quête:yann tiersen

Seit langem fragen Leute, ob sie diese Alben erstehen könnten und bisher lautete die Antwort: Nein. Bisher! Wir sind begeistert, die Re-Issues dieser vier unglaublichen Alben mit verbessertem Artwork bekannt zu geben. Alle Alben wurden remastered und ist zum ersten Mal überhaupt auf Englisch erhältlich (eine englische CD-Version wird später auch noch erscheinen). Als die ursprünglichen Versionen veröffentlicht wurden, wurden die meisten Exemplare in Frankreich verkauft. Aber Yann wurde, nicht zuletzt durch den Soundtrack von ,Die fabelhafte Welt der Amelie auf der ganzen Welt bekannt. Für sein internationales Publikum hat er nun höchstpersönlich seine Titel mit größter Sorgfalt ins Englische übersetzt, um sicher zu stellen, dass die Originalinhalte beibehalten bleiben. Im Januar folgen die nächsten beiden Alben. ++ Auf "Rue Des Cascades" bedient sich YANN TIERSEN einer ganzen Armada an spannenden und mutagen Instrumenten: einiger sehr rare Instrumente, aber auch Klaviere, Kinderklaviere, Cembalo, Geigen, Akkordeon, Mandoline, Glockenspiel, Melodica und Banjo zusammen mit menschlichen Stimmen. Zusammen sorgt das für eine äußerst angenehme, entzückende und wunderschöne Musik mit einer warmen Atmosphäre. Einige der Stücke auf "Rue Des Cascades" tauchen auch auf TIERSENs "Amelie"-Soundtrack auf, so dass jeder, dem die Musik des Soundtrackes gefiel, auch hieran gefallen finden wird.

Yann Tiersen veröffentlicht sein mit Spannung erwarteten neuen Albums 'Rathlin from a Distance | The Liquid Hour' am 4. April 2025 auf Vinyl, CD und digital via Mute.

'Rathlin from a Distance | The Liquid Hour' ist ein Album, das in zwei unterschiedliche, jedoch miteinander verbundene Teile gegliedert ist, die jeweils ihre eigenen klanglichen Merkmale aufweisen: 'Rathlin from a Distance' besteht aus acht vornehmlich instrumentalen, introspektiven Klavierstücken, 'The Liquid Hour' dagegen ist ein ausgedehnter, genreübergreifender Hybrid aus elektronischen Klängen und psychedelischen Rhythmen.

1997, the label Ici d'ailleurs was taking off and preparing to publish Yann Tiersen's " The Lighthouse", the third album which was going to be the one of his general recognition. In order to promote him, we decided to release a small off-the-shelf compilation intended for people working in the music industry, with tracks from the three albums and two tracks not included on any of his albums, one, "avant qu'ils arrivent", from the Ici d'ailleurs compilation, and the other, "la vie rêvée", created for the soundtrack of "La vie rêvée des anges." With the catalogue number IDA 000, "Avant la chute" had remained in the hands of a limited number of people. To celebrate the 25th anniversary of the label, we wanted to show with this brief compilation the extent of Yann Tiersen's talent, which today with the album " Kerber" still demonstrates his insatiable creativity, which is constantly evolving. The perfect moment it seems to us to release it in vinyl and in digital and to make it available to the numerous fans of Yann Tiersen. This limited edition 6-Track EP is available on transparent blue vinyl 12"!

‘Kerber’, the new album from Yann Tiersen, is a
beautifully textured, highly immersive and
thoughtfully constructed piano-based album fused
with electronic music.
Piercing piano keys merge with swirling
soundscapes, as Tiersen explores the possibilities
of infinite smallness.
The album was created and recorded at The
Eskal, the studio he built on Ushant (the island
where he lives), and ‘Kerber’ is named after a
chapel in a small village on the island while each
track sonically maps the landscape that surrounds
Tiersen’s home.
An extensive European tour is scheduled for 2022.
CD in eco card pack with poster illustrated by Katy
Ann Gilmore.
Black vinyl LP includes digital download code.

Seit langem fragen Leute, ob sie diese Alben erstehen könnten und bisher lautete die Antwort: Nein. Bisher! Wir sind begeistert, die Re-Issues dieser vier unglaublichen Alben mit verbessertem Artwork bekannt zu geben. Alle Alben wurden remastered und ist zum ersten Mal überhaupt auf Englisch erhältlich (eine englische CD-Version wird später auch noch erscheinen). Als die ursprünglichen Versionen veröffentlicht wurden, wurden die meisten Exemplare in Frankreich verkauft. Aber Yann wurde, nicht zuletzt durch den Soundtrack von ,Die fabelhafte Welt der Amelie auf der ganzen Welt bekannt. Für sein internationales Publikum hat er nun höchstpersönlich seine Titel mit größter Sorgfalt ins Englische übersetzt, um sicher zu stellen, dass die Originalinhalte beibehalten bleiben. Im Januar folgen die nächsten beiden Alben. "Dies ist die Synthese aus klassischem Können, postmoderner Kreativität und zugkräftiger Vorstellungskraft. YANN TIERSEN hat ein Album geschaffen, das zwei Bewegungen vereint, denn die beiden Kompositionen wurden ursprünglich für zwei Theaterstücke - "Freaks" (nach dem Film von Tod Browning) und "Le Tambourin de Soie" (nach einem Stück von Yukio Mishima - komponiert. Das Werk ist voller neuer Gedanken; ein zukünftiger Klassiker den man unter gar keinen Umständen verpassen sollte." - La Griffe, 1995

Zeitlose Eleganz: Klassik trifft Lounge – die ultimative Klavier-Entspannung
Diese LP interpretiert klassische Meisterwerke als raffinierten Lounge-Soundtrack neu und verbindet die zeitlose Romantik der Vergangenheit nahtlos mit der kontemplativen Ruhe der Gegenwart.
Von Debussys schimmerndem „Clair de lune” und der stillen Tiefe des langsamen Satzes aus Beethovens „Pathétique” über die introspektive Wärme von Brahms' "Intermezzo" bis hin zu Griegs „Notturno” fließt die Auswahl wie ein Late-Night-Gespräch. Populäre neoklassische Komponisten wie Joep Beving, Max Richter, Ludovico Einaudi, Jóhann Jóhannsson und Yann Tiersen steuern ihre hypnotischen, filmischen Texturen bei und schaffen eine Stimmung, die sowohl zutiefst entspannend als auch intellektuell fesselnd ist.

Sunroof, alias Daniel Miller & Gareth Jones, veröffentlichen ihr brandneues Album „Electronic Music Improvisations Volume 3“

„Electronic Music Improvisations Volume 3“ ist eine Sammlung von neun improvisierten Tracks, die mit den Eurorack-Modularsystemen des Duos aufgenommen wurden, und baut auf den selbst auferlegten Parametern ihres Debüts aus dem Jahr 2021 auf. Daniel Miller, der Gründer und Vorsitzende von Mute, und Gareth Jones, Produzent und Tontechniker, der durch seine Zusammenarbeit mit Depeche Mode, den Einstürzenden Neubauten, Erasure und Yann Tiersen bekannt wurde, arbeiten seit vier Jahrzehnten zusammen. Obwohl sich beide nicht mit ihrer Vergangenheit befassen, sondern lieber immer wieder neue Wege beschreiten, wird das Erbe von Miller und Mute in dem Track „Splendid“ erwähnt, der mit dem deutlichen Zischen einer Kassette über einem rhythmischen Herzschlag beginnt, bevor die Oszillatoren platzen und kollidieren. Dieser Track wurde mit dem originalen 4-Spur-TEAC aufgenommen, den Miller in den späten 70er Jahren aus zweiter Hand erwarb und auf dem er die 7 Inch „Warm Leatherette“ von The Normal aufnahm.
Dieses Album folgt auf ihr Debüt „Electronic Music Improvisations Vol. 1“ (2021) und ihr zweites Album „Electronic Music Improvisations Vol.2“ (2023), sowie auf ihre Bandcamp-exklusive Veröffentlichung „Electronic Music Improvisations Live in London and Frankfurt“, die ihre Live-Shows im Frankfurter Museum für moderne elektronische Musik und im Londoner IKLECTIK aufzeichnet.

Terence Fixmer continues to establish himself as a driving force in the innovative techno and electronic music scene with the release of THE PARADOX IN ME, available via Mute and NovaMute.

This limited edition 12" serves as an accompanying piece to Fixmer's brand-new album. The vinyl features 6 dark electronic tracks from the record, all infused with his signature energy and thoughtful sound design. This comes with an audio download code of the full-length record, including 6 additional tracks spanning across the landscape of techno music.

Terence Fixmer is celebrated for his innovative and genre-defying approach to music production. With a career spanning over two decades, he has released numerous albums and EPs on some of the most prestigious techno labels. His remixing talents have extended to tracks from industry giants such as Depeche Mode, Yann Tiersen, Sven Väth, Dave Clarke, Front 242, Nitzer Ebb, Indochine, and more.

This release underscores Fixmer's versatility and dedication to expanding his musical horizons, embodying the modest yet noteworthy influence he has had in the realm of electronic and techno music.

Available on limited edition 12" vinyl - 500 available worldwide.

Much-anticipated debut album from Leeds post-punk power-trio and 6Music favourites Objections. Optimistic Sizing is comprised of ten kitchen-sink dramas, ten miniature worlds to lose yourself in. The key topics are covered: performative royal mourning, ill-suited sexual relationships, coastal gentrification, motormouth bigots and - of course - snogging. Objections formed in the post-lockdown period after drummer Neil and guitarist Joe's former band (and cult favourites) Bilge Pump slowed to an amicable halt. They wanted to continue the musical dialogue they had built up over decades and turned to Claire Adams (Nape Neck, Beards) to start something new and Objections was born. The 3 members have also played in/with: Polaris, Yann Tiersen, HiM, Enablers, Felix and Damo Suzuki (among others). Objections released their debut 7" - BSA Day/Better Luck Next Time on Wrong Speed in 2023 and have recorded two Marc Riley / Gideon Coe BBC 6Music sessions. At Wrong Speed we are not fond of genres, we are here to release music we love not tell you how to file it. But Optimistic Sizing is genuinely post-punk in the literal sense of the term. Objections take the freedom and anyone-can-do-it promise of punk and run somewhere new and adventurous with it, creating a vibrant and living musical language with which to communicate their own unique world view. As a result, Optimistic Sizing is not only a classic debut album but a timeless one. "We like to think we know what we're talking about....believe us when we say, Objections are a band to watch" - Louder Than War

Celebrated techno producer, sound artist and one half of ORKA, Jens L. Thomsen announces groundbreaking EP ÆÐR, landing 15th December via Kervið. ÆÐR (meaning ‘vein’ in English) is a uniquely atmospheric two-track EP, exploring modernity and post-war freedom through a Faroese lens. Commissioned for Eysturoyartunnil, a 12km subsea tunnel - the largest of its kind - in Jens’ native Faroe Islands, a structural marvel with striking art that has both a voice and aesthetic identity of its own. The EP currently lives as a live audio installation, broadcast around the clock on FM radio for anyone travelling through the tunnel. This is the first time a soundscape has been permanently installed and broadcast via this kind of technical solution allowing the sound to become part of the experience of the space itself. As one half of revered techno duo, ORKA, twice nominated for the Nordic Council Music Prize, who recently released their sixth album, All At Once, and an integral part of Yann Tiersen’s live band, Thomsen has already made a significant impact in electronic music. ÆÐR is an expansion of his work as a composer, which includes several site-specific soundscapes, including NORD which was commissioned by the Southbank Centre and installed across the entire fifth floor of the Royal Festival Hall in London.
On ÆÐR, Thomsen brings his talent for one-of-a-kind environmental sonic experiences to a wider audience. A paean to human endeavour and the developmental history of humanity, the tunnel is at once progressive and ancient: a liminal setting where late-modern and pre-modern longings somehow seem to rub off on each other. These intersecting ideas are translated into a striking soundscape of dark drones, creeping frequencies, bleeping ambience, groaning masses of sound, and pulsating echoes from the hidden world beneath us. The underworld that we somehow are able to move through temporarily in our car under the sea, giving the tunnel and the islands a voice of their own, while exploring the parallels between the tunnel and Faroese society today.
This uniquely immersive and compelling work, previously existing only as a transitory experience for users of the Eysturoyartunnil, is now available on vinyl for the first time to be considered and enjoyed in all its fascinating detail. A thought-provoking and groundbreaking piece from one of Europe’s most exceptional composers and sound artists today

Reissued double vinyl album of first part of THIS IMMORTAL COIL's Coil homage in gatefold sleeve with new artwork! "Brilliantly versatile tribute album to British-based avant garde and experimental group, Coil." More than a tribute to cult dark ambient band COIL, This Immortal Coil is a project of re-interpretations by Ici d'Ailleurs' artists and more: Yael Naim, Bonnie Prince Billy, Matt Elliott, Yann Tiersen, DAUU, Christine Ott, Chapelier Fou, Sylvain Chauveau, Deadverse. Mixed by OKTOPUS of DÄLEK. Peter Christopherson himself immediately put it up for sale on the Coil website at the time, cherrishing the work as "The Most extra-ordinary, beautiful and moving re-interpretations of Coil I have ever heard." "On November 13th 2004, John Balance passed away, He was, along with Peter Christopherson, the founding member of the group Coil. His brutal death marked the end of over twenty years of activism and musical genius. I have then decided to work on a project that would pay tribute to them. I didn't want another compilation that would pile up pieces, without any link. My wish was to transpose this unique musical mood to another one, more classical and more accessible to everyone. The whole idea was to pay tribute to the music for what was beyond it, just the way COIL underlined it: « Coil is more than music »I got my inspiration from the project This Mortal Coil, started in the eighties by the English label 4AD. Its label manager had then grouped some of its own artists together in order to play some standards of rock and pop music. Most of those who participated in this work hardly knew COIL. My purpose wasn't to go towards those artists who had a conscious connection with the music of the group, let alone musicians who claimed to be the heirs to this seminal work.

Since his debut with the "Darling Darling Darling"track, immediately spotted by the media as well as by electronic music lovers, Louis Warynski has continued to evolve a world that belongs to him alone, over the last ten years and eight albums.Like Lewis Caroll's universe, Chapelier Fou's music is multiple, simple and complex, serious and light, classic and modern. Louis Warynski's work is woven on a classical basis, but it is constantly disrupted by subtle electronic arrangements and rhythms, thus taking the tracks outside of all convention.We find in Chapelier Fou the facetiousness of French composers such as Erik Satie, François de Roubaix or Robert Cohen Solal, not hesitating to blend pop and concrete music, but also this formidable capacity to make serious what is not serious, and vice versa of course. His music, very much at home on screen as well as on stage, has everything that makes up the trait of genius composers: accessible in appearance and adaptable in all forms. This is how Chapelier Fou has performed on stage as a soloist, juggling between violin, guitar, keyboards and pedals, in trio, quartet and even in orchestral formation with the Orchestre National of Metz. Often described as "electronic chamber music", it was expected that one day Chapelier Fou would offer us a version of his music without a single electronic or electrified part. It is now done with this Ensemb7e who performed on the stage of L'Arsenal de Metz, broadcasted by Arte Concert. Chapelier Fou Ensemb7e has received direct support from a wide audience, but also from venues programmers where the septet has been performing since June 2021. Ensemb7e stands for a mainly wooden septet: violin, viola, cello, piano, clarinet and drums accompany the multi-instrumentalist composer. It's hard to resist such musical enthusiasm! The magic happens immediately because the re-reading of these little jewels in pop format gives a touching and fulfilling dimension to Chapelier Fou's work: even more dreamy versions, sometimes more mischievous, but the richness of the classical instruments and the obvious pleasure of the musicians in interpreting them give a new life to all these titles that have filled us with wonder. It therefore seemed obvious to us after listening to his Ensemb7e concerts that there was more than a concert to be recorded, but a real album to offer. A studio album, but with the energy and vitality of a live one, produced with the care and generosity of Thomas Poli (who has collaborated with Dominique A, Yann Tiersen and many others).

We finally made it: BEWITH100LP! And what better way for a re-issue label to celebrate such a landmark catalogue number than to give it to a record of new music. We couldn’t resist when the artist is Official Be With Family Member Kenny Dickenson and when the music is his lovely, lovely score to French-Vietnamese artist Mai Hua's 2020 documentary film “Les Rivières”. If you enjoy the more minimal, intimate piano of the likes of Nils Frahm or John Carroll Kirby’s solo work, you’re certain to fall for this beautiful album.

Taking six years to make, Mai’s film explores what happened when she brought her dying grandmother to France, pulling together four generations of women from the same family. Kenny’s score accompanies all the pretty things, sad things, dirty, beautiful, happy, broken and reborn moments of these women’s experiences.

The whole score is built around delicate, sparkling piano motifs. At times they’re joined by cello and complemented with ambient chords and other flourishes. It’s a very particular palette that Kenny and Mai established early on, as Kenny explains: “We had agreed on a particular sonic aesthetic early on in the process - to use specific and relatively minimal instrumentation, reflecting the intimacy of the picture. So piano and cello were quite prominent in instructing a sense of space and immediacy. Until I had to get the junkyard percussion out… ”

When it comes to describing the end results, Kenny’s happy to wear his influences on his sleeve:

“When the director and I sat down for the creative meetings early in the process, we watched ‘Wolf Children’, a Japanese animation film by Mamoru Hosoda. The amazing soundtrack by Masakatsu Takagi was a launching point for me and thereafter I leaned into more modern classical composers - Reich, Sakamoto, Glass as well as Jon Hassell’s Fourth World output. Richard Reed Parry’s ‘Music for Heart and Breath’ was a good early touchstone for me and Mark Hollis’ sparse, considered and deliberate approach was a constant presence. Also labels like Ghostly, ASIP and the ubiquitous Erased Tapes should probably get a nod here too…”

We’d even suggest there’s the occasional Yann Tiersen moment in there too.

Out of sheer necessity the collaboration between Kenny and Mai continued beyond this initial creative direction. With Kenny speaking neither French nor Vietnamese, Mai acted as translator, a process that naturally lead to discussing the film beyond just what was being said in the footage. Mai herself explains just how successful this relationship felt to her: “Music plays a very important role in all my work, particularly in Les Rivières. I cried every time Kenny sent me a new composition. I felt understood in a way that words cannot describe. It was absolutely magical and I am so happy if this music can make your soul vibrate too.”

Kenny composed much of the music in London, at the same time that Mai was shooting and editing. As the film took shape and the music also evolved, another challenge presented itself when Kenny relocated to Los Angeles part way through, resulting in Arnulf Lindners beautiful cello taking on new shapes- multi sampled, played and manipulated by Kenny into new compositions.

What Kenny has put together for the film score release is definitely a “soundtrack LP”, with the music arranged to work as a proper album in its own right that should be listened to from start to finish. Indeed the album also includes a new piece “Pour Marthe” that Kenny composed in memory of Mai’s grandmother who died after the film was finished.

Kenny’s personal highlight is also ours: “When I listen back to the album as a whole now, I never want part II of the Trilogy (Belles Larmes) to end. I have fond memories of recording it and I love how the dynamic of the piece gradually evolves from falling on the ‘1 and the 3’ to the ‘1 and the 2’. It’s so short and sweet, I keep wanting it to last for longer. But it’s kind of perfect as it is.”

Pretty much our sentiment for the album as a whole.

Running a record label means we often get asked advice about pressing a record. In this case the music was too good not to offer to release it ourselves. To Kenny, having the Les Rivières score on vinyl also feels like the final part of the project.

“It’s a beautiful thing to have it on vinyl. It’s quite an intimate soundtrack so there’s something really perfect about being able to listen to it on that format. When I was a kid, my Uncle Pat who used to work at Woolworths would visit and bring random records from their record department over to us. I can remember listening to “Theme From Exodus” by Ernest Gold. I had no idea what it was about but the imagery it conjured up when listening to that record was just mind blowing to me at that age. Soundtracks can have their own life on vinyl I think, and removed from their original context is this unique format for reinvention. So I’m excited that people who haven’t (and have for that matter) seen the film can have that experience.”

This might not be a re-issue, but the Les Rivières film score album has still been given the full Be With treatment. The vinyl has been mastered by Simon Francis (under Kenny’s ever-watchful eye/ear, of course), cut by Pete Norman and pressed at Record Industry. The sleeve follows the film’s poster and other promotional material, including Lucile Gomez’s almost magical illustration.

We’re under no illusions that many people reading this will have seen “Les Rivières”, but that doesn’t really matter when it comes to listening to the score. Just on its own, Kenny’s music still captures the robustness and the delicacy of lives lived.

Ten years after its release, the reissue of this fabulous Matt Elliott record seemed essential to us since it was eagerly expected! It is undoubtedly the most dramatic sequel to the songs trilogy being outstanding for its darkness, from which he has progressively turned away. The Songs Trilogy is over, A new chapter entitled 'The Broken Man' is about to open and is the most delicate of Elliott's albums to date. The angry noise has all but abated, making way for more fragile melodies and a more subtle approach to intensity to immerse the listener. Ideally listened to in total darkness to discover the hope hidden deep within the guitars, voice, choirs, bells, ethereal trumpets, the howl of the dog beneath the skin, in the sincerity of the music. Inspired by the ghosts of European folk music, the voice often resigned but always expressive. Always finding new ways of working, Elliott collaborated with Katia Labeque who interpreted an improvisation of his that became the backbone of one of the central epic pieces on this album 'If Anyone Ever Tells Me That it is Better to Have Loved and Lost Than to Have Never Loved At All I Will Stab Them in the Face'. 'Dust Flesh and Bones', another of the epic pieces on this album, is perhaps Elliott's most beautiful and moving work to date, simple in it's form but emotionally profound. 'The Pain that's Yet to Come' hints at a new almost psychedelic era to come. 'The Broken Man' is an album to be discovered gradually over many listens, and with each one a new depth is surrendered until one can appreciate the panorama in it's entirety. Each track is an invitation to explore one mans analysis of his own descent reflecting the frustrations and sadness that touch us all at some point. Mixed by Yann Tiersen this album is a bridge between the more acoustic work of 'Songs' and the more electronic, ethereal work of Third Eye Foundation. It is finely balanced in the centre of Matt's musical universe.

FEATURING REWORKINGS BY YANN TIERSEN, BILL RYDER-JONES, MALIBU, ELUVIUM and
PETER GREGSON.
140g black vinyl with lacquers cut by Alchemy, printed inner sleeve, limited to 500 copies.
Michael Price has announced a new album, The Hope of Better Weather - part reissue, part reworks - due out onThe Control Room on 15 October 2021.
The new album takes his 2012 EP, The Hope of Better Weather, originally recorded by Price alone in a room with a
piano improvising, and brings it fully to life with the addition of a series of reworkings by Yann Tiersen, Bill
Ryder-Jones, Malibu, Peter Gregson and Eluvium.
He explains, “I wasn't trying to control what anybody else was doing. Everybody that joined in with the project gives
their own little piece of freedom. I was really interested in what freedom we all give ourselves, as well as being
fascinated to see what a little germ of an idea can mean to somebody else.”
Listen to Yann Tiersen’s rework of ‘The Anatomy of Clouds’: LINK
Listen to the original version of ‘The Anatomy of Clouds’: LINK
The five pieces, alongside these new reworkings capture a stark beauty, tenderness and delicacy in their tone. But
they are also wind-like in their shifting, expansive and elemental essence - capturing an exploration of the natural
world. “Nearly 10 years ago when I recorded these improvisations, I felt like I was missing the natural world - things
like the weather, the beach at Scarborough and all those kinds of visceral things.”
When Price revisited the work in recent months - at a time when many of us found ourselves more aware of the
natural world - he reconnected with it in a way that looks to connect with his next artistic steps. “You start off with
listening to 10 year old piano recordings and then you go through the reinterpretations of people looking at that
material now through their own lens. The fixation with weather, coastlines and with people connected with nature, is
really strong all the way through this project. Coming out the other side of it, it's kind of like a Northern weather feeling
- coming out with your collar turned up with a hat on, a bit drizzly and shit outside, but with a kind of determination
that is the route forward.”
Most musicians, if they are lucky, will master one craft or field within their career. For Michael Price, he’s managed
three, with his music spanning across piano, orchestral and soundtrack work. The soundtrack work - for TV shows
such as Sherlock, Dracula, and Unforgotten, and films such as Eternal Beauty, Cheerful Weather and Just Jim - has
seen Price win an Emmy, as well as receive countless nominations (including a BAFTA nomination). His work as a
solo artist takes the form of beautiful improvised piano works, such as Diary (2017), or via lush, grand, hyper-detailed
orchestral work, as heard on critically acclaimed releases via Erased Tapes such as Entanglement (2015) and Tender
Symmetry (2018). His latest release, The Hope of Better Weather, is rooted in the piano world but also exists as a
bridge crossing into new terrain..
The process of putting together the release has been an emboldening and liberating one for Price, and he finds
himself feeling buoyant about the possibilities of what lies ahead – which includes a new solo orchestral album. “It is
super freeing and liberating,” he says. “There's these little green shoots of a freedom emerging.”

180g schwarzes Vinyl, Cover auf 300g GC1 INSIDE/OUT, gefütterte Innenhülle, 2seitiges Insert, Downloadcode. Tony Conrads Konzept von Minimal Music als Maximalismus des Ausdrucks ist eine der Inspirationen für TRIALOGOS. Die Musik entsteht aus der Spannung zwischen den Beiträgen der drei Akteure Conny Ochs, Sicker Man und Kiki Bohemia, die aus unterschiedlichen musikalischen Subszenen stammen. Im Zusammenspiel ergeben sich so musikalische 'Trialoge'. Das Ergebnis sind kinematografische Klangflächen, die sowohl helle Interferenzen schaffen, als auch düstere, verzerrte Wirklichkeiten verbergen. Dabei wirken die Stücke des Debüt-Albums "Stroh zu Gold" hoch emotional. Sie sind das Ergebnis einer kollektiven Improvisation und Instant Composition, und eben keine Konstruktion. TRIALOGOS sind: Conny Ochs, Sicker Man and Kiki Bohemia. Conny Ochs ist längst fester Bestandteil der Exile-On-Mainstream-Familie. Zeugen sind seine Solo-Alben und natürlich die Kollaborationen mit Doom-Legende Scott "Wino" Weinrich. Tobias Vethake ist Multiinstrumentalist und Komponist. Als Komponist von Schauspiel- und Filmmusiken arbeitete er u.a. am Volkstheater Wien und dem Imperial War Museum London und schrieb Soundtracks u.a. für Muxmäuschenstill (D), Bye Bye Berlusconi (I) und Seance (US). Er ist auch Produzent und Co-Autor diverser internationaler Vero?ffentlichungen (z.B. Serengeti (US / Anticon), SchneiderTM (D / Editions Mego), Gregor Schwellenbach (D / Kompakt). Die Berliner Musikerin und Sängerin Kiki Bohemia produziert und veröffentlicht eigenes Material und kollaboriert mit internationalen Künstlern unterschiedlichster musikalischer Genres (z.B. Yann Tiersen, The Brian Jonestown Massacre, Blainbieter, The Crack-Up Collective). Echtzeitkompositionen, Live- Filmvertonungen, Musik fu?r Kunstinstallationen, Performances und Live-Ho?rspiele sind Zeugnisse ihrer Affinität zu experimentellen und aleatorischen Auffu?hrungsansa?tzen und Improvisation (u.a. Documenta Kassel 2012, Schauspielhaus Hamburg, Sophiensaele Berlin, Kater Holzig, Deutschlandradio Kultur).

The idea for the album came in summer 2020. At first I only played around on my piano for myself. More and more ideas came up and I started to take recordings. After producing electronic music for more than 20 years and publishing it under different names, the corona pandemic slowed life down. No more gigs, clubs closed, festivals
canceled. For me the chance to try new things and find a new way to make music.

Without the club context, I was free in my mind. Making music right out of myself was a liberating feeling. I could do what had been dormant in me for a long time. There were attempts now and then, but in the end I couldn't get rid of the feeling of always
doing techno. Nice too, but not everything for me.
Many inspirations of my music come from artists such as Nils Frahm, Ólafur Arnalds, Yann Tiersen, Martin Kohlstedt, Poppy Ackroyd and many others, as well as nature, forest and city noises. And often from the instruments themselves.

I switched my setup in the studio from the electronic to a minimalist instrument setup, just piano, double bass and a Moog synthesizer. I also like the background noise that comes from an instrument, like the hammers and dampers on the piano, the fingerboard and bow noises of the double bass. So I tried a lot of recording
techniques and microphones until I found the sound I was looking for.

After a few recordings, a number of pieces came together that went well together. I decided to finish it as an album. Some of them are one-takes with the associated imperfections, others are recorded and arranged layer by layer in the studio. I also used field recordings. A warm summer rain was the starting point for "Rain".
The album will be released in May 2021 as a limited vinyl edition and digitally on my newly founded label "Feldeffekt".

Oh Holy Molar is the second album from UK trio Felix. The group produces a bewitching, minimal chamber pop that works as the perfect framework for singer/songwriter Lucinda Chua's oblique and emotionally immediate stories of superstition and searching for protection against bad omens.
*As a follow up to their debut You Are The One I Pick, the band return with a collection of songs with a sound stripped back to its very core. Something is said to have "teeth" when it has the ability to make an impact. This record certainly has "teeth", and sharp ones at that.
*" The album was recorded in a vast, spooky 1940s cinema in Nottingham, England, now converted into a studio. After recording was completed the band discovered that underneath the live room lay an abandoned Dental Laboratory. "Oh Holy Molar" indeed.
*" Since the release of the rst Felix album, pianist/vocalist Lucinda Chua, also an accomplished photographer, has been working on a number of projects, most recently with Wallpaper* in Detroit. Guitarist Chris Summerlin has been recording and touring with his new band Kogumaza. The group is completed with the recent addition of drummer Neil Turpin who, when not performing with Felix, can also be found touring the world with French composer Yann Tiersen.
press quotes for You Are the One I Pick
'It's a gateway into another headspace, one aglow with uncertain magic. As statements of romantic intent go, 'Death To Everyone But Us' must represent either the most  straightforward, honest distillation of the love song, or the creepiest.' BBC
'In Felix's world, everyday mundanities give rise to furtive explorations of human interaction and ineptitude in a manner as oppressive as it is oddly and honestly addictive.' Drowned in Sound
'The duo keep things refreshingly simple, with single strands of piano, guitar, and cello in quiet symmetry, leaving the listener ample room to savor Felix's knotty, enigmatic songcraft.' Pitchfork
'There is mystery and elegance in the marrow of this music, and I imagine this record will prove to stand the test of time, reserved to be pulled out for the perfect accompaniment to just the right brooding but whimsical mood.' Delusions of Adequacy
track list:
1.The Bells 2. Sunday Night 3. Oh Thee 73 4. Don't Look Back (It's Too Sad) 5. Hate Song 6.Oh Holy Molar 7. Blessing Part I 8. Blessing Part II 9. Rites 10. Who Will Pity the Poor Fool 11. Pretty Girls 12. Practising Magic 13. Little Biscuit