"L'AMOUR EST BON" (Lexi Disques 2022)

The Long Count

3rd Night

02 Orcœur - +33748293920

all of my music brought to streaming services (unedited)

https://cudighirecords.bandcamp.com/album/int-ressant

Composed and Recorded by Marion Molle in 2022 and 2023 in Marseille

Art and Design by Acacio Ortas
Mastered by Yan Hart-Lemonnier

Thank you Léo Hoffsaes for infinite support and listening

10 Nuit

Solastalgia for bass flute, bass clarinet, baritone saxophone, percussion, piano and electronics

Spółdzielnia Muzyczna Contemporary Ensemble:
Małgorzata Mikulska - bass flute
Tomasz Sowa - bass clarinet
Krzysztof Guńka - baritone saxophone
Aleksander Wnuk percussion
Martyna Zakrzewska piano

„Festiwal Prawykonań”( Festival of Premiers) at the NOSPR (National Polish Radio Symphony Orchestra).
12th March 2023 Katowice (Poland)

Audio: Polish Radio
Video: Matuesz Różański

Solastalgia for bass flute, bass clarinet, baritone saxophone, percussion, piano and electronics

Pollution Opera - s/t
Cat. Nr: DN027
Format: DL / LP
Release Date: April 24, 2024
Buy / stream: dansenoire.ffm.to/PollutionOpera

Elvin Brandhi and Nadah El Shazly refuse to turn away from the horror. The intercontinental duo’s Pollution Opera album is an uncompromising futurist depiction of our disfigured, dystopian, and dying reality. Facing hell in full defiance, the experimental noise album catapults itself through a volatile compound of breathless shouts, screams, and screeches, in collision with vocal samples, environmental recordings, and acousmatic sounds. Ten tracks cover the spectrum of electroacoustic fragments and vocalizations, treacherously suspended between the roar of engines and synth distortion, of evocative intonations or guttural retching.

First conceived in 2020, Pollution Opera bubbled up organically from a first tandem motorbike ride through El Shazly’s hometown of Cairo. Singing and screaming through the second-loudest city in the world, Brandhi and Shazly found the extreme noise pollution served as catharsis from the suffocating smog that surrounded them. They then took these sonic specimens into studios across years and countries—from the initial recording and sessions in Egypt to Uganda, where their so-called “cacophony carbon orchestra” would carry into simultaneous but separate residencies at Nyege Nyege in Kampala. There, Brandhi and Shazly reprised the role of the motorbike as their “stage,” in a city where motorbikes are the main mode of public transport. They then developed a live A/V performance from video material captured by Arno Mery, collected from their travels, and reworked by Egyptian artist Omar El Sadek during Banlieues Bleues Festival 2023 in France.

The result is what the artists themselves describe as “an uncompromising world-spew, a shameless alloy of love and hate.” Haptic knocking, barking dogs, and human growls trample El Shazly’s famously evocative Egyptian singing style on “CRÎi Me A River.” Breathless vocal cut-ups and samples are bulldozed by arrhythmic acoustic percussion on “Danse Le Flou.” There are moments of respite within all the chaos, however, whether in the heavily pitched, Auto-Tuned opening of “Pollute Bold” or the wonderfully melodic closer of “Crisp Heart”—its derelict rhythmic thrust giving a listener something to dance about.

Both artists lend their unique positioning and idiosyncrasies to Pollution Opera, whether it’s in artist, vocalist, and musician Brandhi’s avant-garde noise music pedigree as both a solo artist and member of father-daughter duo Yeah You, or
singer, composer, and producer El Shazly’s hybrid catalogue combining electronic music with contemporary classical. Together, in asking the question of what a postmodern opera might sound like, the duo offer their existential answer in the true spirit of the often playful and ironic philosophical position by offering no answer at all.

Voice & electronics: Elvin Brandhi & Nadah El Shazly
Violin on ‘Crisp Heart’: Ocen James
Soprano on ‘Attention’: Marie Requa Gailey

Artwork by Omar El Sadek & Niels Wehrspann
Mastering by Rashad Becker

Pollution Opera

Pollution Opera - Pollute Bold

Cassette available  here:

http://www.limelodge.org/releases/omeed-norouzi-spirit-cassette

Omeed Norouzi - Reached

Out now >> https://theyouthlabel.bandcamp.com/album/fumu-skinned-yov7c

A1 - Untitled
A2 - Untitled 
B1 - Untitled
B2 - Untitled

FUMU - Skinned - YOV7C - YOUTH (Clips)

Song Produced by Paris Aden x Anato Aden
Mixed by Hafsteinn Þráinsson
Original Mix by Lord Pusswhip
Written by Countess Malaise
Performe by Countess Malaise
Cover by Arna Beth x Liniya Lanvin

Video by Liniya Lanvin https://www.youtube.com/watch?v=y9xysESRuOc&ab_channel=CountessMalaise

Lyrics:

I'm too hard
I'm too bad
I'm to sad
but I've always been that (bitch)

Too emotional
Confrontational
Too irrational
but I've always been that...

Don't even try to
Act like you know me
Don't know the new me not even the old me
How many times I've done thought about folding
How many strikes that I've got, like I'm bowling
I'm in my business not anyone elses
If you don't like it than you are just jealous 
I do not care because I am so selfish
Thrusting my pelvis, my name is Elvis

Don't try to push me
I'm going off
Bite off your ear so you know I'm a dog
Yeah I'm a bitch, never gon' stop
Slob on my clit
Bitch give me top

Get out the pic
I'll give you a crop
Lick on my feet, cause I'm counting my guap
Yeah I make hits, Make that shit drop
Yeah I'm a beast, Fuck all my opps

I'm too hard
I'm too bad
I'm to sad
but I've always been that (bitch)

Too emotional
Confrontational
Too irrational
but I've always been that...

You miss the point, cause you think that your stacking points
I'm fucking shit up
But I do not disappoint..none but myself, 
because that's who I do it for
That is for sure
I always do
Shit that no one else will fucking do
Bitch I be clear
Are you a fool?
Everybody seen it, you claim to be it
but I be that bitch, you seen it, I feel it

I do not care
I do not respect you if your actions don't match the way you speak
Don't try to come for me because bitch
you are weak! and I'm that fucking BITCH


I'm too hard
I'm too bad
I'm to sad
but I've always been that (bitch)

Too emotional
Confrontational
Too irrational
but I've always been that...


Don't fuck with me fellas
This ain't my first time at the rodeo
MY POWER
I can use it anyway I want
it's a sword....cuts both ways

That Bitch prod. Paris Aden x Aneto Aden

Taken from @holysimilaun album Ansatz, out January 29, 2021, via @ooh-sounds.

Read: http://bit.ly/3o7tXNC
Pre-order: http://bit.ly/3931yEd

Following the aphex-blessed En-To-Pan and the recent ep Hegenrax [OOH-014] Holy Similaun goes further in its intimate and personal musical discourse with Ansatz [attempt / approach] to investigate uncertainty and the mutation of our "safe spaces”.

Extremely dilated fades, intermitted structures, massively warped voices, blasting industrial distortions and gaming sound effects populate the synthetic environments of a not-necessarily dystopian post-something, multifaceted and porous.
The feel is that of a soundtrack for a present future, inspired to the narrative naivety of anime.

Holy Similaun seems to frame its attention on the matter between and around standard musical objects—rhythm, melody to name two— overturning normal hierarchies and apparently reorienting the listeners towards the scenery rather than the ‘action’. The voids, the gaps, the structural falls and the physical impact of sounds are the core of that "negative space" in constant change.

Ansatz leaves a sense of the unfinished—distant ambient mutant techno echoes in a Neo-Tokyo-3 soundscape.

Artwork by Nicolo' Cervello
https://www.instagram.com/transverseorientation/

Mastering by Rupert Clervaux

Released by OHH-sounds

Ansatz

Premiere: HOLY SIMILAUN - Fluctus [OOH-sounds]

Contact/Booking:
countessmalaise@gmail.com
MALDITA (All By Myself)

That Bitch prod. Paris Aden x Aneto Aden

COUNTESS MALAISE

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LORD PUSSWHIP

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