordings and
electronics. In his music, there’s a constant flow of ideas that defy standard tonalities and
the conception of “traditional”.

Improvisation was the starting point for the creation of some of the nine pieces Tasos
Stamou wrote for “D-A-D”. The electronics often serve to interact with field recordings that
are wisely manipulated, while acoustic instruments, like a Bouzouki, build up the
connection with the tradition and the necessity to slow down.

With his unique atmospheres, Tasos is whispering some life hacks to build a better life.
Nowadays, it’s quite rare for a record to organize the way the listener wants to listen to
music, to sounds. “D-A-D” creates a beautiful systematization between old and new,
folk/traditional music and the technology in sound. There’s – still - some boldness in that.

All songs by Tasos Stamou
Mastered and Cut by Rashad Becker

lack Truffle present In Real Life, the latest in a flurry of releases from Berlin-based guitarist and composer Julia Reidy. Having drawn acclaim for solo performances on 12-string acoustic guitar that bridge microtonality, ‘American primitive’ stylings and classic minimalism, Reidy’s recent releases have utilised an increasingly broad sonic palette, fleshing out guitar-based composition with electronics, field recordings, and – most strikingly – heavily auto-tuned vocals. On In Real Life, Reidy pushes one step further, crafting an epic LP-length suite that moves from abstracted song to lush electronics and explorations in contemporary musique concrète. Beginning with a passage of eerie electronics and creaking percussive interjections, Reidy’s heavily auto-tuned voice quickly takes centre stage. Surrounded by explosions of electric guitar and synthesised arpeggios, the auto-tuned voice delivers a melancholic ode, bringing together poetic images to reflect on the instability of experience and mutability of identity in a contemporary world saturated by digital technology. This concern with the unsettled relationship between the physical and digital is reflected musically by the constantly shifts in emphasis between Reidy’s physically demanding guitar-picking and the various forms of synthesis deployed. Similarly, the dynamic imagery of cutting, shattering, and ‘racing streams’ present in Reidy’s lyrics also serves to characterise the structure of In Real Life, which ceaselessly shifts between distinct episodes. The song-based opening, long sequences of frenetic 12-string guitar shadowed and eventually overtaken by synth tones, passages of delicate chiming harmonics, electro-acoustic cut-ups – each flows seamlessly into the next, often recurring throughout the record’s duration, which lingers over interstitial moments between these episodes.

Mixed and mastered by Joe Talia at Good Mixture, Tokyo. Vinyl cut at 45rpm for maximum fidelity by Rashad Becker at D&M, Berlin. Artwork by Suze Whaites. LP desgn by Lasse Marhaug.

R&S present the eponymous, debut, full length album transmission from Lost Souls Of Saturn.
Epic in scope, time and space, this multidimensional mind trip is for fans of Mark Leckey's 'Fiorucci Made Me Hardcore', David Morales' Red Zone dubs, Don Cherry's 'Organic Music Society', The Orb's 'Ultraworld' and KLF's 'Space' and much more besides.
This ambient house masterpiece combines flavours gathered from across the galaxy, stewing them up into a delicious primordial soup. Old sci-fi soundtracks, acid, free jazz, avant garde, musique concrete, world music and more all whirl around an underground-dance-music axis.
Primarily LSOS are Seth Troxler and Phil Moffa, plus further opaque participants congregating to combine music, imagery, and storytelling into an inextricably linked whole, all wrapped-up in a philosophy of their own making.

Mais Alors !!?... c’est à l’envers is the first release of new French Label ICI BIENTÔT (Here Soon ...), launched by Paris Fleamarket’s Record Shop, Geminicricket. On the Menu... Suspended Time,
Unsung Heroes, Hidden Records and Next Door Marvels.
In 1983, NEF released their first and only album, Mais Alors !!?... c’est à l’envers. At that point, the band already had a long history, interwoven with that of various musical trends and alternative
movements from the late sixties to the early eighties. That’s certainly what makes this record so special and able to conciliate such different worlds as Electronic Prog, Film Score, New Wave …
The band’s destiny was most certainly tied to their native region, the South of France, an idyllic environment that attracted a number of musicians during the 1970s, allowing the group to attend many
concerts or share the bill with several groups that have gone on to become well known: Can, Ash Ra Tempel, Magma, Catherine Ribeiro, Zao, Chêne Noir, Art Zoyd …
Founded in 1975 by Richard Lorenzi, NEF started as a kind of Free Rock band with multiple influences, going from Prog to Musique Concrete, in which any method of making sound, any way of
bringing out sounds was good … 2 musicians and a photographer, full member of the band who was projecting slides over the music and influenced their dreamlike universe. In 1978, Vincent Tronc came on board with his keyboards and synths. While the group had been influenced by electroacoustic techniques until then, Vincent broadened NEF’s horizons, bringing in a host of new influences: Ash Ra Tempel, Kraftwerk, Klaus Schulze … the beginnings of electronic music. When the album is recorded in 1983, new directions were taken and changed NEF’s usual sound.
First, the idea of playing the accordion, clearly not a common thing and a new Drum Machine, the Roland CJ-5000. Pressed the day a figure of French Chanson died, NEF’s pressing is botched up, a
good part of the records were unusable since the records came out totally warped. Then, at the end of the eighties the small stock of remaining records is lost in the sadly famous flood of Nîmes. 2000
records had been pressed, but very few survived! All the more reason to reissue Mais Alors !!?... c’est à l’envers, an unsung record, free and multifaceted, a quirky and daring musical ovni, transcending eras and genres, between synthetic
Krautrock and Film Score, reminiscent of NEU! (with a red nose), François de Roubaix and Pascal Comelade.