Suche:thought universe

While most ensembles are driven by personalities, the Necks are powered by an idea. A very large and simple idea - which now seems completely obvious…. but only because the Necks thought of it and made it work. Now their pleasure (and ours) is sequentially to re-imagine and explore that idea – the prime directive of which seems to be to be that each unfolding step and every passing detail of any performance be allowed to evolve organically out of the musical conditions established at its moment of departure. In other words, we are in the territory of chaos and catastrophe theory; of hurricanes and butterfly wings… And, since one can never step twice into the same river, each beginning has led to wildly unpredictable and variant outcomes; and imperceptibly: you never hear the changes until somehow they have already happened. “We end up, Lloyd Swanton writes, ‘in a very different place from whatever our initial notion … had been.” In the case of Vertigo, we are dropped straight into an almost Feldmanesque musical universe, in which sounds - seemingly disconnected - are already there; creating space rather than inhabiting it. Then, without trying, they mutate. Not mechanically and not according to any pre-determined process - because it’s always clear that what we hear is being played by human beings; that it’s music. A special kind of music that is not pushy or demanding or demonstrative, but rather co-operative, spatial, ambiguous. A music that leaves room for its listeners.

The Tribe Records co-founder’s lost album, rumored to exist no more. Mastered from the original tapes and lacquered by Bernie Grundman. “As I thought about reecting on an aggregate of music for this album, I projected my attitude and spirit while living and working here, in Detroit, Michigan. We are earning and learning a new way of life, which explicitly tells us to become self-reliant in taking care of our families and each other. Government hand-outs are not an option for us.” -Wendell Harrison The first ever issue of this Spiritual Jazz album. The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

Recorded during the first few periods of lockdown and originally released as a cassette midway through 2021, O Yuki Conjugate's A Tension of Opposites Vol. 1 & 2 is now to be released as a limited edition, double-disc gatefold LP via World of Echo on 1st April. The enforced conditions of its creation represented a new way of working for O Yuki Conjugate founders, Andrew Hulme and Roger Horberry, a pioneering duo who have worked as close collaborators on multiple projects for almost four decades now. As such, their writing is for the first time divided in two and recognised as distinct, Horberry contributing the shorter eleven tracks that make up Vol. 1 (subtitle: At Variance), and Andrew Hulme the longer four that constitute Vol. 2 (Into the Pleasure Garden). It's fascinating to hear their approaches separated.

At Variance is defined by its mostly short-form approach, characterised by an airless ambience that recalls the late 20th Century modern minimalism of Thomas Koner, Markus Popp and the Mille Plateux universe, while in other parts, an element of the grander aspects of Eno circa Discreet Music, though retaining a characteristically gritty feel. Into the Pleasure Garden provides a notable contrast, forgoing the lightness of the preceding eleven tracks and embracing what might be understood as some of the more 'classic' elements of the OYC sound: their storm cloud-forming, heavy weather, post-industrial, fourth-world dystopia. Together and apart, OYC celebrate their 40th birthday this year, but remarkably, even under challenging circumstances, their music still retains an almost mystical power.

Future releases in the series are planned for later in the year and will continue with this approach, charting the outer reaches of the individual members musical inclinations. In the meantime, it might be worth giving some thought to start considering this pair an institution of sorts, or at least their own cottage industry.

Matthew Halsall unveils new band and announces 'Salute to the Sun'

his new album on Gondwana Records

Limited edition Double Clear vinyl, printed on reverse board with Gold foil artwork plus double printed reverse board inner sleeves including download code. Cover Artwork by Daniel Halsall with design and layout by Ian Anderson of The Designers Republic.

Comes packaged in a resealable, re-usable Polypropylene anti-static, acid-free, crystal clear sleeve for maximum protection.

Composer, trumpeter, producer, DJ and founder of Gondwana Records, Matthew Halsall has always worn many hats. But at the heart of everything that he does Halsall is first and foremost an artist and a musician. A trumpeter whose unflashy, soulful playing radiates a thoughtful beauty and a composer and band-leader who has created his own rich sound world. A sound that draws on the heritage of British jazz, the spiritual jazz of Alice Coltrane and Pharoah Sanders, as well as world music and electronica influences, and even modern art and architecture, to create something uniquely his own. A music that is rooted in Northern England but draws on global inspirations.

Salute to the Sun is his first album as a leader since Into Forever (2015) and marks the debut of his new band. A hand-picked ensemble featuring some of Manchester's finest young musicians: Matt Cliffe flute & saxophone, Maddie Herbert harp, Liviu Gheorghe piano, Alan Taylor drums and Jack McCarthy percussion as well as long-time Halsall collaborator, bassist, Gavin Barras who has been at the heart of Halsall's bands for over a decade. For Matthew it was important to have a band based locally and able, pre-Covid, to meet and play each week, and who also performed a sold-out monthly basement session at Yes in Manchester. The album draws energy from these sessions and inspiration from themes and ideas that have inspired Halsall through the years (on albums such as Oneness, Fletcher Moss Park and When the World Was One) ideas of ecology, the environment and harmony with nature.

"I feel Salute to the Sun is a positive earthy album. I wanted to create something playful but also quite primitive, earthy and organic that connected to the sounds in nature. I was listening to lush ambient field recordings of tropical environments such as jungles and rainforests and found myself drawn to percussive atmospheric sounds which replicated what I was hearing (bells / shakers / chimes / rain sticks) and I started to experiment with more wooden percussive instruments such as kalimba and marimba".

Salute to the Sun features lush wholly improvised tunes inspired by ambient rainforest and jungle field recordings, deeply soulful tunes built around hypnotic harp and kalimba patterns, deep Strata-East inspired spiritual jazz grooves and some of Halsall's most beautiful playing and inspiring healing melodies yet recorded.

The album was recorded at the band's weekly sessions, using Halsall's own recording set-up, giving the recordings a relaxed vibe and unforced energy that really lets the music breath. The album is also very much a family affair as Halsall's brother Daniel Halsall, artistic director of Gondwana Records, was an important presence at the sessions and co-produced the album. It is also his memorable artwork that adorns the cover of Salute to the Sun, an album beautifully designed by legendary designer Ian Anderson of The Designers Republic, who also created the covers for the recent archival releases Oneness, Sending My Love and Colour Yes and is one of Halsall's favourite designers. Together Daniel Halsall and Ian Anderson have designed all of Matthew's seven albums to date, so it felt extra-special to bring them together for, Salute to the Sun, an album that Halsall was determined to present in the very best way possible. The album was mixed with another long-time collaborator, George Atkins at 80 Hertz in Manchester, who works tirelessly with Halsall to perfect the sound and was mastered by noted engineer Peter Beckmann who brings an added depth to the sound specially around the bass notes as well as Halsall's trumpet. The magnificent double vinyl was cut as a Half Speed master by Barry Grint at Alchemy Mastering for the best possible analogue experience.

The result is arguably Halsall's most beautiful and complete recording to date, playful, charming and imbued with the warmth of the sun and the energy of life.

Belgium's Greg Naïro is making a name for himself with deep, thoughtful productions. Versatile and elusive, he doesn't restrict himself to one musical universe.For his debut Dawn rill Dusk outing, the producer showcases his pedigree through four elegant deep house originals that demand repeated plays.

Nikki Nair is fast becoming one of the most diverse and forward-thinking artists in electronic music, flying the flag for increasingly hybridized methods and doing it your own way. His sound is inimitable and cannot be defined; readily bottling a multitude of emotions in a relatively short space of time.

Nikki’s meteoric rise has come in the form of eclectic releases like his ‘More is Different’ EP on Dirtybird to the downright filthy and party-starting ‘Trying To’ on Bristol’s Scuffed Recordings - Influenced by anything from Detroit techno, to lush ambient soundscapes and Florida breaks. The Knoxville born, Atlanta based producer continues his journey through shape shifting universes on his debut for Lobster Theremin, with five different but equally impressive tracks.

‘ Shufflin’ kick starts the EP in Nikki’s signature, unpredictable style; as squelchy bass-lines growl at heavily swung drums and low pitched vocal loops, before ‘WWC’ - an off-kilter minimal stepper, walks the tight-rope between entropy and synchronized dance.

‘ ‘I Can’t Stop’ meanders from kinky bass & breaks, to deconstructed dubstep and trap; causing more facial expressions in six minutes than ever thought possible. Nair’s hybridized methods continue to shine through in ‘Yoland And His Tortoise’ - a trippy and colourful dream told through nuance in sound. The EP then closes off with the laid-back grooves of ‘Urquoise’ - a hypnotising ritual best practiced in nature.

Cloakroom celebrate their tenth anniversary as a band with their new album, Dissolution Wave. Dissolution Wave is a concept - a space western in which an act of theoretical physics—the dissolution wave—wipes out all of humanity’s existing art and abstract thought. In order to keep the world spinning on its axis, songsmiths must fill the ether with their compositions. Meanwhile, the Spire and Ward of Song act as a filter for human imagination: Only the best material can pass through the filter and keep the world turning. This is the universe that Cloakroom guitarist/vocalist Doyle Martin conceived as a way of processing the last few years. “We lost a couple of close friends over the course of writing this record,” he says. “Dreaming up another world felt easier to digest than the real nitty-gritty we’re immersed in every day.” With lyrics based on an imagined cosmology, Dissolution Wave also marks a grand expansion of Cloakroom’s dreamy space-rock palette. Written from the perspective of the album’s protagonist—an asteroid miner who writes songs by night—”A Force at Play” has an airy, pastoral feel. Meanwhile, the melancholy title track captures the miner’s regret as they lament that they signed up for such a long stint on the job, while closer “Dissembler” describes their anxiety about the revelator who will judge their work. “If you don’t write a good enough song in this universe, you run the risk of being forgotten and lose the opportunity to return as a meaningful form of life,” Martin explains. The stakes have never been higher!

"As one of the instigators of the UK 2-Step sound that paved the way for the seminal movements in Dubstep and Grime, Zed Bias, aka Maddslinky, is a true pioneer and stands as one the Godfathers of the UK Bass scene. With a prolific career spanning more than two decades, we’re honoured to welcome him into the Unchained family with his debut release on the label.

His powerful 4-track EP echoes both cutting edge modern electronic as well as the nostalgia of UK dance history. All tracks wander into upper BPM territory and sonically span very wide ground; whether this be “Beijing”, a track sure to carve itself a place in classic anthem history; or “Doen�a Tropical”, a tune which draws new broken-beat boundaries around the 160bpm ethos.

Two tracks feature collaborations with Strategy and Bugz In the Attic’s G Force - both music defining legends in their own right.

Spanning both the Drum’N’Bass universe and thought-provoking left-field bass, we hope this fresh release has you covered from club to couch."

The infinitive is the basic dictionary form of a verb when used
non-finitely. It is also the form chosen by Danieli and Purl
for the tracks of WHS 03: return to the basics, simplicity, pure nature distilled into music.
Pulsate starts with an ethereal soundscape, created to then open to a deeper underwater exploration. There´s a universe down there and the listener will be guided to appreciate its beauty: lanternfish giving the tempo of this journey, marine life to marvel at. We take a step back to observe and fill our eyes and ears. We come back to the surface, finding peace and calm.
Opening in a slow, thoughtful and majestic way, Compensate is a
hymn to balance. Since the very beginning, the listener will notice a contrast between gloomy atmospheres and lighter sounds, resulting in a chasing sensation that´s uncomfortable, yet fascinating. Desire to explore, together with acceptance, surrender to the things we simply can´t understand as humans.
The listener is then invited to explore darker, faster, more pounding atmospheres. Intimidate anticipate it all in its title : sounds, tempos, images, they all chase each other to create an atmosphere that's daunting and fascinating at the same time.
A track to accompany one's journey, be it real or spiritual, a trip where we let things happen as they come, accepting the flow of life.
Resonate closes the B side drawing with sounds the depth of our
natural state. Close your eyes and transport yourself in lost woods, alone in a tent at sunset, when the day is almost over and ready to make room for the night. The wood is speaking, the animals are awake, it's frightening but incredibly beautiful.
Crickets are singing their songs, frogs are bouncing from one pond to another, water connects with air, resonate with earth and with the smallnes of man in the face of nature.

Zenith Volt/ zēneTH vōlt: 1.Galaxy driven woke melodies for your thoughts and drive 2. Ethereal calibration against gravity burdened life

On TIMEKEEPER, Zenith Volt says: I am so inspired by the thought that at this very moment in time, our heels are stepping out of a past to be left forever in exchange for an unwritten future. The album TIMEKEEPER holds an amalgam of this heaviness and hope throughout. Each instrument, melody, and message has a self-reflective undertone. Speak from the heart, embrace the strange, and keep a clear head. While the past and future are overall inspirational waypoints, they are specifically stylistic ones as well. Timekeeper has a heavy retro/futuristic synthesizer tone and feel. Arpeggiating pulse and forward motion stitch each track together forging ahead through time itself.

Pulling sounds from retro and futuristic palates, Zenith Volt constructs an ethereal reality, attuned to the openness, enormity and unpredictability of the expanding universe; and the unknown that ever lies ahead.

Paul’s sixth solo studio album, Illumination, was originally released in September 2002, and is Weller’s second solo number one, it includes the hit singles “It’s Written in The Stars” (no. 7) and “Leafy Mysteries” (no. 23) and features guest performances from Carleen Anderson, Jocelyn Brown, Kelly Jones and Noel Gallagher. The 2021 reissue features faithful original packaging replication including rounded corners and was cut at London’s Metropolis Studios.

NME: "Paul has clearly regained his sense of adventure… a spirited, joyous album.” (4/5)

The Guardian: "The trinity that opens his sixth solo album is his best work in ages, by turns love-besotted, politically outraged and burning with spite. What a surprise - just when you thought Weller would never do it again, he goes and does it.” (4/5)

Multiinstrumentalist, singer and composer/songwriter Marianne Sveen
twists the term next of kin and takes you into her thoughts on the subject,
creating an atmospheric and almost cinematic universe, where you vividly
and the relations they are regarding.
The songs are based on reflections while working as a nurse in mental health
care and how it can be perceived so differently. The album is conceptual and
the soundscape mirrors the dynamic in the songs, gently touching your cheek
in one second, and striking you hard in the stomach next.
The cinematic and detailed sound emphasizes the song mood and amplifies
these very strong and emotional stories. Award winning Ola Kvernberg and
Daniel Herskedal are some of the brilliant musicians contributing to this masterpiece.

Ben Bertrand weaves transverse waves into otherworldly compositions. He embodies the singular motion of these melodic and harmonic forms in order to draft new sonic possibilities freed from the laws of the physical plane. Pulsating at the kernel of Ben Bertrand’s musical universe are vivid dreams generating the fabric of these tapestries. Dokkaebi is deeply familiar yet refreshingly unknown, like a comforting whisper from your subconscious. It gently drifts into perception, glistening like the sun sparkling off a glacier gliding along the edge of your vision.

Deep listening to these tonal sculptures is enriching. By opening oneself to their deliberate unfolding, you will discover new principles for sound organization far afield from common modes of operation. The gradual, rhythmic progression of his compositions are ever-shifting grains, which upon thoughtful contemplation, reveal astonishing worlds. Bertrand’s music is constructed from blueprints drafted with honest intentions aspiring to bring humans closer to a sense of wonder.

Ben Bertrand welcomes each listener to discover his music anew from their own perspectives. It is infinitely in time with your time. These are the ripples in the wake of successive revolutions of universal evolution. Dokkaebi is an example of musical expressions adapting to the contours of the human psyche through gentle reflection of multiplicity. They are sounds reshaping themselves to suit the contours of each individual’s subconscious—sonic entities projected simultaneously as molecular and holistic.

Dokkaebi is an oceanic expression softly set in motion by honest aims that echo and grow. Ben Bertrand beckons you to listen up and look in. There is great reward in this generous flow.

Ben Bertrand was accompanied by Christina Vantzou, Geoffrey Burton, Indré Jurgeleviciuté, Echo Collective: Margaret Hermant & Neil Leiter, Otto Lindholm.

With 10 years in the 'biz' firmly under his belt, Jiah Wells is poised to release the first full-length LP of his Galtier project, Pulchra Es Elementis. Whilst Galtier is arguably one of the originators of the percussive style that would eventually fall under the Hard Drum label, the heightened theatrics of his recent output have seen him channel Blade Runner-styled sonics and move further away from absolute club functionality. Whilst Galtier's output often seems to soundtrack hypothetical, off-planet words, Pulchra Es Elementis turns the focus inwards: towards Wells' own emotional constellation, his evolving spirituality and his attempts to tap into planes of existence beyond the tangible. The album's Latin title translates to 'Elements are Beautiful' and encapsulates the artist's belief that there is grace in all of life's aspects; pushing past what we deem as good or bad, minuscule or massive.

Pulchra Es Elementis begins with Crystalised Larva, a brooding opener of breathy pad synths and expansive kick drums which reverberate through the mix as if the hits originate from the bottom of a valley. There's an indistinct sense of tension on this track, in part due to a central melody, which never resolves but only descends lower in pitch. This tension turns to explorative wonder on Wilfull Saviour, where a mirage of musical ideas come in and out of focus. Although the sonic worlds Galtier explores are internal to him, Wilfull Saviour still possesses that sense of a cosmic journey we've come to expect from Wells; an ardent fan of dystopian films and literature.

Continuing this emotional odyssey, Bruised, But Not Broken sees the artist push deeper into the psychological undergrowth; its murky tonality juxtaposes crisp, Reggaeton-inspired drum patterns with a heavily compressed one-note synth line that modulates wildly - cutting through the mix like a nagging thought that won't leave your mind. Next up is U Were, U Are & What U Will Be, one of the more club-ready tracks of the LP, which gets us moving with a snarling bassline and layers upon layers of percussive hits and inflections.

At Pulchra Es Elementis' mid-point is the LP's title track, a drumless interlude where blissful, shimmering synths create a patchwork of intensities. Galtier's approach to songwriting shines through here; ignoring musical pragmatics, he opts to feel his way through his compositions without knowing where they might end up. Following on from that weightless breather, Phantasiai turns up the freneticism with its head-spinning mix of drum programming and a glitched-out synth line that yo-yos up and down octaves. Things get even more furious on the Superficie-featuring Cavernam, a hollow Hard Drum banger inspired by Eskibeat sensibilities and designed to create a sense of self-implosion.

The album's penultimate track, (U Are) Beautiful, is a tale of two halves: beginning with a moment of serenity as synthesizers swell like an ocean tide before evolving into a marching crescendo of raw energy. Rounding off the album, Shine Forth hurtles through pacey drum work and all manner of strange zaps and klaxons before giving way to a final dose of nebulous ambience.

A musical journey unlike any other 'club music' albums, Pulchra Es Elementis is an LP that demands to be consumed in one sitting. Reflecting on his place within the universe and the musical landscape, the album could be viewed as a musical exorcism which sees Galtier working through and shedding huge chunks of his ego that stuck to him out of fear of the unknown. Pulchra Es Elementis begins on an insecure, overwhelming or, even, existential note before rounding off with a related sense of vastness seen with new, more positive eyes. It's a voyage we hope you will join him on.

With “The Giggle Gallery” musical performance duo Brik Tu-Tok takes you on a surreal trip to an obscure giggle theatre of the 21 century. It’s an delicous muddle full of sophistated and sparkling weird pop songs, all baptized in absurdity. The soul of the album lies in its poetic lyrics and cryptic storytelling. Brik Tu-Tok's imagery is a combination of pleasantly derailed thoughts and offbeat fantasy. They mix joy with panic and evil with laughter. “The Giggle Gallery” is an theatrical album with sharp edges. Fresh yet nostalgic. Catchy eclectic!

Brik Tu-Tok is the musical library of theatre makers Maxim Storms and Linde Carrijn. Together they mould the theatrical with the musical into a new absurd universe, where eccentric characters sing out their souls. Brik Tu-Tok is poetic, brutal and humorous. “The giggle gallery” released on vinyl on Rotkat Records.

Lisa Milberg and Jon Bergström started their band Miljon over a pitcher of margarita in Mexico City and have since kept busy writing gorgeous little pop-songs in makeshift studios in and around their hometown of Stockholm, Sweden – mostly in their bedrooms and various cabins in various woods surrounding the city, never staying too far from the pine trees.
Having assembled a collection of 13 pieces of proper flaskpost-disko, these demos were passed on to Studio Barnhus’ in-house mixmaster Matt Karmil, who worked his studio magic on the recordings, turning them into a seductively warm and spacious debut album. “Until then, our only expenditures for the album were wine bottles and taxis”, says the band.
This isn’t the first time Miljon has teamed up with Studio Barnhus, the ever-explorative Stockholm dance label. The band collaborated with Barnhus co-founder Axel Boman on the wistful piano-house ballad “Forgot About You” in 2018 (“a summer anthem … a marvel of simplicity” - Pitchfork) and the label’s core personnel are all regulars at Arranging Things, the design store (“Stockholm’s coolest” - Vogue) that Lisa runs with another friend.
Going further back, Miljon isn’t the first musical project of neither Lisa’s nor Jon’s – the former enjoyed her fair share of 00's indie rock success as drummer and eventually lead singer of The Concretes, while Jon has earned a reputation as the hardest working man in several Swedish music scenes, bringing energy and expertise to punk stages around the country as well as Stockholm’s electronic underground.
With Miljon, the two friends make sure to keep it short and sweet, happily celebrating imperfections. “We believe in ‘first thought, best thought’ and try to work on the songs as little as possible, instead trusting a good melody and a nice vibe, not overthinking it. We dare you to find a bridge on this album!”
With “Don’t They Know”, the duo presents not only 13 beautiful songs (perfect for shower-humming, living roomshuffling and warm summer night boombox-blasting alike) but also an album that turns into something grander than the sum of its parts.
“We made it because it’s the kind of album we’ve been wanting to hear ourselves. It’s all quite song-centric these days and it feels rare to find a whole album to step into and stay inside, you know? We hear great songs all the time, but we wanted an album that was its own little universe, with its own mayor, own happy hour, its own yard sales and extramarital affairs.”
“Don’t They Know” is released through Studio Barnhus as a vinyl LP June 18.

LP on light blue marbled vinyl.Steiger eagerly explore the outer margins of jazz and dive into other universes (contemporary music, electronica, pop, free improvisation), yet remain faithful to the genre's long-standing core principle; that of a flexible transformation.

Herman Saiz debuts on Aprapta Music with his latest creation, Time To Choose LP - 12 Original Tracks spread across 2x12inch.

The NZ based producer's latest project, born out of the volatility of 2020, merges various styles of electronic music, to offer a thought-provoking album, challenging the heavy main stream programming of this generation.

Each tracks aim to dissolve the illusionary forces holding us to meaningless narratives and diluted culture.

From downtempo, hip hop, minimal, house and experimental electronica, the album is an invitation to choose your own preferred timelines, switching off auto pilot, and harnessing the power of being present in the now.

Through interweaving deep truths with electronic pulses, this is a clear offering to choose sovereignty and an awakened future.

The Tipping Scale is a gorgeously sung cycle of songs that mix deeply personal lyrics with universal themes; Kinlaw is a smart, conceptual writer, one not afraid to explore deep emotions like loss, regret, and confusion, alongside strength, identity, and change. She explains that The Tipping Scale is an ideal metaphor for the record, the idea of an ever-present slipping in and out of change, and an acceptance of this kind of change. On it, she unravels intimate memories and tries to learn from them. As you listen to her songs and decode her words, you realize she's not just building songs, she's also creating a home_where painful thoughts of the past can exist within the present_as well as an entirely new, unflinching universe. This universe she created is not metaphorical_it's, in fact, very real. Kinlaw, who often works with gesture and movement as a writing tool, found The Tipping Scale unifying her multidisciplinary practice. She found it by building a real world. As she wrote, with the goal of finding human entry points for storytelling that felt authentic and honest to her practice, she often saw the music relating to motion. "I would start with a gesture and let it build into something until a memory attached itself to it," She explains. "The memory would become a story and the story would reveal itself as something important that needed to be expressed in this album." This works, too, for the lyrical process, where harder and less smooth gestures would represent consonants, and smooth, flowing movements would become vowels. She found the same thing happening with melodic lines and key changes. This is a record that jolts between the corporeal and the psychological, drawn from a flailing body, anchored by inconvenient truths. RIYL: Choir Boy, Jenny Hval, Kate Bush, Boy Harsher, Caroline Polachek, Black marble, Julia Holter, Grouper

Antonin Appaix's project draws its inspiration from the depths of the waves, under the Latin sun. Passionate about fishing and diving, cradled in the Mediterranean culture, the aquatic universe has always been an integral part of his life. It was by chance in a Marseille cove that Antonin Appaix and Cracki Records met for the first time.

At the cinema university and then at the Beaux-Arts in Lyon, Cergy and Mexico City, Antonin tried out the caps of photographers, video artists, tried poetry, played rock and thought he was a mechanic. Already grew in him the nostalgia for the first baths, first kisses, the city and adolescence.

Graduated in 2016, he converted his plastic and literary research into a minimalist and romantic pop universe. For his first EP "Aquaplaning", composed between Paris and Marseille, he invites us to join him underwater, where he feels best.

Invoking Souchon as well as Retro X, Lucio Battisti or Brigitte Fontaine