(EN) The second Fair_Play compilation brings together 80 works by 90 female identifying or trans artists not only from French speaking countries but also from India, Tasmania, Syria, Brazil, Egypt, Estonia, Denmark, Sweden, Germany, Austria, USA, UK, Australia, Spain, Canada, Czech Republic, Mexico, Argentina, Ireland, Italy, Poland, Zimbabwe, China, Morocco ...

(FR) La deuxième compilation Fair_Play rassemble 80 œuvres de 90 artistes se reconnaissant comme femmes ou trans, non seulement de pays francophones mais aussi d'Inde, Tasmanie, Syrie, Brésil, Egypte, Estonie, Danemark, Suède, Allemagne, Autriche, USA, Royaume-Uni, Australie, Espagne, Canada, République tchèque, Mexique, Argentine, Irlande, Italie, Pologne, Zimbabwe, Chine, Maroc ...


Avec/with
Alexandra SPENCE, Aline PENITOT, Amandine CASADAMONT, Ana Maria ROMANO, Anaïs DENAUX, Andrea-Jane CORNELL, Anna RAIMONDO, Anne DROID, Anne LEPERE, Asmaa Farag AZOUZ, Cabiria CHOMEL, Canary BURTON, Friederike JAGER, Cendrine ROBELIN, Chantal DUMAS, Charo CALVO, Chloe DESPAX, Christine GROULT, Claudia WEGENER, Chiza MWINDE, crrmbl, Daniela DIURISI, Death of CODES, DinahBird, DJ Kwe FAVEL, Dong ZHOU, EDH, Emilia ALVAREZ, FATRASSONS - Sarah CLÉNET, Rosa PARLATO, Floriane POCHON, Hélène PREVOST, Isa STRAGLIATI, Fadma KADDOURI, Isabel NOGUEIRA, Jacqueline GEORGE, Kholoud ADAL, Joan SCHUMAN, Julia Hanadi AL ABED, Julia SEEHOLZER, Julie MANSION-VAQUIE, Julie ROUSSE, TELEVISION PICKUP, Katrine AMSLER, L Attitude Transversale, Aline HÉMAGI FERNANDE, Pôm BOUVIER B., LAIR, Lea BERTUCCI, Loise BULOT, Lola AJIMA, Luci SCHNEIDER, Maria Cristina KASEM, Maria PONCE, Marie LISEL, Marine QUINIOU, Marlo EGGPLANT, Martina CLAUSSEN, Lady MARU, Meryll AMPE, Molly JOYCE, Monika PICH, Myriam PRUVOT, Nadia LENA BLUE, Nima IKKI, Odio SIS, Pompon SAUVAGE, prOphecy sun, Sage PBBBT, Sarmistha TALUKDAR , Sassy HERTZ, Severine MORFIN, SHITNEY, Maria FAUST, Katrine AMSLER, Sigolene VALAX, Sisters AKOUSMATICA, Julia DROUHIN, Pip STAFFORD, Soizic LEBRAT, Solveig RISACHER, Sophie COURONNE, Chloé DELAUME, Sophie LACAZE, Stefanie HONEDER, Sue RYNHART, Suha NABHAN, Trihn LO, Valérie BOURQUIN, Valerie VIVANCOS, Vendula GUHOVA, Violaine LOCHU, Wild ANIMA, Alex ALEXOPOULOS 
crédits

(EN) The proceeds of this compilation, go towards building visibility and distribution tools for the artists, such as a website, events, a label.
For the last 2 years featuring the work of more than 150 artists has been a labour of love, help us get off the ground and shatter the glass ceiling!

(FR) Les bénéfices de cette compilation serviront à a construire des outils de visibilité et distribution pour les artistes (site, evènements, label). Depuis 2 ans nous travailions sans relache et bénévolement pour mettre en lumière le travail de plus de 150 artistes, votre soutien nous aidera à décoller ensemble pour faire exploser le plafond de verre,! En avant! >>

Lettre d'infos en FR: eepurl.com/bS7mfj
Newsletter in EN: eepurl.com/bS2yZP

www.facebook.com/groups/fairplaynetwork
twitter.com/fairplaynetwork
fairplaynetwork.bandcamp.com

Production: DinahBird, Valérie Vivancos, Aline Pénitot, Sophie Couronne, Myriam Pruvot, Marie Lisel, Pôm Bouvier b.
Cover art / visuel : Pôm Bouvier b.

RITUAL FOR WAVES ANIMALS & HUMANS

Atmos 1

VB - 29

Marco Lucchi, based in Modena, Italy, and Henrik Meierkord, based in Stockholm, Sweden, have a lengthy collaboration to their reciprocal credit, and they accomplish it far and near alike. A testament to the interplay of their work together is that a listener might be hard-pressed to discern which of their recordings are the result of long-distance file-trading, and which occurred when the two managed to be in the same place at the same time.

Several aspects of their respective music-making serve them well as creative partners. First of all, both tend toward the ambient, given as they are generally to a slow pace and to a sensibility that manages to be at once radiant and intimate. Secondly, while both are multi-instrumentalists, there is a complementary nature to their specialties, Lucchi being more of a keyboardist, Meierkord more of a string player. Thirdly, and perhaps most importantly, they are both immersed in techniques drawn from electronic music.

In particular, both men are experienced with live multitrack recording, in which they process and layer their own performances in real time. Meierkord is fond of layering sinuous tones to create scenarios of unique dimensions. It becomes uncertain — even unimportant — to the listener what preceded what, so intricate is his deployment of interplay. Lucchi likewise finds parallels between classical orchestration and the opportunity for drones lent by modern synthesizers; in a small room he can create a vast space. There is often an oceanic depth to such efforts, part composed and part improvisatory, in which playing is a tool toward composition, rather than the other way around.

Throughout their new record, there is an underlying melancholy, a nostalgic beauty, and a reflective consideration — a virtue that is foundational to their ongoing collaboration. The result is particularly rich in plaintive scene setting, as on the glacially paced “La bestia umana,” which emerges from a neighborly field recording of a dog barking, and “Kosmisk Strålning II,” which maintains a dream-like quietude, more shadow than light. One “Like tears in rain”, what sounds like a synthesizer is, in fact, a piano, a recording of which has been stretched beyond the point of it being readily identifiable.

On first listen, their leaning toward unimpeachable steadiness can seem uniform, but listen more closely and you’ll recognize how explicitly they emote on a track like “The Third Stage,” due not just to the reaching melodic surges (which, in turn, match the sampled recordings of bird calls) but to the slight discordances that suggest trouble and tension. In a different manner, there is “A warm and golden October,” which balances breaking-dawn hush with piercing overtones. That track features a motif at the end, played on a celesta; those bell-like tones edge the piece out of dreaminess without entirely breaking the spell.

The greatest outlier — dog barking notwithstanding — may be on “Oändlig,” not just for its fierce pulse, but because of its more immediately electronic vibe. “Oändlig” is an exceptional piece, bringing to mind the minimalism of Terry Riley and the rave classics of Underworld.

Marc Weidenbaum 


Produced and mixed by Marco Lucchi and Henrik Meierkord
Marco Lucchi: mellotron, piano, celesta and synthesizers
Henrik Meierkord: cello, viola, zither, piano, organ and FX
Mastered by Dionis Afonichev (Dionisaf)
Cover picture by Dionis Afonichev (Dionisaf) with AI
Artwork and cover design by Dionis Afonichev (Dionisaf)

https://www.chitrarecords.com

Lieder Ohne Worte

Warum

Petals as Mist

Flying Through The Enchanted Forest

new music released on bandcamp today:https://burythejar.bandcamp.com/track/rain-palette-ep
Rain on the window creates sequences of paintings

Rain Palette

A track produced for Naviar Records Haiku Challenge; 7 days to write and record a track in response to the haiku posted.

Stretching Ahead (naviarhaiku552) - Adrian Lane

2024-08-07

Steel City

Fell off a pyramid

From a series of (almost) daily ocean glimpses. The music is composed to a video of the sea (photons captured fresh every day). You can experience the full video version here: https://youtu.be/jVr6GyejhaU

Glimpse 1456 (Sep 27 2025)

Experimental ambient music label.

Surreal music for a deep listening experience.

Warum

Chitra Records