quête:som sam

Rogér Fakhr is a musician from Lebanon. He recorded these songs in the late 1970s in Beirut (and some during a brief exile in Paris). Some were circulated on hand copied cassettes among friends, others like "Had To Come Back Wet" were never released. His music effortlessly combines folk with touches of jazz and soul. He wrote, composed and arranged all songs. While working on his own music he also played for Ziad Rahbani, Fairouz and other musicians.

When we first heard Roger's music we were blown away! The music was a mixture of folk with touches of other genres. Maybe one could also refer to it as "singer-songwriter", since all of the songs were Roger's own compositions. Songs of unique beauty both musically as well as lyrically. At the same time they gave me the feeling of them being somehow time and space isolated capsules. Nothing really revealed, where they could've been recorded and without knowing it was Beirut, my first guess maybe would have rather been California, sometime in the 1970s. The immersive effect of his compositions and voice are just incredible. I was stunned and proposed Roger to work on a re-release, which he politely declined, saying he had no interest in this music being reissued.

The vinyl version comes with a 8 page booklet and a DL code. CD digipak version comes with a 16 page booklet.

Dogstar – guitarist/vocalist Bret Domrose, drummer Robert Mailhouse and bassist Keanu Reeves – epitomize the quintessential Southern California storytelling rock band they’ve always been in their hearts, making deeply resonant music that literally comes from Somewhere Between the Power Lines and Palm Trees. Nearly a quarter century after what seemed to be their final album, Happy Ending (released in 2000), Dogstar has reformed and taken a great creative leap forward, establishing an entirely new path. “Our earlier records were almost in the wrong decade,” says Robert Mailhouse. “Looking back, it’s almost like we started a Seventies band that somehow got lost in the Nineties. When everybody else was shouting, we were trying to tell stories because in Bret, we’ve always had a singer-songwriter in the Jackson Browne tradition. But people kept saying `grunge’ because of the times we were in – or maybe because of the clothes we were wearing.” “This music just sounds like us,” says Bret Domrose with a smile. “One of the things I love about this album is the variety of feel,” says Keanu Reeves. “Every song is not the same – you can hear our diverse influences and a lot of different tones here. And I feel like finally on this album, we’ve managed to take all those influences and our passion for playing together and once and for all turned it all
into Dogstar.”

Dogstar – guitarist/vocalist Bret Domrose, drummer Robert Mailhouse and bassist Keanu Reeves – epitomize the quintessential Southern California storytelling rock band they’ve always been in their hearts, making deeply resonant music that literally comes from Somewhere Between the Power Lines and Palm Trees. Nearly a quarter century after what seemed to be their final album, Happy Ending (released in 2000), Dogstar has reformed and taken a great creative leap forward, establishing an entirely new path. “Our earlier records were almost in the wrong decade,” says Robert Mailhouse. “Looking back, it’s almost like we started a Seventies band that somehow got lost in the Nineties. When everybody else was shouting, we were trying to tell stories because in Bret, we’ve always had a singer-songwriter in the Jackson Browne tradition. But people kept saying `grunge’ because of the times we were in – or maybe because of the clothes we were wearing.” “This music just sounds like us,” says Bret Domrose with a smile. “One of the things I love about this album is the variety of feel,” says Keanu Reeves. “Every song is not the same – you can hear our diverse influences and a lot of different tones here. And I feel like finally on this album, we’ve managed to take all those influences and our passion for playing together and once and for all turned it all
into Dogstar.”

SG is none other than Andrew Pekler returning to faitiche with an album of sentimental guitar escapism. For Lovers Only / Rain Suite features ten tracks made using only an electric guitar and a handful of effects pedals (plus some additional recordings of rain) and finds Pekler once again attempting to reconicile his tendencies towards kitsch, experimentation and minimalism.

What does Pekler's pseudonym SG stand for? Sentimental Guitar? Sound Gallery? Shy Guy? Sad Gnosis? Saudade Glamour? Soft Goth? We don't know, but we asked notorious Chicago romantic Sam Prekop for his take on the album – his reply:

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It’s a wonder where the rivers go and far, how fast or slow.

Just seconds to remember, who can forget, when you are lost.

I think to recount every step, in both hands, eyes open, the clouds unfold, one two three. Every other step, just as well.

Where the moss is soft, you know strong. How many hours, days? I could have been careful, did I forget?

Never mind. Waking up, in these arms, where the rivers go, slow. One two three, one two three.

Forever is a 1993 album by the British shoegaze band Cranes. Forever continues the trend of the band's previous albums, revolving largely around Alison Shaw's distinctive vocals. The album contains elements of shoegaze, dream pop and gothic rock, and features the singles "Adrift" and "Jewel".

The album starts with hypnotizing acoustic guitar chords on the first track "Everywhere". Songs like "Cloudless", "And Ever" and "Far Away" show the band taking an extremely minimalist approach to their songwriting with sometimes nothing more than a piano accompanying Alison's voice. The songs "Adrift" and "Clear" are heavy post-punk rockers and "Jewel" is one of the brightest and most colorful songs that Cranes have ever produced.

"Jewel" ended up being an underground hit in the U.K. and U.S., though thanks to a somewhat transformed remix courtesy of longtime Cranes fan Robert Smith (Forever takes its name from a The Cure rarity of the same title).

Forever turned out to be a favorite amongst fans and critics, it's a lost treasure of early 90s dream pop, delivering unique and mesmerizingly beautiful music. The hidden track "Shine Like Stars" is included on the LP.

2023 marks the 30th anniversary of Forever. Therefore, the album is available as a 30th anniversary edition of 1000 individually numbered copies on crystal clear vinyl and includes an insert. Also, the band will perform the complete album at EartH in London on October 14.

Joni Mitchell Archives, Vol. 3: The Asylum Years (1972-1975) is the latest entry in Rhino’s ongoing, GRAMMY-winning series exploring the vast untapped archives of rare Joni Mitchell recordings — a project guided inti-mately by Mitchell’s own vision and personal touch. Joni Mitchell Archives, Vol. 3: The Asylum Years (1972-1975) will be available as a 4 LP with an accompanying book featuring photos and a conversation about this period between Joni Mitchell and longtime friend Cameron Crowe.

The collection begins with an early cut of “Cold Blue Steel And Sweet Fire,” one of two songs (along with “For The Roses”) test-driven during a visit to a Graham Nash David Crosby recording session at Wally Heider’s in Hol-lywood.

From there, listeners are treated to early demos and alternate versions from sessions from For The Roses, Court & Spark, and The Hissing Of Summer Lawns; historic live show recordings, including the entirety of Mitch-ell’s triumphant 1972 return to Carnegie Hall and a definitive gig with her Court And Spark backing band Tom Scott & the L.A. Express; and tracks from sessions cut alongside James Taylor, Graham Nash, and Neil Young.


















q 5. Sunrise Raga [3:41]

Out on 6 October, the music for Certainty of Tides was initially recorded with the Norwegian Broadcasting Orchestra with Nils Petter Molvaer as a soloist in 2020. He had asked several wonderful Norwegian composers to arrange a set of music from his back catalogue. “Have a listen to the recordings I did with the orchestra and tell me what you think” he told Norwegian composer, musician, and producer Jan Bang. Since the original recording was close mic’ed for broadcasting purposes, Bang saw an unfulfilled potential in the material due to lack of space in the initial recordings.
Bang came up with the idea of re-amping the mixes playing the music through speakers in a concert house followed by re-recording of the result through distant microphones. With 76 speakers (one per instrument) carefully placed exactly like the orchestra would have been seated onstage, Certainty of Tides was recorded from microphones strategically placed in the large hall of Kilden Concert House with phenomenal acoustics.
The re-amping and re-recording produced astonishing results. Some of the pieces needed additional color. Bang invited two of his highly talented electronic music students at the University of Agder (Kristian Isachsen and Even Sefenias Sigurdsen Frodesønn Røsstad). Both given freedoms to create their own sound based on their own personal taste.
The final mixes were put together by Øyvind Kurszus at Kilden Studios supervised by both students, Molvaer and Bang. Helge Steen has mastered the recording. Knut Sævik has re-sampled the drum track (played by Peter Baden) on “Simply so” and mixed the Song as well.

A warm, loving collection of electropop, ‘I Made an Album’ was recorded and produced entirely by Daði Freyr: every programmed note, every melody, every harmony and every beat has come from him alone in his small studio. “I basically wanted this to be a very true record, to my sound and to what I've been working towards for the past four years”. With themes of reflection and appreciation for both fans and loved ones, the songs in this collection are defined by an innate sense of niceness: there are no tricks or twists, no snark, just genuine good energy. A debut English language record that gives Daði’s dedicated fan base everything they know and love, whilst proving that he's an artist with plenty more to offer. He made an album and it’s going to get you dancing all night.

Iconic Sámi – Norwegian folk artist Mari Boine is known as genre-bending trailblazer with
a taste for jazz, folk, rock, and world. Returning with a new album after five years, she has
again found something completely different inside her than anything heard before. The
album ‘Amame’, co-written with Norwegian jazz artist BuggeWesseltoft shows a different
and more mature Mari Boine, accompanied by Wesseltoft’s tender and responsive piano
playing.

Mind Against launch their eagerly awaited imprint Habitat with a 15-track compilation titled “METAFLORA”, available as a deluxe transparent vinyl 3LP box set including a 24x12” fold-out poster.

Suitably, the compilation features new and emerging artists with whom Mind against have relationships, and recurrent motifs of subtly unsettling melodic house/techno building alternate worlds in soundscapes.

Mind Against & Sideral – ‘Criseide’ heralds this new world with portentous pounding beat/bass, the melodic synth singing beneath like beauty surviving under threat, the vocal/lyrics with an edge of alarm: ‘if you think it couldn’t happen to you…’

‘Talk To Me’ by Dyzen (who also collab’ed with Mind Against on their fabric presents compilation) has stately chords riding a prancing beat while sombre piano and sweet high vocal create a heraldic, post-apocalyptic nu-medieval world, whereas Sam Shure’s ‘Plus Ultra’ has rattling percussion, with melody like a coded message from an abandoned spaceship to which something replies in stark tones…

Marino Canal, whose debut album was released by Nicole Moudaber’s MOOD, and who has support from many big names including fabric’s founder Keith Reilly, features plangent notes veering up, down and off the scale for a disturbing effect in ‘Ample’, while Swiss duo Read The News in ‘A Place’ set a fast, kicking beat against a female voice yearning for ‘a space where I can just be’.

Remcord, often played by Black Coffee, Tale of Us and more besides MA, show us why in ‘Entourage Effect’ while Laroz gives a lively melody and raucous chords in ‘Don’t Touch’ feat. Sheera as her cool, raunchy, layered vocals come to the fore.

For their next venture, Infernal Sounds brings together two titans in the scene marking #IFS026 with a collaborative EP from returning family member Chad Dubz, and debutant Somah. The Business EP is a goliath, featuring full-throttle sounds on the title track 'The Business' to kick things off properly. 'Naraka' follows in the same vein, producing a rough and rugged low end which you can feel deep in your chest, whilst 'Amplify' provides a stripped back, bass heavy affair. 'Unresolved' closes the EP, rounding things off with a more melodic skanker.

The release has already received some strong support in the scene from the likes of Truth, J:Kenzo, Sicaria Sound, N-Type and many more, making it a must own 12".

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

“One of Hollywood’s most exciting film composers” – DAZED & CONFUSED Clint Mansell’s emotionally gripping and melodically thrilling score for psychological cult classic luna-drama Moon is now again available on Black Records on White Vinyl Directed by Duncan Jones, starring Sam Rockwell and Kevin Spacey, Moon is a science fiction thriller about a solitary lunar employee who finds that he may not be able to go home to Earth so easily. Sam Bell (Sam Rockwell) is an employee contracted by the company Lunar to mine on the Moon the natural gas Helium 3, which could reverse Earth's energy crisis. Stationed alone on the lunar base Sarang with only a robot named Gerty (voiced by Kevin Spacey), Sam is two weeks away from completing his three-year assignment, when he begins feeling out of place… Former ‘Pop Will Eat Itself’ frontman Clint Mansell - now based in Los Angeles - has become the go-to composer for independent Hollywood cinema. Producing peerless soundtracks to award winning Darren Arronofsky films Requiem For A Dream, The Fountain and The Wrestler.

Five years in the game marks a very special milestone for In-Reach Records, a label born from a love of drum & bass music and a passion to share that love with like-minded individuals. What better way to celebrate that milestone than a compilation of the sounds and souls that have fuelled the labels journey so far. The artists behind all nine of IRR’s past releases have combined, along with some important members of the In-Reach family, to create this exquisitely emotive VA album.

Heading up the release is a very serious piece of wax dropping in September 2023. The 12” vinyl exclusive album sampler comprises two tracks that have been causing waves in the scene for some time. Kicking off with Kid Drama’s remix of ‘Another Place’, we have an expert re-work of an already awesome track from Sam Binary and Deviant. The hissing bass joins the drum break half way through the intro while the vocal sample repeats its mantra. As expected, a gear change hits on the drop with the entry of sub bass stabs, which take on an increasingly melodic form as they evolve throughout the track.


The legendary Madcap takes on remix duties for the B-side with his take on Greekboy’s & AKA's ‘The Jungle’, which first aired on LTJ Bukem’s Radio 1 Guest Mix in 2021. The stepping drum break enters from the outset, building atmosphere alongside the pads and vocal cries in preparation for the extremely weighty running baseline.

Reach for the geiger counter - Park End comes shelling in the direction of Sneaker Social Club with some plutonium-plated, 2-stepping swelterweight gear for the grubbiest of dancehalls. All we can ascertain about the shadowy figure on the buttons for this latest release is that they’re clearly schooled in the lineage of UK hardcore, pirate radio culture and the sympathetic tenets of UKG, jungle and dubstep.

Opening up the A side, ’Same Dream’ is a claustrophobic, gnarly creeper with razor-sharp snares, growling low end and enough heads-down malaise to turn the most blissful sunrise set ice-cold. ‘The Immortality Of The Crab’ pays tribute to the fine tradition of illegal radio broadcasting and its importance for the development of rave, leaning on a staggered, mucky garage beat that smacks hard just how we like it.

On the flip, Park End turns attention to the synergy between RnB and garage with a refix of BBL Sound’s ‘BBS’, pairing the sweetest vocal chops with plenty of bitter b-line pressure, while ‘Rekt’ draws on an unnamed voice for another fission between human sensitivity and mechanised intensity. This parting shot borders on anti-anthemic by the time it reaches its peak while holding true to the pitch-black vibe creeping out around the edges of this rough diamond of an EP.

If the name of this collection of traxxx offends you, move on — there’s no hope for you here. If, on the other hand, Toribio’s salacious fun-pun cracked your cool exterior, here’s an introduction to a set of bangers that helps exemplify New York’s increasingly exuberant dancefloor, and what producer/DJ Cesar Toribio brings to it. His is a ribald, rhythmic take on dance music, neither for the weak of musical character (purists need not apply) nor for the weak of ass (-shaking). In fact, the proof is right there, in Toribio’s label’s and monthly party’s name: Bring Dat Ass. This command is not optional, but *the* key ingredient for a good time.

The five songs Toribio has created for “Tongue In Cheeks,” BDA’s first release, comprise a horny melting pot of tribal house and Linn-drum plug-ins, minimalist synth textures and basslines, hi-hats reminiscent of electro and freestyle classics, some of which are infused with New York’s Latin club history and futures. The lead-off track, “No Pare,” is based on the producer’s 808-driven reinvention of the call-and-response hook from Proyecto Uno’s 1993 merengue-house smash “El Tiburón,” marking the first time the group has ever cleared a sample of this Nuyodominican classic. We predict that “No Pare” will be a Fall 2023 monster.

Guest vocal appearances by The Illustrious Blacks and Maluca, cornerstones of different dance-floor scenes in a city currently hitting peak-energy levels, show the breadth of Toribio’s regard for community: There is a lot of crossover to how the punky Dominicana MC from Washington Heights chooses to slang-tastically “Werk It Out,” and how the Neo-Afro-Futuristic-Psychedelic-Surrealistic-Hippys Monstah Black and Manchildblack infuse a dollop of booty into “Work Dat Shit.” And the two different metallic beats point at seemingly separate parts of Toribio’s musical heritage uniting. There’s no formula, but if there was, it would be: Make it sexy. Make it (consensually) grindy. Make it funny to the point of ridiculous but so funky that the laughter becomes more fuel to the joyous momentum propelling the movement. Then make it home — or try to.

Cesar Toribio’s home is, originally Tampa — and the DR, where he’d spend summers with family. He was a drum-corps prodigy who went to Berklee to become a jazz drummer and be like Gil Evans. He idolized Miles’ orchestral arranger’s work as much as Dilla’s beats, but then discovered house music, so it was a wrap. The 2021 band album Toribio made under the name Conclave — which included his sister Sharin and musicians from such great projects as Standing On the Corner, No Regular Play and Irreversible Entanglements — unearthed the work of a singer-songwriter-arranger-producer of immeasurably nuanced, soulful jazz-house music. But when Toribio started DJing more and more, he decided to listen to the devil on his shoulder who told him to Bring Dat Ass. As Cesar damn-well knows, it’s the devil who has the better jokes and holds the better parties, so his ears perked up. “Tongue in Cheeks” is the music Toribio says he made to play at these parties, because he can’t find it anywhere else. It’s hard to disagree.

: Written and recorded in a series of bedroom studiosin England and France, London-based Gareth Donkin’s extraordinary debut, Welcome Home, showcases the 23-year-old’s stunning mix of instrumental virtuosity and emotional intuition, blending highly sophisticated melodic and harmonic craftsmanship with deeply moving lyrical explorations of longing, desire, and determination. The songs here draw on soul, funk, pop, yacht rock,hip-hop, jazz, and even bossa nova, hinting at times to everything from Michael Jackson and Bill Evans to George Benson and Jamiroquai, and Donkin’s performances are nothing short of mesmerizing, layering up instrument after instrument in the best one-man-band tradition of Prince or Stevie Wonder. The result is a moving work that’s equal parts brain and brawn, a masterful coming-of-age self-portrait from a young artist discovering himself—and his sound—one song at a time. Born with perfect pitch, Donkin was already fanatically obsessed with both jazz piano and drums before he turned twelve. In high school, he began DJing and teaching himself to record and sample, and by the time he headed to the Leeds College of Music to pursue a degree in production, he was already writing and recording his own material at home. His first single, “Catharsis,” would go on to rack up more than a million streams on Spotify, and a series of subsequent tracks would find similarly organic success and help land him a deal with the burgeoning drink sum wtr label.

Haunting in situ recordings from Parchman Farm Maximum Security
Prison in Mississippi (usa) producer Ian Brennan (Tinariwen,Ustad Saami,
Ramblin' Jack Elliott, Zomba Prison Project) recorded the prison's Sunday
gospel service and the results are unforgettable
The performances range from solo a-capella to a floor- shaking electric band. The
repertoire includes both traditional and newly penned spirituals. "some
Mississippi Sunday morning" is an unfiltered and deeply resonant journey into a
musical world rarely seen or heard

Aurora Records proudly presents Temporal Gardening, featuring
composer and performer Stephan Meidell and the baroque ensemble
Bergen Barokk
The new album will be available on vinyl and digital platforms on15th of
September 2023.
Temporal Gardening was originally a commission written in 2020 for Bergen
Barokk. The idea was to explore using early music instrumentation in dialogue
with new electro-acoustic technology. The unique and remarkable ecology grew
from pseudo- baroque music playfully reimagined, reinterpreted, disassembled,
remixed, and resampled.
The trio has been expanded with drums, functioning as speakers for the
electronic manipulations of the ensemble. A double-bass recorder vibrates a subwoofer speaker mounted inside a bass drum, and a live sampled harpsichord
sounds through cymbals, gongs, and a snare drum. Meidell himself part takes as
a musician in the performance, doing live sampling and electronic contributions.
Musician-composer Stephan Meidell is a musical adventurer who, in a nomadic
fashion, improvises his way through a plentitude of styles. Meidell's music exists
where genres dissolve into fragments that canbe picked apartand combined in
new ways. He frequently combines sounds from electronic, acoustic, and
electromechanical instruments and machines and then recontextualises them
with his finely tuned intuition and sense of detail. Meidell has a plentitude of
releases and commissions, including with Erlend Apneseth Trio, Strings &
Timpani, Cakewalk, and TRIGGER on labels such as Hubro, Clean Feed, Playdate,
and Ideophone.
Bergen Barokk was established in 1994 and is today one of Norway's leading
early- music ensembles. The group has concertized and appeared in radio
broadcasts in Europe, Russia and USA. Their recordings on Simax Classics, BIS,
Bergen Digital Studio and Toccata Classics include German, English, Italian and
French repertoire. Bergen Barokk has collaborated with several ensembles
through the recent years, some of them are Pratum Integrum (Moscow),
Norwegian Soloists' Choir and Barokksolistene (Norway). Bergen Barokk has
performed in festivals like Festspillene i Bergen, Bach Festival of Philadelphia,
Moscow Early Music Festival and Janacek International Music Festival (Czech
Republic).