Tracklist:
A1. Losing Track
A2. Climbers Pit (Feat. Joli B & Danuel Tate)
B1. Losing Track (Dave Aju Remix)
B2. Youandthekitten

Short Info:
New music by The Mole. High Dreams contains four tracks, three originals and one remix from Circus Company favourite Dave Aju. The Mole savours dreaming and welcomes the mystical landscapes of the mind with High Dreams, a collection of uptempo dance pieces inhabited by ghosts and welcoming creatures from the deeps. This unpretentious collection cuts straight with the rhythms, and carries long with the arrangements. Dancefloor sizzle. Subsonic rumble. Ghosts! Your body moving requisites lie within this simple plate of wax. Turn up your amps and bathe in it.
The Mole is known for his “hits” (Baby You’re The One, Hippy Speedball, In My Song, Lockdown Party) and his “work” with many Top labels (Perlon, Kompakt, Wagon Repair, Maybe Tomorrow, Ostgut Ton) is played by many Top DJs. Only his third release with Circus Company (Little Sunshine, The River Widens), this Ep is a reminder that the Mole is still at it, and a warning. There’s a new album upcoming. And it sounds nothing like this...
With his 19th release with the label since 2003, Dave Aju is one of the pillars of modern Circus Company. Aju amplifies Losing Track, adding percussion and fresh, modern programming, giving the remix a whole new purpose while maintaining the erie cries, calling out, desperate - don’t leave me hang ’n ... of the original. A certain go to for the Deep Heads.

The Mole - High Dreams

Artist: The Mole
Title: High Hopes
Label: Circus Company
Cat #: CCS134
Format: Vinyl LP - Cassette - Digital
Genre: Beats, Ambient, Electronica
Release date: November 22nd 2024

*Tracklisting*:
01. Sing a Storm
02. Que Rico
03. Heart of a Canary
04. Deeper Filth
05. Just Another Kid
06. Arp on a Table
07. Boulevard
08. Vessel Plans
09. JP Ate Culture
10. Mountain Range
11. nEw fAme
12. That Old Fuck
13. Burger Time
14. Umpah Band
15. Don’t Wake Me Up Bro
16. Not Lost
17. GoinF4er

High Hopes - New album from the Mole. 

High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.

What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. 
Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His collages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling. We can’t always produce content, make art, we must also pause, and listen. And enjoy.

The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come. The Mole who was As High As The Sky.

The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places. 

High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).

*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

The Mole - High Hopes

Cat #: CCS136
Release : 07/03//2025
Genre: Electronic, Ambient, Neoclassical 
Tracklist LP: 
1. Pas de bruit 2. Être invisible 3. Ne rien « préparer », ne rien « arranger »
4. Simplement être là 5. Arriver tout doucement 6. À pas de loup 7. Afin de ne pas troubler l’eau 

Short Info: 

With Le Tact, Joseph Schiano di Lombo delivers a work of rare finesse, conceived as a posthumous conversation with photographer Henri Cartier-Bresson. Through seven meditative pieces - whose evocative titles echo the photographer's words when describing the art of creating an image - this album explores the instinctive and delicate relationship that connects music and photography to our everyday lives. 

Presented for the first time on stage during the 20th anniversary of the Henri Cartier-Bresson Foundation, Le Tact draws its inspiration from the photographer’s art: a sensitive and respectful approach, capturing the essence of things without altering them. This spirit of discretion and precision is distilled by Joseph into his music, blending composition and improvisation with intuitive elegance. 
While Joseph composed and performed the piano, organ, synthesizer, clarinet, and guitar himself, he opened his arrangements for the first time to other musicians. Agnes Wasniewska (oboe), Barbara Misiewicz (cello), and Tomasz Baye Zietek (trumpet) bring their sonic textures, enriching this work, which is both intimate and collaborative. The album was recorded between Paris and Sopot (Poland) during a residency organized by the CNM. 

The album’s title perfectly encapsulates its essence: Le Tact. This simple word, evoking both the sense of touch and artistic intuition, reflects the way Joseph composes—with respect, humility, and attention to detail. Each note seems to float lightly, as if to preserve the serenity of the moment. 

Le Tact transcends genre boundaries. Between ambient music and contemporary art, this album invites listeners to slow down and truly listen. It is a tribute to the beauty of the world, captured with the subtlety of a photographer and the sensitivity of a musician. 


Joseph Schiano di Lombo - Le tact (Sound piece for Fondation Henri Cartier-Bresson)

Bonnie Banane and Joseph Schiano di Lombo present L’Orguasme, an album of bawdy and devotional songs accompanied by the organ of the Cité de la Musique / Philharmonie de Paris. Literally composed and written for pleasure, this work (of the flesh, naturally) pays tribute to the most spectacular expression of ecstasy — a paradise so near and yet so misunderstood. From the most restrained sighs to the most dazzling vocal outbursts, from the foreplay to the eruption, not to mention the bliss that follows the incandescence, Bonnie and Joseph sing about the art of genuflection, of climbing the walls, and of the "little death," without shying away from the darker areas: those of guilty, forbidden, feigned, or selfish pleasures, for instance.

By turns light, explosive, mystical, burlesque, and poetic, this music diverts the organ from its centuries-old habits, achieving a union of the profane and the sacred, the crass and the beautiful, the body and the spirit, early music and pop — reminding us of the essential truth: it’s better to come than to cry.

While the minimalism of the arrangements initially strikes the ear — no instruments other than the organ accompany these musical escapades — the album is infused with numerous unexpected influences: R&B (La petite mort), swing (Le cri), gospel (Simulation blues), jazz (Le calme après l’œuvrette), medieval ballads (Ronde génitale, Au plaisir), and even a famous 16th- century folk dance called the branle (Branle [Censored]).

A sexy, lush, stripped-down, and unabashed opus, glorifying what remains glorious: love, music, and the boundless joy of creation. 

Bonnie Banane & Joseph Schiano di Lombo - L'Orguasme

Montreal duo Flabbergast—aka Guillaume Coutu Dumont and Vincent Lemieux—return to Circus Company, the label where it all began with their debut EP in 2015. Now seasoned veterans of leftfield club experimentation, they deliver Weirdo Active, a two-track vinyl release that distills their signature blend of groove, absurdity, and refined weirdness.

On the A-side, “Timecrowave” is a swung, syncopated burner built around fragmented drum programming, warbled synth textures, and subtly detuned atmospheres. It's a tool that thrives in the in-between moments of a set—unpredictable yet fluid.

On the B-side “Serpentoute,” a slinky groove laced with dubwise processing and modular squelch, maintaining tension through micro-edits and playful FX. Perfect for after-hours transitions or more open-minded floors.

Digital-only tracks “Meat on Bone” and “Tiou de Checheu” push things further into abstract, bumpy terrain—ideal for DJs seeking left-of-center material with character. Following standout releases on Yoyaku, Copier/Coller, and Chapelle XVI, Flabbergast continue to offer up dance music that’s deeply heady, subtly unhinged, and always full of intent.

Following standout releases on Yoyaku, Copier/Coller, and Chapelle XVI, Flabbergast continue to offer up dance music that’s deeply heady, subtly unhinged, and always full of intent. A finely sculpted dose of dancefloor surrealism—just the way Flabbergast likes it.

Flabbergast - Weirdo Active

Nicolas Jaar - Être

Nicolas Jaar - Colomb

Nicolas Jaar - Too Many Kids Finding Rain In The Dust

Nicolas Jaar - Keep Me There

Nicolas Jaar - Problem With The Sun

Nicolas Jaar - Space Is Only Noise if You Can See

Nicolas Jaar - Variations

olas Jaar has graduated-- at least from the trappings of any young electronic music producer (his graduation from Brown University is 18 months away). Four years after his debut on the Brooklyn label Wolf + Lamb, and the much lauded follow up 'Time for Us', whose glacial slow-jam take on house sent journalists scrambling for adjectives, the 20 year old New Yorker by way of Chile returns to Circus Company with Space is Only Noise, an uncompromising manifesto on traces of the past, love lost, and specters of the future. 

Having previously contributed to the catalog twice with his 'Marks and Angels' EP as well as the sublime 'Your Waltz' on the Snuggle and Slap compilation, we are delighted to present his first foray into the realm of the long player. 

Jaar has made it quite apparent over the course of his nascent catalog and increasingly sought after live sets that challenge is an intrinsic part of his creative discourse. Few are the producers of any age with the cohones to ride a sub-100-bpm tempo at peak time in the techno Mecca of Berlin, and fewer still are those who receive an ecstatic hands-in-the-air response for their precocious efforts. It is precisely this sense of risk which elevates Space is Only Noise beyond the realm of valiant first effort or crossover dance music oddity. Those looking to wade through the sea of Jaar’s potential influences will quickly find themselves in the deep waters of golden age Factory records, home spun digitalism of Mille Plateaux, Endtroducing era DJ Shadow and Eric Satie.

Jaar gently coaxes his listener into the experience from the opening sounds of rolling waves on 'Être', but quickly transitions into the sophisticated percussion and meandering melodies that characterise his sound. Jaar seeks, and often finds, beauty in melancholy on the first few tracks of the album. As the album begins to accelerate with 'Too Many Kids Finding Rain In The Dust', Jaar confronts us with the often forgotten reality that our sadness is not mutually exclusive from the dance floor.

Suddenly, on 'Keep Me There', Jaar’s voice appears over the delicious, rumbling melody. "We're in a really bad bed, right?" he remarks. "Mm-- it's not really a bed. It's like a balloon" responds a sultry female voice as they both crumble away in laughter. Though your hips stir to the relentless bassline and the sexiness of the voices, your heart is jolted out of its luxurious malaise when horns erupts seconds later. 

"How can you talk about a landscape without showing the sky and the earth?" a voice asks, translating from the French on 'Être'. So Jaar concludes, revisiting the same track to end the album. Complete landscapes such as these are only realised in contrast- the indulgent against the reserved, the sky against the earth; lightness and darkness. 

Space Is Only Noise is a tour de force with few modern equals, and a great sign of things to come from one of electronic music’s most exciting producers. 


Nicolas Jaar -  Balance Her In Between Your Eyes

Aquarius Heaven - Universe

Artist: Ezéchiel Pailhès
Album: Mélopée
Release date: 24/06/2022 
Label: Circus Company
Formats: Digital

With his new single, "Mélopée", Ezéchiel Pailhès is unveiling his fourth solo album to be released next autumn. The French composer, pianist and vocalist pursues his exploration of the crossroads between poetry and songs, piano and synth, verses from the past and sounds of today.

Since 2013, Ezéchiel Pailhès has been crafting a unique French synth pop. On his first three albums, he switched between songs inspired by poetry, instrumental ballads and electronica with hummed choruses. 

“Mélopée”, the very first single on the album, was written shortly after Ezéchiel Pailhès rediscovered a bunch of musicals. “I wanted to compose a song that would mix lightheartedness and torment, just like in these movies”, he recalls. The lyrics draw their inspiration from two sonnets by Renée Vivien. They use naturalist metaphors whilst alluding, in this case, to pleasure, but also to the sorrows and cravings triggered by lust and physical love.

This single marks the release of his fourth album in the autumn of 2022, which brings together adaptations of poems written in the 16th, 18th, and 19th centuries by French poetesses Louise Labé, Marceline Desbordes-Valmore and Renée Vivien, together with rich melodic compositions inspired by the rhythms, effects and wording of electronica and urban music.

Composed by Ezéchiel Pailhès
Written by Renée Vivien
Published by Circus Company Publishing 

Mixed by Stéphane ‘Alf’ Briat at Bleep Studio, Paris
Mastered by Matt Colton at Metropolis Mastering, Londres
Executive production by Mathias Duchemin

Mélopée

Ezéchiel Pailhès - Mélopée

It feels like only a moment ago that we welcomed Russian prodigy Andrey Pushkarev to the Circus Company fold with the Gingo Biloba 12”, and after that refined exercise in stripped down dancefloor aesthetics it’s gives us great pleasure to bring him back in for another three-pronged demonstration of his considerable studio talent. 

The core principles laid out in that first EP are back in abundance, with Pushkarev expanding on his love of dubbed-out dance music with a fresh batch of rhythms and pulses custom-made to ensnare the subconscious in that time-honoured tradition of meditative house and techno.


Andrey Pushkarev - First Snow

High Dreams

The Mole - Losing Track (Dave Aju Remix)

The Mole - Climbers Pit (feat. Joli B & Danuel Tate)

The Mole - Losing Track

High Hopes

The Mole - Just Another Kid

The Mole - Deeper Filth

The Mole - Heart of a Canary

The Mole - Que Rico

The Mole - Sing a Storm

Preorder now on Juno: https://bit.ly/3XVylmP

The Mole's latest offering, 'High Dreams', is a no-nonsense collection of four tracks that dives straight into the depths of jacking house rhythms and eerie sonic landscapes. With three originals and a remix by Circus Company staple Dave Aju, the EP embraces both the physical and the abstract, delivering groove-laden basslines alongside spectral, almost otherworldly textures. 'Losing Track' sets the tone with its hypnotic pulse, while 'Climbers Pit' brings in Joli B and Danuel Tate for a rich fusion of keys, vibes, and Emaxx layering. The remix of 'Losing Track' by Dave Aju strips back the original and builds it up with fresh percussion, adding a modern twist that feels grounded yet forward-thinking. 'Youandthekitten' rounds things out with a playful but deep tech-house groove, keeping the energy consistent. Known for his discography with labels like Perlon, Kompakt, and Ostgut Ton, The Mole has cemented his place in the underground scene. This EP reminds listeners that he's still crafting imaginative dancefloor gems, while Aju's remix keeps things unpredictable. High Dreams is an understated yet bold continuation of The Mole's journey through both the cerebral and visceral spaces of electronic music.

More from the label: https://bit.ly/3NfsQdP

PREORDER

PREMIERE: The Mole - Youandthekitten (Circus Company France)

aken for Nôze's forthcoming album 'Come with us' to be released on Circus Company Monday, april, 27th

Buy this track on Itunes here :

https://itunes.apple.com/fr/album/come-with-us/id972828830?uo=6&at=&ct=

Nôze - I Need To Know feat. Dani Siciliano

Taken  for Nôze's forthcoming album 'Come with us' to be released on Circus Company Monday, april, 27th

Buy this track on Itunes here : 

https://itunes.apple.com/fr/album/saint/id972828830?i=972830412&uo=6&at=&ct=

Nôze -  Saint

Format: 12” + Digital
Cat#: CCS099
Barcode : 827170553767
Release : 13.07.15
Tracklist:

A1 – Saubohnen
B1 – Hmm Hm Hmm
B2 – Help

Capturing the spirit of the season, when the electronic music community leaves its darkened rooms and heads back to nature, Feathered Sun are here with the perfect accompaniment. The six-strong collective have appeared once before when they delivered the first release on Platon Records, and now they return with another three tracks that live and breathe with an organic band dynamic that can only be wrought by many hands working in unison.


The loose-fit Berlin-based crew is comprised of NU, jO.K.e, Raz Ohara, Chris Schwarzwaelder, Iannis Ritter and Acid Pauli, and individually you may have experienced their music in many other places. As well as being peers in the music scene they are all real life friends, and Feathered Sun is the manifestation of their lives spent together jamming wherever the mood is right, not confined to rigid studio sessions and release deadlines.


This natural, easy-going atmosphere lingers all over the three tracks on the Saubohnen EP, as playful vocal intonations meet with live instrumentation over laid back grooves made without a need for hype or drama. It feels like the soundtrack to a perfect idle summers day spent amongst friends, while still maintaining a necessary bite to keep toes tapping and the vibe lively.


Legend would have it that the Feathered Sun sound is just as likely to have been crafted in a retreat in Peru as surrounded by the wives and kids, let alone in more conventional musical environments. It is that down-to-earth spirit that makes their sound so instantly familiar and easy to get along with, reflecting real life and love outside the self-less mass identity of the dancefloor.

Feathered Sun - Saubohnen

Joseph Schiano di Lombo - Ne rien « préparer », ne rien « arranger »

Joseph Schiano di Lombo - Être invisible

Joseph Schiano di Lombo - Pas de bruit

Joseph Schiano di Lombo - Simplement être là

Joseph Schiano di Lombo - Arriver tout doucement

Bonnie Banane & Joseph Schiano di Lombo - Le plaisir des sources

Bonnie Banane & Joseph Schiano di Lombo - Préliminaires

Bonnie Banane & Joseph Schiano di Lombo - Grand frisson

Bonnie Banane & Joseph Schiano di Lombo - Simulation Blues

Bonnie Banane & Joseph Schiano di Lombo - Le cri

Bonnie Banane & Joseph Schiano di Lombo - Ronde génitale

Bonnie Banane & Joseph Schiano di Lombo - La montée

Bonnie Banane & Joseph Schiano di Lombo - Branle [Censuré]

Bonnie Banane & Joseph Schiano di Lombo - Le calme après l'œuvrette

Artist ➤ Flabbergast
Title ➤ Timecrowave
Label ➤ Circus Company

Release Date ➤ 2025-09-12

💬 Read more: https://www.deepershades.net/premieres/premiere-flabbergast-timecrowave-circus-company.html

📥 Get the track:
https://flabbergast.bandcamp.com/album/weirdo-active

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➤ https://soundcloud.com/circuscompany
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➤ https://circuscompany.bandcamp.com/

“Timecrowave” is a swung, syncopated burner built around fragmented drum programming, warbled synth textures, and subtly detuned atmospheres. It's a tool that thrives in the in- between moments of a set—unpredictable yet fluid.

▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬

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PREMIERE: Flabbergast 'Timecrowave' [Circus Company]

Flabbergast - Meat on Bone

Flabbergast - Tiou de Checheu

Flabbergast - Serpentoute

RESTER AVEC TOI feat. Miss Kittin (Aquarius Heaven remix)

Les Fils du Calvaire est un trio parisien (Jo, Damien et Clément), aujourd'hui partagé entre la capitale hexagonale et Berlin.

Ils sont aussi les créateurs de l'hybride électronique dOP signé sur Circus Company, le label ayant sorti le premier album de Nicolas Jaar.

« Rester Avec Toi » est le 1er extrait de « Fils de », le 1er album des Fils du Calvaire qui paraîtra début 2016 sur Circus Company/Because Music

Les Fils du Calvaire - Rester Avec Toi feat. Miss Kittin (Aquarius Heaven remix)


A: I'm The Question
B1: I'm The Question (Ben Vedren remix)
B2 : I'm The Question (Ben Vedren ‘acapella’ remix)

After eight years immersed in songwriting and production, Dani Siciliano is ready to return with her third solo LP "DANI SICILIANO". Ahead of the LP's release on Circus Company, the lead single shines a light on one of the album’s undoubted highlights and offers it up for some intriguing dancefloor variations that nod to her house music roots. “I’m The Question” revels in the playful and unconventional approach to pop that has always guided
Dani’s music, and so gives a perfect teaser of what the full album has in store. Her voice soars in a multi-layered swirl of crafty production while the arrangement crackles with an energy that reflects the rousing message of the lyrics. It’s an urgent intonation of positivity that should motivate anyone to get up and move, but it communicates this idea in a most delightfully unusual of ways.
Rising Parisian house head Ben Vedren offers up a remix of the lead track, building on his refined releases for Minibar and Concrete Music amongst others. He brings a noticeably tough undercurrent to his version, using a driving bass-weighted drum set to carry artful slices of Dani’s vocals through a club-ready confection with carefully placed brushstrokes of warmth and melody.
Ben Vedren also turns his hand to the Acapella Remix, stripping the production of the original track right back and replacing it with a simple rhythmic guidance to leave ample space for the vocals to stand on their own. With nothing but a steady grooving kick and snare loop in the way, it’s a track crying out for the kind of creative mixing that music as unique as Dani’s is perfectly suited to.

Dani Siciliano - I'm The Question (Ben Vedren remix)

Kicking off a new limited series on Circus Company, we return to JAW's solo project Midtown, which was released in 2014. Amongst the 19 collaborative tracks that saw the dOP vocalist sparring with musicians from all over the world, there was a spellbinding song written in conjunction with British singer-songwriter Piers Faccini.
“Traitor Creator” is a haunting track very much led by Faccini’s fragile vocal, with JAW laying down a subtle undercurrent of harmony. Meanwhile the delicate guitar tone and sparse percussion that shape out the song all lend themselves to a mournful, existential message. Even in the climax of the track, with its fractured guitar distortion, the Eastern lilt of the melody dictates a mystical atmosphere.
To frame the original track in a new light we called upon Nôze to deliver a remix. The pensive mood is maintained through a brooding low-end pulse, but the vocals are mixed to further accent the interplay between the two distinct singers. Using a stripped-back beat and threading in choice slices of the guitar alongside light touches of synth, Nico and Eze draw on the fundamental spirit of the track and take it to a new, equally captivating place.
Of all the tracks on Midtown, “Traitor Creator” was perhaps not the obvious choice for a club-friendly remix, but in such unlikely situations can some of the most captivating results be found.

Traitor Creator (Nôze Remix)

Piers Faccini & JAW - Traitor Creator (Nôze Remix)

Beautiful piano melodies, ballads drawing their inspiration from jazz, classical music and cinematic imagery, hummed choruses, a mood at the crossroad of nostalgia and reverie, instruments with uncanny timbre and charm, chiseled percussions, added to a subtle electronic production, this is the recipe for Tout Va Bien, the second solo album by French composer Ezechiel Pailhes.

Even if he defines himself as a “jolly fellow” (which is confirmed by the music and reputation of his electro-pop duo Nôze), when chatting to him, he comes across as quite gentle and stellar, just like this collection of eleven tracks that he composed “in autarky”, entirely alone, in his Montreuil home studio.

Following the footpath of Divine, his first solo release from 2013, this album is however more intimate, marking Pailhes' taste for finely crafted moods and drifts.

Tout Va Bien

Ezechiel Pailhes - Éternel Été

48 hours free download MP3
Music video: https://youtu.be/gmmHqCoEI4g

Email From a Beetle EP
iTunes : https://itunes.apple.com/album/email-from-a-beetle-ep/id1114837884
Decks : http://www.decks.de/t/dop-email_from_a_beetle/c79-52

dOP are very proud to present ‘Melancholia', the beautiful new video to accompany the track from their last EP Email From A Beetle. As the director Agniia Galdanova explains: “I wanted to create a video that deals with monotonous and oppressively repetitive human stories.” Alessandro Ubaldi was responsible for the cinematography, Vera Mayskaya and Iva Fisher were on the production team.

This year dOP are celebrating 10 years of being on the road. In between the gigs they have been busy in the studio cooking up new, exclusive material, testing these fresh sounds across the globe to be sure the recipe is perfect. With the promise of new EPs and an album on the way, it looks like dinner will be served very soon.

- French -

dOP est fier de présenter ‘Melancholia', la superbe vidéo réalisée pour le morceau du meme nom tiré d’Email From A Beetle, dernier opus en date du groupe. Agniia Galdanova, la réalisatrice du clip explique : « Je voulais faire une vidéo qui traite d'histoires humaines, de leur monotonies, répétitives jusqu’à l’oppression.». Pour ce faire, elle s’est entourée d’Alessandro Ubaldi  pour la photo et de Vera Mayskaya et Iva Fisher à la production.

dOP fête cette année leur 10 ans de tournée. Infatigable, le groupe n’a jamais cessé de produire de nouveaux morceaux en studio dont beaucoup ne cessent d’alimenter leur live sans cesse renouvelé. Validées par leur public aux quatre coins de la planète, ces nouvelles productions verront bientôt le jour sous la forme de nouveaux EPs et d’un album. À suivre…

Email From A Beetle

dOP - Melancholia

Format: CD + Digital + LP
Cat#: CCS105 + CCCD019
Release : 07.04.2017
--

http://www.ezechielpailhes.com

Beautiful piano melodies, ballads drawing their inspiration from jazz, classical music and cinematic imagery, hummed choruses, a mood at the crossroad of nostalgia and reverie, instruments with uncanny timbre and charm, chiseled percussions, added to a subtle electronic production, this is the recipe for Tout Va Bien, the second solo album by French composer Ezechiel Pailhès.

All this is reflected in the opening track, River Day, which begins with “prepared piano” sounds (a technique mastered by Ezechiel, which consists in placing different objects on the strings of the piano, to create singular percussive notes). This deliberately mysterious and poetic introduction, supported by light electronic effects, is soon combined with a light beat, organ chords and vocalisations by the artist, which gradually transform the track into a ritornello, with both nostalgic and lighthearted tones.

As the artist states it: “We could describe this type of emotion as a kind of endearing nostalgia, close to saudade,” i.e. the Portuguese term expressing the idea of ​​a light melancholy stripped of its sickly aspect, or a “haunted craving” as the singer and composer Pierre Barouh nicely put it. “This feeling comes naturally to me when I write. Generally, in my music, I seek a form of soothing, of eternity even, (without meaning to sound pretentious). This is something I encounter in classical music, which is what I listen to most.”

Even if he defines himself as a “jolly fellow” (which is confirmed by the music and reputation of his electro-pop duo Nôze), when chatting to him, he comes across as quite gentle and stellar, just like this collection of eleven tracks that he composed “in autarky”, entirely alone, in his Montreuil home studio. Following the footpath of Divine, his first solo release from 2013, this album is however more intimate, marking Pailhès' taste for finely crafted moods and drifts. Songs like Tout Va Bien, but also Éternel Été and Promesse, whose lines have been borrowed from Shakespeare's sonnets, seem to shift between carelessness, bliss, bitterness and anxiety.

“Why didst thou promise such a beauteous day
And make me travel forth without my cloak,
To let base clouds o'ertake me in my way,
Hiding they bravery in their rotten smoke?”
(Taken from William Shakespeare's Sonnets that inspired Promesse)

As for titles such as Octobre, Boyd London or Le Fou Du Phare, they illustrate Ezechiel’s gift for composing instrumental ballads, with equally versatile emotions though drawing from cinema, supported by whispered or sung vocalisations. Ezechiel explains: “No word can quite describe this type of singing, it's a kind of ritornello, these are songs without lyrics, which is all down to the fact that I always think of my melodies as songs. The absence of words is not a form of laziness. My songs simply say enough for people to imagine their own story. It is more about suggesting or evoking a feeling, an emotion. "

Even though he composed on the piano, in this album Ezechiel plays and toys with numerous other instruments, such as the Clavietta (a type of Melodica), a Moog Little Phatty synth, an analog Korg Lambda organ, rare virtual instruments, and a whole array of exotic percussions, gleaned along his tours. He insists, however, on the sculptural dimension of his compositional work. For him, it is about “revealing or masking the sound of the original melody” through various processes, including percussive ones, whether using a prepared piano (which he even calls "transformist”) or several digital cuts and superimpositions enabling him to generate what he calls “sound illusions”, through unusual associations between the timbres of various instruments.

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