Buscar:french phil

100% Analogue 33RPM 180g 1LP
Remastered from the Original Analogue Stereo Masters for the First Time!

Hear this album as it was meant to be heard! Absolutely Stunning!
The greatest assembly of musical talent ever on one album! Features Performances by John Coltrane, Miles Davis, Bill Evans, Ben Webster & 27 More Jazz Greats!



In 1958, a young, successful French composer-arranger with a major infatuation on American jazz, worked his way to New York and convinced the very best players of the time to record an album of largely jazz standards. Michel Legrand would go on to win numerous prizes and accolades (3 Oscars, 5 Grammies, 2 Palmes D'or, etc.), but little of what followed matched the sheer brilliance of Legrand Jazz.

Miles Davis, John Coltrane, Bill Evans, Ben Webster, Phil Woods and practically every other session man in town signed up for sessions with Legrand to record his idiosyncratic arrangements of standards ("Django", "Don’t Get Around Much Anymore", "Night in Tunisia", etc.). Instead of regurgitating then current bop styles, he reinvented the very nature of orchestral jazz band repertoire to make a unique and forward-looking statement on the genre.

The sound of Impex's all-analogue LP preserves the wide soundstage of late 50’s Columbia recordings while creating intimate spaces between players on the stage for maximum definition. This rare, highly-praised recording has never sounded as good as it does now. Go big with Legrand Jazz.

Legrand Jazz was greeted by an enthusiastic review in the magazine Down Beat. Dom Cerulli awarded it five stars out of a possible five.

The meticulously recreated outer jacket is packaged in a gatefold with an original photo montage inside honoring Michel Legrand's masterpiece of reinvention and sublime fan-boy enthusiasm.

"The music is luscious and this just may be one of the best-sounding records you'll ever hear." - Ken Kessler, Hi Fi News, Rated 95/100 Sound Quality!

Wewantsounds is delighted to present one of Ennio Morricone's best and least known soundtracks for the 1971 cult French crime film 'Sans Mobile Apparent' directed by Philippe Labro. This superb soundtrack featuring Morricone's classic sound has never been widely available on vinyl save for a small limited edition released under the film's italian title. The set has been remastered from the original tapes with lacquer cut by Frederic Alstadt (Mont Analogue) and gatefold sleeve designed by Eric Adrian Lee. Last but not least Philippe Labro himself has shared his experience in an exclusive interview with Jeremy Allen, discussing the making of the film, working with the Maestro (at only 34 years old) and his amazing career crossing path with Jean Luc Godard, Serge Gainsbourg and Jean-Pierre Melville.

Klaus Mäkelä brings the Orchestre de Paris to Decca Classics for a major new album of Stravinsky’s most iconic ballet scores. The album represents Mäkelä’s first recording with his French orchestra, which will be followed by a further Ballet Russes release in 2024 featuring Stravinsky’s Petrushka and Debussy’s Jeux and L’Apres midi d’une faune. Klaus Mäkelä has electrified the musicians and audiences of the Orchestre de Paris since the start of his Music Directorship in September 2021. One of the major projects of his second season at the Philharmonie de Paris was a traversal of Stravinsky’s pivotal ballet scores The Firebird and The Rite of Spring that proved anything but routine. The performances captured live on Decca’s new release carry the combination of intensity, intelligence and authority on which the young conductor is building his extraordinary career.

Green Vinyl

For its fifth release, french label The Bass Academy goes back into time!!! Originally written by legendary Man Parrish, "Boogie Down Bronx", a cult classic from 1984, sees a mighty resurrection with a "fresh mix" rework from UK Electro veteran Bass Junkie. Not the first time Phil Klein (Battle Trax, Breakin' Records) remixes Man Parrish as he committed in 2002 the heavy “Bass Junkie's Boogie Down Bass Mix” of “Hip Hop Re Bop”. Today, he serves up an uncompromising electro funk mayhem made of old schoolish samples, vintage synth melodies, retro congas, relentless scratches and pounding 808 beats. This brand new Sci-Fi anthem, enhanced with the legitimate legacy from the past, will invite you for some irresistible B-Boy breakdancing movements on the linoleum!!! Tuuuuuunnne! On the flipside, Phil teams up once again with long time partner in crime Simon “The Dexorcist” Brown. Together, as Gods Of Technology, (Battle Trax), they revisit another untouchable song, “Future Computer”, an exclusive to TBA track written by Jamie Jupitor and published in 2017 (TBA02). Metallic sororities melt with nasty vocoder sequences and imparable whispers turn the cut into an ode to the dancefloor thanks to harsh and hammering beats. What a timeless monster in pure West Coast tradition! With abrasive outings to appear on the forthcoming months including an incredible album with Matt Whitehead on Dominance Electricity, Phil Klein definitively returns to studios stronger than ever, putting a end to a short blackout. Rush in this hypnotizing collector 12”, limited as usual to 150 copies as it marks one of Phil Klein’s best releases to date!

Stoned Part II is Lewis Taylor's pure, perfect dance-pop album. His second self-released album and fourth album proper, it initially appeared on his own label Slow Reality in 2004. It's been licensed to Be With for this long-awaited double LP release, its first ever vinyl edition. Gravely misunderstood at the time by hardcore fans and the music press alike, it has aged quite magnificently. An experiment in the sounds of contemporary pop and dance music, Lewis's wonky take on funky pop would annihilate anything kicking around the charts, then or now. If only it were given half a chance.

Stoned Part II is brimming with Lewis's trademark soul, his singing as beautiful as ever, but the rhythms throughout are more upbeat, the overall sound a more smooth and slicker dance-funk presentation. Roughly half the tracks are absolutely essential, fascinating re-workings of tracks from the eternal Stoned Part 1, as Lewis explains: "When we were doing Stoned we were trying different approaches with everything so we ended up with more than one version of nearly all the songs which left us with more than an album's worth of material. There was a lot of really cool house tunes around at the time which we were both really into and that shaped the sound and production, some songs more directly than others." Amen to that.

The swoonsome, string-drenched opener "Madman" is quite the departure, a bleepy, bumping soulful disco-house record with a bassline to die for. Is there anything he can't do? It's followed by another huge dancefloor stomper, "Keep Right On" again riding another killer bassline over funky drums and featuring Lewis's dazzling vocals. There's no let-up with the sparkling "Reconsider" which sounds an awful lot like Daft Punk meets Nile Rodgers (prescient as ever, our Lewis). The wide-eyed French filtered house vibe is to the fore here, and how this wasn't picked up by someone like Kylie and taken wholesale to the top of the charts is something we'll never understand.

Opening the B-Side, "When Will I Ever Learn 2" really slaps, presenting a breezier, more upbeat funk take on the brilliant original and incorporating "From The Day We Met" from Stoned Part I. "Out Of My Head Is The Way I Feel" is absolutely fantastic and one of Lewis's very best songs. The vocals, self-harmonising and virtuoso playing are next level. To close out the side, "Carried Away" is a real standout, Lewis's gorgeous falsetto riding a quasi D&B groove to begin with before adorning a more classically funky 2-step rhythm. The marriage of undulating synths and guitars is stunning, giving way to Lewis indulging his goosebump-inducing Brian Wilson harmonies.

The funky, Rhythm King drum machine soul of "Stoned Part 2" refashions the original in the style of an unearthed Sly Stone classic, circa There's A Riot Going On. Yes, it's that good. On we then glide to "Positively Beautiful 2" which, if it's even possible, manages to be better than the original. The epic, orchestral opening truly captivates before Lewis truly gets down with kaleidoscopic dancefloor-slaying Philly soul-funk. It's surely tracks like this which help explain why he was soon to be tapped up by Dangermouse and Cee-Lo for the musical director role with Gnarls Barkley. "Throw Me A Line" closes out the side

"Shame 2" is a blissful, restrained version of the massive original, without the crazy psych-soul wig-out. Definitely more radio-friendly, that's for sure. The gorgeous mellow vibe continues with "Won't Fade Away", featuring more Beach Boys harmonies over a barely-there pulse (a version of which later pops up in an altered state on The Lost Album). The album bows out with - you guessed it - a psych-soul wig-out! "Keep On Keeping On", a real highlight, opens with looped sampled drums a la Massive Attack and Lewis's multi-layered self-harmonising again very much high in the mix. It amps up gradually to feature vocals dripping with tune and bite before screaming guitars and crashing drums really blast this whole set into the stratosphere.

Simon Francis’s vinyl mastering, approved by Lewis himself, presents the twelve tracks over a double LP so it sounds exactly as it should. The records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Allow Lewis Taylor to get you Stoned, Part II.

Damian Lazarus’ Secret Teachings imprint welcomes a unique project from Malian and French pairing Siraba, unveiling their debut single ‘Ngana Fôlly’ alongside remixes from Philou Louzolo and Peaking Lights. Meaning ‘The Great Path’ in Bambara, Siraba - the duo consisting of Malian hunter Boubacar Samake and Damien Vandesande, one half of French electronic band dOP - are on a path of bringing the traditional sound of the Wassoulou to the world. They met in 2003 when Damien visited Mali to work with local artists and met Boubacar’s father - the legendary Sibiri Samake. Working together on multiple occasions, the two promised to work with one another and Boubacar on a project one day, and 17 years later, the two connected to begin to develop their unique sound and showcase their shared universe.

Inspired by the music of the master hunters from across Mali, the ‘Dozo’, the project transmits values based on justice and righteousness, love and respect for others, moral and spiritual rectitude and protection for everyone. Debuting on Damian Lazarus’ Secret Teachings imprint, an outlet for the Crosstown Rebels boss to delve deeper into musical realms outside of the norm and away from the dance floor, the pair will release their debut album in September, with a series of live performances set to be announced. Their first single arrives in early June with ‘Ngana Fôlly’

A spiritual and hypnotic production rooted within Dozo musical tradition, featuring Boubacar playing the Ngoni while singing in Bambara, ‘Ngana Fôlly’ is a resonant and rich production combining organic textures with warping synths, rich bass and sweeping electronics, capturing the magical essence of Mali across a fascinating journey. Providing the first remix on the package, Dutch DJ/producer and DJ Mag ‘Artist To Watch for 2023’ Philou Louzolo harnesses Boubacar’s vocal and places it at the heart of his soaring remix as stripped-back percussion and a commanding low-ends guide sweeping synths, before handing over to San Francisco husband-and-wife pairing and Dekmantel signees Peaking Lights who tip things down a bright and blissful rabbit hole of soundscapes as vibrant guitar riffs and twisting leads work amongst off-kilter melodies and acid flecked tones for an eight-minute trip.

"Release of 4 LP Set LIVE – London Roundhouse 11th June INDOCHINE has been part of the History of France for the past 40 years: from 1981 and the election iconic French president François Mitterrand, to this exceptional stadium tour. 6 shows 417,799 spectators ""Central Tour"" the first concert in the world filmed live for IMAX: No. 1 at the box office in 477 theaters (the biggest musical event ever broadcast in France). Concert recorded at the Groupama Stadium in Lyon on June 25, 2022 GUESTS: Christine and the Queens, Philippe Jaroussky,Lou Sirkis,Dimitri Bodiansky,La Musique de la Garde Républicaine Promo: Features London Macadam, Le Petit Journal
Live Reviews:, R2 , London Macadam, London Standard,Record Collector, Frontview, Rock n Load. Format; 4LP"

French producer, DJ and Recit De Voyage label owner Molly joins the roster of Philipp Priebe’s Stólar imprint this June with her ‘On The Road Again’ EP, accompanied by remixes from Dial co-founder Lawrence and Dial artist Soela.

After a bit of down-time, Spacetalk Records returns with something special: a stunning compilation of obscurities, rare cuts and secret weapons compiled by label co-founder Danny McLewin under his Skyrager alias.

Although most widely known as one half of Psychemagik, McLewin has long been regarded as one of the UK’s most decorated crate-diggers – a DJ and record dealer recognised for his ability to unearth slept-on gems, private press obscurities and campfire-friendly curios. He’s already showcased his curatorial skills on a string of acclaimed and now sought-after comps – see Psychemagik’s Magik Cyrkles, Magik Sunrise and Magik Sunset Pt 1 & 2 – but Traces of Illusion marks the first time McLewin has put together a collection as Skyrager.

There’s no grand concept behind Traces of Illusion, though McLewin’s selections are universally tactile, sun-baked and effortlessly summery, evoking images of nights spent camped out in the Californian desert or beneath the vibrant canopy of an English forest at dusk. As you’d expect, there are no well-known anthems or ‘big tunes’ here, just an inspired selection of largely unknown musical nuggets oozing in quality.

For now, the track list is under wraps but you can be sure there are plenty of highlights to savour amongst the 15 tracks which all add up to an eye-opening, head-soothing journey through the dustiest corners of McLewin’s record collection.

Some gorgeous soulful boogie tracks right here!! The French Philippe Lecauchois, better known as "Phil Boogie Times" and Claudio Casalini, the factotum of the Italian label Best Record, teamed up with the intention of carrying on their identical passion, being devoted to Boogie, Funk, Soul and " Old School Disco". There couldn't have been a better choice to start this conjunction of passions and sharing of ideals: the first 12inch, produced by Darryl Payne in 1983, sees two precious gems such as "What's the Deal" b/w "Have You for My Love" by the charming ex Salsoul artist, Carol Williams (BTBS-12001). The other reissue of Phil and Claudio is 1984's "Come Back Lover" masterfully sung and arranged by Carl Smith (BTBS-12002). Listening to these splendid 40-year-old productions again will do good to the hearts of all the followers and fans of true soul music made in the USA. Coming on a limited vinyl edition!

Proper boogie action by Carl Smith! The French Philippe Lecauchois, better known as "Phil Boogie Times" and Claudio Casalini, the factotum of the Italian label Best Record, have teamed up with the intention of carrying on their identical passion, being devoted to Boogie, Funk, Soul, and " Old School Disco". There couldn't have been a better choice to start this conjunction of passions and sharing of ideals: the first 12iinch, produced by Darryl Payne in 1983, sees two precious gems such as "What's the Deal" b/w "Have You for My Love" by the charming ex Salsoul artist, Carol Williams (BTBS-12001). The other reissue of Phil and Claudio is 1984's "Come Back Lover" masterfully sung and arranged by Carl Smith (BTBS-12002). Listening to these splendid 40-year-old productions again will do good to the hearts of all the followers and fans of true soul music made in the USA. Must have vinyl edition of this gem!

Kristian Matsson has never remained in one place for very long. Having spent much of the last decade touring around the world as The Tallest Man on Earth, Matsson has captivated audiences using, as The New York Times describes, “every inch of his long guitar cord to
roam the stage: darting around, crouching, stretching, hip-twitching, perching briefly and jittering away…Mr. Matsson is a guitar-slinger rooted in folk, and his songs are troubadour ballads at heart.”

Now, Matsson returns as The Tallest Man on Earth with Henry St., his sixth studio album following 2012’s There’s No Leaving Now, full of “vivid imagery, clever turns-of-phrase, and devastating, world-weary observations” (Under The Radar) and 2015’s Dark Bird Is A
Home, his “most personal record… surreal and dreamlike” (Pitchfork). Henry St. notably marks the first time he recorded an album in a band setting. “My entire career I’ve been a DIY person––mostly fueled by the feeling that I didn’t know what I was doing, so I’d just do everything myself.”

But now, longing for the energy that’s only released when creating
together with others, Matsson invited his friends to come and play.
Nick Sanborn (of Sylvan Esso) produced Henry St., which includes contributions from Ryan Gustafson (of The Dead Tongues) on guitar, lap steel and ukulele, TJ Maiani on drums, CJ Camerieri (of Bon Iver) on trumpet and French horn, Phil Cook on piano and organ, Rob
Moose (of Bon Iver, yMusic) on strings and Adam Schatz on saxophone.

Kristian Matsson has never remained in one place for very long. Having spent much of the last decade touring around the world as The Tallest Man on Earth, Matsson has captivated audiences using, as The New York Times describes, “every inch of his long guitar cord to
roam the stage: darting around, crouching, stretching, hip-twitching, perching briefly and jittering away…Mr. Matsson is a guitar-slinger rooted in folk, and his songs are troubadour ballads at heart.”

Now, Matsson returns as The Tallest Man on Earth with Henry St., his sixth studio album following 2012’s There’s No Leaving Now, full of “vivid imagery, clever turns-of-phrase, and devastating, world-weary observations” (Under The Radar) and 2015’s Dark Bird Is A
Home, his “most personal record… surreal and dreamlike” (Pitchfork). Henry St. notably marks the first time he recorded an album in a band setting. “My entire career I’ve been a DIY person––mostly fueled by the feeling that I didn’t know what I was doing, so I’d just do everything myself.”

But now, longing for the energy that’s only released when creating
together with others, Matsson invited his friends to come and play.
Nick Sanborn (of Sylvan Esso) produced Henry St., which includes contributions from Ryan Gustafson (of The Dead Tongues) on guitar, lap steel and ukulele, TJ Maiani on drums, CJ Camerieri (of Bon Iver) on trumpet and French horn, Phil Cook on piano and organ, Rob
Moose (of Bon Iver, yMusic) on strings and Adam Schatz on saxophone.

The fifth release on Canopy continues to up the ante and expand on the tropical Techni-colour palette already set out by the label.

Alafia was a studio project from the mid 80s in Paris. Masterminded and written by musical maverick Phil Han Mandounou and bringing together musicians from Benin, Cameroon and the French Antilles. The project is a superbly orchestrated and expertly delivered exploration of funk and afro off-beats with 80s synth leanings. Precise musicianship and forward leaning afro synth funk wizardry. Dextrous, extrovert, playful and masterful.

A1. Alafia – Assanssan (Original Mix) (33rpm)
Uplifting vocals are set against shimmering guitars and punctuated by triumphant horns. Growling and bouncing synth bass is underpinned by tight digital drums. Assanssan defies categorisation while encapsulating many vibrant genres and motifs. “A proper mind melting hybrid tropical beast of a tune”!
“Assanssan” refers to a type of quilted fabric popular in West Africa and is a metaphor for togetherness and blending cultures harmoniously. “
Assanssan hé hé hé, come and sing along, Assanssan hé hé hé, come and dance along.”

A2. Alafia – Assiove (Original Mix) (33rpm)
A powerful afro funk groove built around punchy off-beat digital drums and tightly syncopated guitar and bass-lines, augmented by searing synth arrangements and positive vocal passages. Assiove is a highly successful fusion of western and African influences.

B1. Alafia – Assanssan (Bosq Remix) (45rpm)
Bosq, the man with Midas touch, takes Assanssan and pours gasoline on the already raging flames, setting the whole funky situation alight! Swapping out the bass groove for an insistent and pulsing funk, he switches the track into overdrive while the original passages shine sublimely under his benediction.

With French Connection, discover rare tracks of Funk, Soul and Jazz made in France. 23 avant-garde nuggets from the 60"s and 70"s gathered in a nice double vinyl! With: Cortex, Janko Nilovic, Godchild, Francis Lai, Bernard Estardy, Philippe Sarde, Edition Spéciale, Bruno Leys, Jean-Claude Petit, Serge Gainsbourg...

Death and Vanilla return with 'Flicker', presenting their unique pop music that defies categorisation. Housed in a beautifully austere post-ironic de-constructed sleeve; 'Flicker' is a modern reflection on these difficult times. World crises notwithstanding, they return reborn, re-arranged and revitalised after assimilating dub reggae, the motorik spirals of Can, the modal meander of Philip Glass and The Cure's dreamier pop sounds; plus the twice removed symphonic ambience of Spiritualized and Talking Heads under heavy manners from Brian Eno. By osmosis their period of transition since 2019's much darker 'Are You A Dreamer?' has hatched new eclectic electronica anthems riddled with melody lines, and layered for lush love. - Forming in Malmö, Sweden, Death And Vanilla gravitated towards vintage musical equipment; from vibraphone, organ and mellotron, to tremolo guitar and Moog synthesisers. Soaking up soundtracks from the 60s and 70s, listening to library music, kosmiche, French Ye-ye pop and 60s psych, Marleen Nilsson, Anders Hansson and Magnus Bodin were fashioned by the city's austere industrial past and flat pack present, and all in the shadow of the Orsesund Bridge that links their dreamworld to mainland Europe and a darker reality. Death And Vanilla at once sound like everything is possible; but nothing else at all. There is a flicker of hope for everyone. - "Deploying vintage instruments in their quest for melancholic utopia." Electronic Sound * "Baroque pop through a dreampop filter." The Guardian Ltd Indie Retail Only Yellow Vinyl LP including DLC!

Rare Groove Collection Explore the fusion of world music with soul, funk and disco through the Rare Groove Collection. With this new volume, discover unique groove tracks straight from Jamaica! Fully remastered original versions French RARE GROOVE This "French Rare Groove" volume offers us a oneâÇ`way ticket to France from the late 60"s to the early 80"s. From confidential releases to forgotten movie soundtracks, discover the grooviest tracks from the french scene. Have a good trip!

Like a US house producers' version of the fabled grime MC battle competition 'Lord of the Mics', Brawther and Chez Damier came up with the idea of a producer contest to bring together the members of the Interweaved community, with the winners of the first round of submissions sharing their stems with the rest of the community, inviting remixes.
French born Roy Vision received the most votes in the online poll for his track '4 One Another' - a house bomb full of sub-bass pressure, craftily employed vocals and deft drum programming. The original is featured here, alongside mixes from Australian underground hero Marley Sherman, who took the trophy for his uplifting remix. London Based DJ Rouge, meanwhile hails from Ireland but loves original Italian deep house of yesteryear, and his offering was the second most voted work and is included here, slower and more wistful but still chunky in the beats department, with Dunique's spoken word part adding a quietly philosophical dimension to both the original and chirpy, cheery sounding mix from Montreal wonderkid South Shore Garage.

In his youth days, Gontran lived on the road. He describes himself as a member of the alternative hippie generation, not of those who claimed wanted to change the world, but of those who actually took an alternate way of living. He travelled, took any jobs available to make some money to live wherever he was, and wrote beautiful songs accompaining himself on guitar. From time to time, when the stars aligned, when there was the chance, he would rent some studio time and lay down his compositions, always in a pretty bare way with little arrangements added on the spot, mostly by musicians who happened to be there and who improvised their parts - one take, we have it. With this procedure he released Funambule in 1975 and L'envol in 1977. He also worked with Dominique Le Roux on a joint venture LP in 1979.



On offer here is the first ever vinyl reissue of Gontran's second album L'envol, recorded in two hours on a Paris studio with a bass player (F.D. Aldonse) and two female vocalists whose surnames have been lost in the depths of time - Victorine and Theodorine. As the other Gontran albums, it was self released in a limited run private pressing which has nowadays become an elusive piece in the collectors market - so rare that it doesn't even appear on Phileas Folk's great The French Folk Magic Time Guide book.



The beautiful music contained within is a delightful sample of Gontran's excellent singer-songwriter qualities and his commitment to portray his inner world and livings through his musicated poems. He names as his biggest influences big names like Leonard Cohen, who he had the chance to meet and chat with when in Mumbai back in 1999, Bob Dylan or Jack Kerouak, but Gontran was centered in his vivences and commited to his need to express himself that he really doesn't sound like anyone but Gontran.



Amazing homemade folk sounds from an artist who, ironically, was always traveling abroad and stayed little at home!



A very rare private pressing, recently featured in Hans Pokora's last Record Collector Dreams book, valuing an original copy with 4 stars!

Solaire, Siegfried Kessler, that is the least we can say! Aged 4: learns piano. Aged 6: his first concert. After this: studies classical music like everyone else... until the jazz of Jack Diéval and Stan Kenton turned everything upside down. So it was goodbye to Bach...

...And hello to Dexter Gordon, Joe Henderson, Ted Curson and Archie Shepp (who he would accompany over a long period). In 1969, with Yochk’o Seffer, Didier Levallet and Jean-My Truong, he formed a group which would mark history and create a sensation: Perception. If French free jazz exists, its thanks to Kessler (and company).

The following year, the pianist recorded his first album: Live at the Gill’s Club. On this one-night concert date can also be heard Barre Phillips and Steve McCall. But it was in 1971 that Kessler would record his greatest album; still in a trio setting, but this time with bassist Gus Nemeth and percussionist Stu Martin: Solaire. Five tracks of extraordinary music, moving back and forth between modal jazz and contemporary music.

Let’s begin at the end, with the title track Solaire, on which Kessler plays a melody on flute and piano which resists all onslaughts. It sends out powerful waves, Kessler’s jazz, bubbling like hot oil (Persécution, Drum), shaking modal jazz to its roots (De l’Orient à Orion) or upsetting the memory of a cantata (Bach Hcab). The piano is an instrument which can provide a tendency towards, demonstrative technique; with Kessler, it is something else: a joyful persecution!

It is recognized today that these tutelary pieces for four pianos are among the most powerful in contemporary music,their impact is almost unparalleled. After the historical version recorded forty years ago, this one, featuring four of the greatest European performers, is now regaining its full power. High level recordings too.

There was some for John Cage, then came Christian Wolff, and finally Morton Feldman, from this school in New York. Only Julius Eastman remained outside the game, the last figure, the most solitary and enigmatic - undoubtedly also one of the most powerful, and it is this power that is revealed through these recordings. In the 1970s and 1980s, Eastman was one of the very few African-Americans to gain recognition in the New York avant-garde music scene. He was politically committed, a figure of queer culture and a solar and solitary poet whose melancholy influenced his genius as well as his tragic destiny : suffering from various addictions, declared missing, actually homeless. During Winter of 1981-82, he got deported from his apartment by the police, who destroyed most of what he owned - including scores and recordings. He was found dead in 1990, on the streets of Buffalo, after years of vagrancy.

The Performers Nicolas Horvath, pianist and electroacoustic composer Nicolas Horvath is known for his boundariesless musical explorations - he has collaborated with leading contemporary composers from around the world, including Alvin Lucier, Alvin Curran and Valentyn Silvestrov - the recordings of his complete works for piano by Phil Glass made a lasting impression. He has collaborated recently with Lustmord on the Deconstruction of November by Dennis Johnson (Sub Rosa SR502: The Fall).

Melaine Dalibert, a French composer and pianist, fascinated by natural phenomena which are both expected and unpredictable, Dalibert has developed his own algorithmic procedures of composition which contain the notion of stretched time evoking Morton Feldman, minimal and introspective, adopting a unique concept of fractal series.

Stephane Ginsburgh, a tireless surveyor of the repertoire but also explorer of new music, collaborated with composers such as Philippe Boesmans, Jean-Luc Fafchamps, Stefan Prins, Frederic Rzewski and Matthew Shlomowitz of whom he premiered works, as well as with choreographers such as Anne Teresa De Keersmaeker (Rosas) and recorded Feldman, Duchamp and Satie for Sub Rosa and the complete set of Prokofiev piano sonatas for Cypres. Wilhem Latchoumia, he embraces both new music and the classical repertoire with success and charisma. His two last recordings for La Dolce Volta (Prokofiev and de Falla) have been highly acclaimed by critics with a FFFF in Télérama. Winner of the Hewlett-Packard Foundation and the Montsalvatge International Piano Competition, he brilliantly won the First Prize in the 2006 Orléans International Piano Competition.

green vinyl / printed sleeve / 180 grams
Hadone's nine-track LP shares a first glimpse of his immersive 'Things We Never Did' concept.

November 2022 sees the inception of not only Hadone's first ever feature LP but also his artistically driven and expansive label project 'Things We Never Did'. Marking the first release on the imprint, 'What I Was Running From' spans nine individually unique records, including a special collaboration with friend and fellow French producer Askkin. One of the standout breaks tracks on the LP, it was the first track they made together.

A culmination of all things influential in modern underground techno, blending 4x4 raw techno tracks with more spirited melodic pieces, Hadone's debut LP is a telling celebration of several immersive sub-genres combined with his renowned sonic despondency. The result: a careful balance of richly electronic emotional cuts and racy industrialised techno with a gritty minimalist feel. "Not only the music is destined to evolve, but the whole environment that goes with it will be rethought on a recurring basis" adds Jeremy.

Title track 'What I Was Running From' was made after he finally found inspiration after the pandemic and was written in an hour. "I think my best tracks are made fast, as they don't reply in any intention but feelings only, therefore they are natural and reflect my true style" adds Jeremy.

Its fast paced bassline and jittery stabs, give the track a choppy break beat influenced vibe opening the album with true intent. 'What I Was Running from' offers a transcendental eye through the looking glass at a project that incorporates music, a digital interactive universe, a fashion collaboration with precocious
Parisian footwear brand Phileo. A creative collaboration which has resulted in a limited collection of 2 styles, available on both TWND's digital universe and Phileo direct.

For the 1st year designs, graphism by Raphael Clerget "leverages the power of art to underline the importance of saving our relation to time and improve focus." Raphael brings his vision of complexity and darkness through refined aesthetics carried out for the digital universe, label and merchandise.

French pianist Vanessa Wagner collects solo piano studies of graceful minimalism and rare finesse for new album Mirrored.

Quickly following March 2022’s Study of the Invisible album, Vanessa Wagner returns with a new collection of work that paints in many colours. The application of shadow in Mirrored evokes haunting poignancy; the care and delicateness of its negative space leaves room for undulating melodic motifs to ebb and flow; its bold splashes of luminescence are striking and rich. And while the album collates re-interpretations of works by composers as varied as Philip Glass, Nico Muhly, Moondog, Leo Ferré and Camille Pepin, the potency and effect of the collection as a whole reflects only Vanessa Wagner and the extraordinary breadth of her abilities.

Performing solo, exposed to timbre, tempo and clarity, many of the pieces here - such as “Sea Horses” by (Vanessa’s one-time mentor) Moondog or Philip Glass’ “Etude 4” - demand virtuosic abilities as a performer and interpreter. But in Vanessa Wagner’s hands, they are not only made her own, but made mesmeric and magical by the sensitivity of her touch.

100% Analogue 33RPM 180g 1LP
Remastered from the Original Analogue Stereo Masters for the First Time!

Hear this album as it was meant to be heard! Absolutely Stunning!
The greatest assembly of musical talent ever on one album! Features Performances by John Coltrane, Miles Davis, Bill Evans, Ben Webster & 27 More Jazz Greats!



In 1958, a young, successful French composer-arranger with a major infatuation on American jazz, worked his way to New York and convinced the very best players of the time to record an album of largely jazz standards. Michel Legrand would go on to win numerous prizes and accolades (3 Oscars, 5 Grammies, 2 Palmes D'or, etc.), but little of what followed matched the sheer brilliance of Legrand Jazz.

Miles Davis, John Coltrane, Bill Evans, Ben Webster, Phil Woods and practically every other session man in town signed up for sessions with Legrand to record his idiosyncratic arrangements of standards ("Django", "Don’t Get Around Much Anymore", "Night in Tunisia", etc.). Instead of regurgitating then current bop styles, he reinvented the very nature of orchestral jazz band repertoire to make a unique and forward-looking statement on the genre.

The sound of Impex's all-analogue LP preserves the wide soundstage of late 50’s Columbia recordings while creating intimate spaces between players on the stage for maximum definition. This rare, highly-praised recording has never sounded as good as it does now. Go big with Legrand Jazz.

Legrand Jazz was greeted by an enthusiastic review in the magazine Down Beat. Dom Cerulli awarded it five stars out of a possible five.

The meticulously recreated outer jacket is packaged in a gatefold with an original photo montage inside honoring Michel Legrand's masterpiece of reinvention and sublime fan-boy enthusiasm.

"The music is luscious and this just may be one of the best-sounding records you'll ever hear." - Ken Kessler, Hi Fi News, Rated 95/100 Sound Quality!

This album, recorded live after the release of Bertrand Burgalat's first album (The Sssound of Mmmusic, 2000), is a unique testimony of a passionate encounter, of explosive concerts and an exceptional musical adventure, a mixture of soulful rhythms, oniric keyboards and songs with chiseled lyrics and harmonies.

Out of stock on vinyl for decades, it will be reissued and published in December 2022, with a text by Philippe Manœuvre. 21 years after its first publication, it has not aged a bit. It includes tribute covers ("Follow Me" by Amanda Lear, "Tears Of A Clown" by Smokey Robinson), and a version of "Easy Tiger", recorded at the same time for Depeche Mode.

"This album brings back the great psychedelic concerts that Bertrand gave at the time. For me, Aux Cyclades électronique is in the running for the title of most beautiful song in the world, I haven't changed my mind."
Philippe Manoeuvre, excerpt from the innersleeve note, April 2022

"A.S Dragon is arguably the best French rock band of today. Nearly an hour of psyche-magnetic madness, the spectacular collision of a Gainsbourg theorist playing his melodies to a Jefferson Airplane from Clignancourt charged with pushing all galactic limits."
Philippe Manoeuvre, Rock & Folk, October 2001

"Bertrand Burgalat meets A.S Dragon could satisfy both French Touch fans and Rock'n'Roll purists. It sounds like the resurrection of a sixties garage rock band, somewhere between Detroit and Combs-la-ville. Burgalat for charity."
Philippe Barbot, Télérama, November 2001

"This is a fantastic remix! It sounds a bit like 70's funk. Bertrand has taken the song and reworked it from top to bottom, re-recording people on every part. It sounds like a James Bond song. It's really one of the best remixes we've ever done. "
Martin Gore (Depeche Mode) on "Easy Tiger", Magic, May 2001

"I wish this song could last my whole life..."
Virginie Despentes, on "Aux Cyclades électronique", "Vernon Subutex

In 2003, Pisco Crane assembled a six-piece band from motivated and talented like minds in the Kinshasa slums where he grew up. Pisco had been involved with a handful of local rap acts when he was younger, but after meeting legendary instrument builder Bebson De La Rue, he was inspired to follow a new path. He set about building instruments from the discarded trash that surrounded his city: bits of old computers or oil cans were fashioned into bass guitars and drums, and keyboards were bashed together using springs, metal pipes, and offcuts of tubing. If there was a core philosophy that guided Pisco at this stage in his journey, it was that everyone should have access to instruments, no matter where they come from or what their budget might be. And following in the footsteps of Bebson, Pisco locked into a Congolese tradition that touches on the eccentric genius of globally lauded artists like Konono Nº1 and Staff Benda Bilili. Over the years, Fulu Miziki's notoriety grew in the Kinshasa underground - their utopian vision of the future was infectious. Eventually, they were joined by performance artist, sculptor and fashion designer Lady Aisha, who offered the band unique colour and a soulful central focus. Influenced by Kinshasa's street performance scene, Aisha helped the band devise vivid masks and costumes that were as electric and singular as the instruments they played, and the scene was set. In 2020, as the world was plunged into lockdown, footage of Fulu Miziki went viral and their star began to grow exponentially, with a video of the band preforming the track 'Tikanga' racking up millions of views on Facebook. The band used this opportunity to work on documenting their sound, and shored up at the Nyege Nyege studios in Kampala for a year to assemble a definitive album. Recorded by HHY & The Macumbas' Jonathan Saldanha, this record captures the band's furiously innovative mixture of industrial sonics, spiritual jazz, punk, and Congolese soukous pressure. At their best, Fulu Miziki sound almost completely out of time, curving pounding rhythms around microtonal clanks, rousing chants and spiky sonics. On 'Mutangila', there's a hint of disco in the 4/4 stomp, but it's been shifted into a post-punk ritual, adorned with complex bell percussion and overlapping vocals. 'Congo' is even harder to define; electrified buzzes form a bassline, but it's the mindboggling rhythms that shuttle the track into psychedelic realms, led confidently by Lady Aisha's limber rhymes. Fulu positively slither on the sultry, industrial-influenced 'Sebe', while 'Tikanga' reminds of Congo's rumba-derived soukous traditions, materializing the sounds into the future with tight, pounding percussion and head-melting fx. The story of Fulu Miziki is sprawling and complex and constantly evolving, with various offshoots and band iterations. Two members left the band in 2016 to form KOKOKO! with French producer Débruit. Not long after they recorded this magnum opus album, several other original members left to form a similarly named outfit currently based in Europe. This other incarnation recently released an EP of electronic productions without the band founder Pisko Crane and lead vocalist Lady Aicha, on the UK based Moshi Moshi records. Pisco and Lady Aicha currently lead a different outfit in Kinshasa made up of completely new musicians. This full-length is the remaining proof of Fulu Mziki at their most vital and most complete - it won't be repeated - and can never be recreated. It's an essential portrait of one of the Democratic Republic of Congo's most innovative contemporary outfits, and some of the most surprising hybrid music you're likely to hear.

In 1968, the future composer of "The Things of Life" (Les Choses de la Vie) seriously considered becoming a director. He wrote and shot "Florence", a short film influenced by the New Wave and composed its soundtrack, under the benevolent eye of Vladimir Cosma. The first spectators of the film are unanimous: failing to have seen a visionary cinematographic opus, they have discovered a real movie musician. From this first attempt, Philippe Sarde imposes his melodic talent on the picture and initiates his sense of counterpoint. This founding soundtrack, however, remained in the boxes for more than 50 years, before finding a place of choice on the B side of our album.

To open the ball, we offer you another forgotten score: the almost unused score of Loulou, Maurice Pialat’s cult classic. In 1980, the naturalist director planned to use original music to accompany the wanderings of his sublime love duo, played by Gérard Depardieu and Isabelle Huppert. He commissioned a bare, impressionistic score from Philippe Sarde, then changed his mind and kept only a


timid end credits. The meeting between the two giants of French cinema did however take place, as evidenced by the first side of this beautiful lp.

Rare & unreleased 80's bangers from Sao Tome e Principe's most iconic singer !

Bongo Joe pursues their work with friend DJ Tom B and are sharing the fourth effort in their São Tomé & Principe series : “Recordar é viver”, the first volume of an anthology dedicated to the one and only Pedro Lima, , "A voz do povo de São Tomé" (the people's voice of Sao Tomé).

“Recordar é viver: Antologia Vol. 1” features some previously unreleased tracks and gives a comprehensive look into the discography of one of the islands’ biggest stars, known for his political outspokenness as much as for his soft voice, delicate rumbas, and high-energy puxas.

With his band Os Leonenses he built a brand new genre around the strong rhythms and infectious energy of Sao-Toméan Samba Socopé ("only with the feet” in Portuguese), but with the influence of Congolese soukous, Cape Verdean Coladeira, elements from French West-Indies Cadence/Compas, and Brazilian Afoxé, it soon developed into the infectiously danceable style known as “puxa”. The band kept playing together up until Pedro’s death in 2019, performing at large events around the islands and on the continent.

But Pedro shined also on his own. Alone, he demonstrated his compositional skills and ability to balance the band’s powerful rhythm section with São Tomé & Principe’s harmonic backing vocal traditions, creating strong, dance floor ready puxas or melodic, delicate rumbas.

Pedro Lima died in 2019, leaving behind the 23 children he fathered, with thousands of mourners accompanying him to his final resting place. The public funeral, paid for by ex-president Pinto da Costa, was one of the biggest the islands have ever seen. Lima, "O cantor do povo” (“The people’s singer”), was buried with his wireless microphone, so his powerful voice would always be heard.

Following the reissue of the self-titled debut by Tülay German & François Rabbath in 2021, we're presenting the 2nd and final part of our Tülay German reissues: "Homage to Nazım Hikmet" (1982). Once again in a duo setting with François Rabbath, Tülay German pays tribute to one of Turkey's greatest poets of the 20th century: Nazım
Hikmet (1902-1963).

Recorded in the early 80s this two-album workcycle refers heavily on turkish poets and the tradition of aşıks (singer-poets and wandering bards) and consists of unique and modern interpretations of turkish folk songs unmatched to this day.

Back in the 60s Tülay German (*1935 in Istanbul, Turkey) shook the turkish music landscape with several 7" records. Most notably her first 7" record Burçak Tarlası (1964) is now considered
the cornerstone of what was to become the Anadolu Rock/ Pop movement and underlines her rebellious nature and sense of justice. But due to increasing repression Tülay German and her
lifelong partner and intellectual impetus Erdem Buri decided to leave Turkey a few years later.

In France Tülay German signs a major contract with Philips resulting in many 7" releases sung in french under her french moniker Toulaϊ. In the long run Tülay German doesn't feel quite comfortable with this major deal. And thus, despite the success and recognition she had gained, she decides to quit the contract with Philips!

Later on she signs to independent world-music label Arion to pursue her actual artistic goals more in line with her origin and temperament. Back to her mother tongue, Tülay German records above mentioned albums for Arion under full artistic freedom, the only full-lenghths in
her 20+ years career. Alongside with double-bass virtuoso and turkophil François Rabbath (*1931 in Aleppo, Syria) the albums consist of aşık traditionals and intonated poems mainly by
Nazım Hikmet. Her passionate voice and the restrained arrangements of François Rabbath turn these centuries old melodies and poems into glowing manifestos for love and justice. The fruitful collaboration of these artists-in-exile adds significantly to the rich heritage of turkish folk music.

Nazım Hikmet (1902-1963) is considered as one of Turkey's greatest poets of the 20th century, though during his lifetime his works were banned in Turkey for decades and he spent most of his life in prison or in exile. He is up to this day a huge reference for turkish writers,
musicians and intellectuals.

Tülay German ended her musical career in 1987. In 2021 Tülay German was awarded with the Lifetime Achievement Award by the Istanbul Foundation for Culture and Arts, Turkey.

After "La Légende d'Eer" in 2016, the PERIHEL series presents one of the milestones of electroacoustic music: IANNIS XENAKIS' mindblowing 54-minutes oeuvre "Persepolis", mixed from the original 8 track tapes by MARTIN WURMNEST and mastered / cut by RASHAD BECKER.

"Persepolis" is the longest electroacoustic composition by IANNIS XENAKIS (1922-2001) who ranks among the most influential 20th century avantgarde composers. Commissioned by the Persian Shah, the piece was part of a multimedia performance - XENAKIS' so-called "polytopes" - which premiered in 1971 in Shiraz-Persepolis (Iran) as a performance including light-tracks, laser beams, groups of children walking around with torches and 59 loudspeakers to project the music in an open-air situation. XENAKIS had realized "Persepolis" on 8-track analogue tape in the Studio Acusti in Paris and released a stereo reduction on vinyl in the famous Philips series "Prospective 21e Siècle" in 1972, adding the new subtitle "We bear the light of the earth", his most hymnal title ever.
Out of print for decades now, the LP became - especially the Japanese edition from 1974 - one of the most expensive collector's item of electroacoustic music. There were some later CD versions with different durations - too long due to a wrong sample rate, others shortened by 3 minutes due to other reasons. The PERIHEL series now presents a new version: mixed from the original (!) master 8 track tapes by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD BECKER at D&M, Berlin - the same experts who had already taken care of the 2016 KARLRECORDS release of "La Légende d'Eer", another milestone composition among the works of the Greek-French avant-garde composer.

Features Many Of The Premier Female Vocalists To Emerge From France During The 60s Including France Gall, Jacqueline Taïeb And Françoise Hardy

With a discography held in such high esteem amongst fans of conceptual French pop and soundtrack composition, the likelihood of finding an unturned stone amongst maestro Jean-Claude Vannier’s fertile psychedelic rockery falls somewhere between slim and skeletal. Even the most intrepid explorers of the most fearless and fastidious nature should naturally expect to encounter one or two shadowy characters when braving the oblique corners of the Vannier vault, but few lost souls cast a darker silhouette than the cinematic obscurity known only as La Bête Noire (The Black Beast).

Lost and presumed missing for decades the soundtrack tapes to this lesser-known 1983 French thriller (featuring a cast culled from films such as Alphaville, The Modern Couple and Sweet Movie) captures the revered composer and arranger of Serge Gainsbourg’s Histoire De Melody Nelson embarking on a darker exploration of free jazz, frenzied batucadas and cyclic carousel psychedelia. Counting key players of the French jazz scene within its ranks, The Insolitudes group comprises a crack team of Palm/Futura/Actuel/Saravah regulars such as saxophonist Philippe Mate´ (Acting Trio/Mate´-Vallancien/Tacet) alongside drummer Bernard Labat (Mad Ducks) and legendary Arpadys/Voyage rhythm masters Marc Chantereau and Pierre-Alain Dahan (Brutus Drums) all of whom alongside Michel Zanlonghi (Ensemble De Percussion De Paris) make up this thunderous, tumultuous, four-headed rhythm machine bridging an authentic gap between The Jef Gilson Groups and France’s signature “cosmic” revolution. Naturally these previously unheard compositions are spearheaded by lead pianist and composer Vannier and for devotee’s of his 1972 concept album L’Enfant Assassin Des Mouche there is much to admire and cross-reference herein.

Having been the most loyal and long-running guardians of Jean-Claude’s monster archive over the past two decades Finders Keepers Records are proud to present this first catch of newfound vintage Vannier discoveries on this limited and unlikely free jazz 45 single (which should find a perfect home between coveted Euro jazz 7”s by Krzysztof Komeda, Franc¸ois Tusques and Brussels Art Quintet). Almost 15 years since Finders Keepers once liberated the

If the name Seb Martel is still unknown to you, the guitarist appears on the credits of classic albums from Tony Allen, Femi Kuti, Morcheeba or Blackalicious. Saturn 63, his new album on InFiné is dedicated to the exploration of the electric guitar in all its nuances. This new opus made from a selection of 9 guitars from the Musée de la Musique (a branch of the Philharmonie de Paris), and only enriched with the voices of his close collaborators (Camille, Sabrina Bellaouel...), unfolds on fourteen tracks a musical fresco faithful to the historical and geographical heritage of his instrument. The album includes fascinating reworks of Carl Perkins, Benjamin Britten, Chavela Vargas or Vincent Segal in addition to his own compositions. However, adopting a dogmatic approach, and dressing his compositions with sounds and effects collected during the recordings, Martel offers an abstract and experimental edge to Saturm 63, which transports the listener into an out of time experience. Two famous names of the French Chanson, -M- and Mathieu Boogaerts joined Martel to close the album with the snapshot of a speechless improvised session.

SONIKKU announces the release of their new album ‘Joyful Death’, via Bella Union. “I love songs that make you want to cry and dance at the same time,” says Tony Donson, the London-based musician who records as SONIKKU. That sense of unfettered release and liberation drives their new album, ‘Joyful Death’. A fluent, fertile and full-colour hybrid of vibrant Italo-house, liquid synth-pop, righteous disco and French philosophical asides, it’s an album that signals the emergence proper of SONIKKU - a fully formed dancefloor artist. It’s also a farewell of sorts, perhaps, but with an emphatic rebirth at its heart. “This album feels like a transformation in the sense that I’m creating the music I’ve always wanted to make. A fully realised, coherent pop record that showcases my craft as a song-writer and producer.” Total control of their craft is swiftly asserted on ‘Let The Light In’, where the
influences of lost-in-music disco and the Pet Shop Boys merge under vocals from immersive, exploratory British singer-songwriter Douglas Dare. The pace accelerates as ‘WKND’ gets into a groove pitched somewhere between Madonna, Daft Punk and Indeep, with LA future-pop singer LIZ primed for dancefloor abandon on vocals. Meanwhile, SONIKKU’s independent intent is firmly asserted on the freestyle-inspired ‘Don’t Wanna Dance with You’, where singer Aisha Zoe coolly brushes off unwanted advances in favour of dancefloor pleasures.
LIZ assumes vocal duties again for ‘Sweat’, a song fully equipped to make dancefloor devotees do as its title suggests. Dreamily melodic evidence of SONIKKU’s dynamism (and love of melancholy Swedish electro-pop queen Robyn) beckons on ‘X Hopeless Romantic’, where Little Boots contributes a sweetly loved-up vocal over a sublimely
infectious chorus. Pummelling synths signal a dramatic shift of pace on the almost electro-darkwave dash of ‘Remember To Forget Me’, where actor/singer Chester Lockhart presides over a summit meeting between Depeche Mode and New Order. Performance artist Tyler Matthew Oyer takes the vocals for the Italo-disco-inspired title-track, a vividly imagined album manifesto - of sorts - inspired to varying degrees by an 1892 poem, French thinker Gilles Deleuze’s concept of the “body without organs” and a 1997 anime called The End Of Evangelion. Finally, that grand piano takes over as Dare returns, presiding over an achingly stripped-back version of ‘Remember To Forget Me’. With help from friends and artists they admires on vocals, ‘Joyful Death’ is a hugely confident and self-contained leap forward for SONIKKU after his time as a feted DJ. Having moved from Derby to London at the age of 18, Donson worked as an intern (at MTV, Dazed & Confused, SHOWstudio and elsewhere) then turned to DJing (from
London to Tokyo, Paris and Berlin) after they were signed to London label Lobster Theremin. Though they continues to DJ regularly at Tottenham’s LGBTQ rave-up Adonis, they have extra ambitions in mind: “I love DJing but I’m more looking forward to developing a live show.” LP pressed on mint green vinyl with digital download.

Runhild Gammelsæter and Lasse Marhaug are two Norwegian musicians/sound artists. Both started in the early 1990s music underground and have worked in many constellations with a wide range of collaborators.

Despite knowing each other for a long time, Gammelsæter and Marhaug’s first collaborative work was the “Quantum Entanglement” LP in 2014. The album ignited a collective spark that both wanted to pursue further. Still, other commitments got in the way, and the project lay dormant until Stephen O’Malley, and Greg Anderson invited them to open for Sunn O))) for a special gig in the St. James Church of Culture in Oslo in the autumn of 2019. The two gathered for a long series of rehearsals, and after the successful performance, it was clear that it was time to start working on new compositions and recordings. That process initiated in late 2019 and continued to early 2021, encompassing before and after the world went through the lockdown. The result of this long development to be heard accumulated upon their new album “Higgs Boson” on Ideologic Organ Music.

Throughout the profound process of creating “Higgs Boson”, Gammelsæter and Marhaug drew inspiration from various subjects and artists. For Marhaug, it was concepts informed by the structuralist experimental cinema of Japanese directors Takashi Ito and Toshio Matsumoto, futurist worlds of French comic book artists Philippe Druillet and Jean Moebius Giraud, landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, amongst others.

It became a metaphysical juxtaposition involving Gammelsaeter’s research and lyrical ideas based on several seemingly unrelated principles. A process of association inspired by “the Glass Bead Game” by Herman Hesse. The discovery of the Higgs Boson as a confirmation of the physical universe. The work of Ernst Schrödinger on the uncertainty principle. The four forces of physics. The Force. Helplessness under armed forces - as the war sailors in World War II. The influence of magic as expressed in tarot.

Gammelsæter experiments with a boundary involving the thresholds amongst various states of focus and legibility by forensic experimentation with techniques such as exclusive expression of consonants, syllabic repetition, retrograde text vocalisations and multi-lingual layering. Her vocal inspirational sources include Sidsel Endresen, Diamanda Galas, Natacha Atlas, the choral works of Rachmaninov, and the bands Carcass and Grave.

Two worlds coming together, making the music special. Mixing hard facts with science fiction helps create a kaleidoscopic cross point between the complex realities of the past and a possible future.

“Quantum Entanglement” featured two long-form pieces centred around a prepared piano and layered voice, while “Higgs Boson” developed a much more elaborate and ambitious compositional work. Across eight parts, the two artists brought a broad palette of instrumentation and sound. Electronic and acoustic, objects and field recordings, and pipe organ define the structures of which the centre is Gammelsæter’s magnificent voice. She has become known for her legendary voice, with her vast and unique range of inflective techniques and affective colour through her 30 years creating music. In the mix, Lasse approached the instrumental elements like landscapes, then Runhild’s vocals as characters that inhabit those worlds. Often, Gammelsæter multiple characters fused with the landscape. Make them occupy space, sometimes blend into it, sometimes dominate it. Constructing and setting visual guidelines helps set focus and open possibilities.

As an album, “Higgs Boson” is direct and focused, drawing on song structures. Within these tracks are vast strata of sound, an immersive multi-dimensional depth of music. Creating a feeling of depth while working with a flat two-channel stereo format - and how dimensions of texture and distortion can help develop the illusion of a space. The album structure is a story-like arc, a malleable subjective path, set as the album traverses oblique and suggestive areas, opening the concepts for the listener to unpack as they like.

– exclusive consultation with Gammelsæter & Marhaug, edited by Stephen O’Malley, June 2022

Marc Romboy presents his upcoming album "Voyage de la planète' his first solo full-length production in over eight years. Released on his newly launched Hyperharmonic label, Voyage de la Plantète signifies an exciting new chapter for Marc as he experiments with his sound - pushing the boundaries between classical and electronic music to create both an emotional and atmospheric experience.


The first impression of this new sound can be heard on album opener forerunner 10" "Monde futuriste" (February 17th 2017) which blends together beautiful strings and soft flittering synths. "Jules Verne" named after the French science fiction writer, combines echoing arpeggios and a subtle woodwind harmony to create a cosmic soundscape. Whilst "Atome de danse", "Symphonie oblique" and "La machine du temps" use elegant strings to further enhance an unearthly effect, title track "Voyage de la planète" mixes the two mediums together with fluttering synths and somber strings before "La lune et l'étolie" builds introduces the bustling sound of the piano to create an upbeat melody.


Whilst there is a strong classical influence, there are tracks on the album that reference Marc's electronic background. This can be heard in

"L'univers étrange", which has an ambient sound, whilst pitched-down chords take "L'universe parallèle" to a dark and moody space.
"Phénix" is a bass-driven track, layered with crashing synths, taking the journey to a high before the celestial experience draws to a close on an uplifting note with "Nocturne" a laid-back soothing track that exudes optimism and wonderment.
Inspired by a concert with the Dortmund Philharmonic Orchestra where he performed Claude Debussy works in a contemporary way, "Voyage de la planète' signifies the start of a new chapter for Marc Romboy. Combining the strange, fascinating sounds of electronic music with the sublime beauty of classical music to create an extraordinary sonic experience for the listener.

Naomi Alligator is fed up. She’s sick of trying to make relationships work that have already run their course, and tired of sitting in a wintry apartment waiting for her life to kick into gear. On »Double Knot«, the modern folk singer/songwriter from Virginia attempts to unwind her life from all that is holding her back. In a way, it’s a coming-of-age record about shedding what no longer serves you and, ultimately, finding something like deliverance.

On the opening track, “Seasick,” Naomi Alligator is already in the midst of a sort of awakening. Right off the bat, she sings, “I don’t know what’s happened to me / It’s like I turned 16 / It’s like I grew to be 6-feet tall.” This is the announcement of a wide-eyed artist coming out of hibernation and into their own. Still, Naomi’s vocals ache with guilt and longing, belying the track’s playful catchiness. Longing for what? Maybe attention from a crush, but mostly a sunnier place to call home.

Naomi Alligator began writing Double Knot while living in Philadelphia during the height of the pandemic and the deterioration of a longterm romance. “I scream: How’d the hell I end up here? / I’m 1-inch tall, it’s crystal clear,” she chants on “Neighborhood Freak,” returning to height and size as an emotional barometer. When asked though, Naomi rejects the notion that Double Knot is a breakup album, or autobiographical at all. Moreso, she says, it’s a personal reckoning in which, “the minute before you make a big decision, you tally up the reasons why you don’t want to do what you’re doing anymore.”

That desire to turn the page expands to the production of the album as well. Naomi Alligator generally houses her narratives in beds of minimal, home-tracked instrumentation—influenced by the stripped-down poeticism of Joan Baez and Liz Phair’s Girly-Sound tapes. Double Knot finds Naomi continuing to hone the winning combination of guitar and banjo she established on 2021’s Concession Stand Girl EP. For Double Knot though, Naomi wanted a fuller, more dynamic sound: more instruments, more harmonies, more layering, more, more, more. Inspired by the impressionistic melodies of Animal Collective and MGMT, Naomi peppers in computer-generated synths throughout the album, most notably on the song “Burn Out.” These electronic flourishes augment the more grounding string instruments, arriving somewhere more ethereal than Naomi’s earlier work while still maintaining her warm songwriting.

If anything, Double Knot is a reminder that you can always pack up your bags, try something new, and change your life. As for Naomi Alligator herself? She moved west, to California.

After the 1974 release of The End…the magnetic and controversial Warhol muse went on a fruitful partnership with French director Philippe Garrel, for almost seven films. Back in New York in 1979 she started to perform again live, appearing firstly at the CBGB with John Cale and musical partner Lutz Ulbrich (former guitarist of Agitation Free and Ash Ra Tempel)… Back in France, she met young and talented Corsican bassist Philippe Quilichini who produced her comeback, Drama of Exile, in 1981. The album was released twice, in two different versions. Hereby we present the second, appearing in 1983, after a legal controversy was settled with Aura Records that released the first issue. While the first press was a 9-track offering, this second issue excludes “Purple Lips” but adds the tracks “Saeta” and “Vegas” released on a 7″ single in 1981. For this album, Nico recorded covers of the Velvet Underground’s “I’m Waiting for the Man” and David Bowie’s “Heroes”.

Dalibert who hides badly behind the simplicity of facade of these eight pieces all the rare elegance which emerges from this set. The pianist goes well beyond the codes of the genre, certainly one will think sometimes of harold bad of avalon sutra to philipp glass of metamorphosis but Melaine Dalibert, by his singularity and his clairvoyance, reminds us that the music is nothing more than an arithmetic of the sensitivity, an addition of the possible ones. His fifth album "Shimmering" recently enriched the Mind Travels collection of the label Ici d'Ailleurs, but the magnetic mantras, that French pianist Melaine Dalibert forges on his appreciated concerts, already attracted many lovers of contemporary piano minimalism, due to the way by which this composer manages to integrate an algorithmic approach to composition with popular motifs and influence. His alloy of personalistic flow and technical skills is so strong that even what sounded like pure exercises, such as "Six+Six", one of the more interesting compositions (dedicated to David Sylvian), can titillate listener's soul. These eight haunting, wordless pop songs, snapshots of a melancholy mood, owe as much to Morton Feldman or Philip Glass as to Ryuichi Sakamoto or Peter Broderick. They nonetheless reveal a highly singular musical personality. These eight new white pebbles extend the fascinating journey of an artist who, if the title of his very beautiful record is to be believed, loves nothing more than to illuminate the path.