Hôtel Costes, Volume 8

Ralph Myerz & The Jack Herren Band - Think Twice (Swag Vocal Mix)

Instrumental Bossa Nova

Vivo Sonhando

improved for myself Alan Tew  The fence (A)

The fence(A)

Backstage

The Thunder Continues to Rumble

UntitledFeb172025656PM.m4a

Study Series 03: Welcome to Godalming

Inn Ohm the Lake

Acid Pauli and Nico Stojan's label Ouïe proudly presents the original film score and soundtrack album for the new German moive 'Es war einmal Indianerland' which translates into 'Once upon a time in Indian Country’ which is centered around brand new songs by Acid Pauli.
A 17-year-old boy is at the odds with himself and the world. Pretty normal. But the coming-of-age-story “Es war einmal Indianerland” is not normal: it’s exceptional. Thrilling. Imaginative. The narration is virtousic, just as the attendant nominated novel by Nils Mohl who also wrote the screenplay – in collaboration with Max Reinhold. A psychedelic city-western ! Charged with pictures full of symbolism that are composed into a hypnotic whirl by Ilker Çatak – who won the Max-Ophüls price and who has been distinguished with the student Oscar for « Sadakat ». Another highlight : the outstanding cast. Newcomer Leonard Scheicher (« Quellen des Lebens ») as protagonist Mauser in between Jackie played by Emilia Schüle (« Ku’damm ’56, « Jugend ohne Gott »), and Edda played by Johanna Polley (« Mumbai »). In additional roles there’s Clemens Schick (« James Bond 007 – Casino Royale », « 4 Könige ») as Mausers father, and Joel Basman (« Unsere Mütter, unsere Väter ») as Mausers pal Kondor.

Acid Pauli: Acid Mauser

Live recording from Late Music - Aspects of Eno II(03.08.19)
Thanks to Lynette Quek and David Power.

Harold Budd Brian Eno Six Pieces From The Plateaux Of Mirror

was in 1996 that Jay-Jay Johanson, a young man from a cold climate, fascinated by the Bristol sound they called trip-hop and Portishead in particular, first tapped delicately on our eardrums.
The intoxicating album that definitively put this rare and elegant Swede on the map was called Whiskey. It was the beginning of an enthralling adventure. In only a few songs he revealed a family tree that spread its roots far and wide: on one branch Lee Hazlewood, or pop from Talk Talk or Nilsson, on the other John Coltrane with Johnny Hartman, and a whole army of calm jazz or symphonic
recordings sampled from everywhere imaginable.
Almost 20 years later he has returned with an
incredible new album. This new release is called Opium and it contains the very essence of Johanson’s music: an ease with inventing melodies, a voice that gently caresses, and the jacked up, heady rhythms that lift and carry the songs. From the peaceful harmonica opening of Drowsy / Too Young To Say Good Night to the smoke-wreathed love song I Don’t Know Much About Loving, via titles with a sporadic and light groove (NDE, Alone Too Long), Opium is a courageous offering. Johanson opens his heart with
fearlessness and modesty, gracefully lowering his guard and evoking the questions that torment men of his age: love, solitude, immaturity. The songwriting is unerring, the words have a suppressed poetry. This
new Johanson is the work of a guy who has survived the avalanches, who is no longer looking for answers and is content to sketch out the perspectives in as many songs. Some titles are serious (Harakiri), but others immediately take up the reins casting a more
gentle, peaceful light, like Scarecrow, a collaboration with Robin Guthrie that would not have sounded out of place on a Cocteau Twins album, or of the strange positivity of Be Yourself or I Love Him So.
The strength of Opium is that it asks questions that don’t necessarily have an answer; it offers a collection of songs freed from any certitude but which convince
through their modesty, through their precision.
In short, Jay-Jay at his best.

The Thunder Continues to Rumble

JAY-JAY JOHANSON

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