songs

#06 realismo mágico

Epsilonia_BSF_20190926

Neue private Playlist

🥳

Mark Knight & Funkagenda - Man With The Red Face (Original Club Mix)

The third track from 2002's "Home" album.

Travelin' Soldier

06 Ralizees Dub

Reinterpretation of this beautiful track by Kyson:
https://soundcloud.com/kyson/you

Support me and get the high quality .wav from 0.5€
https://iamnarval.bandcamp.com/track/kyson-you-iqtoro-edit

Free Download

Kyson - You (edit)

CANCELLLED HOMETOWNHIFI

CANCELLLED UK

CANCELLLED QOM

enregistré au 4 pistes K7 par Florian Adrien en Mai 2017
mixé à 2 mains sur le même 4 pistes K7 en Novembre 2017

uptown top ranking - althea & donna (reprise aléatoire)

enregistré sur 4 pistes K7 avec Florian Adrien

crier dans la mer

Il y a des choses qu'on oublie

Che voce misteriosa sembra venire dalle viscere

L'idée de cette compilation est née à parts égales de notre amour pour les chansons de France Gall et de notre dégoût de la politique de Gérard Collomb. 

Vol 1 : ligature.bandcamp.com/album/france-gall-tu-laimes-ou-tu-la-quittes-vol-1-1963-1967 


Elle a été réalisée entièrement bénévolement, merci à toutes les personnes impliquées de près ou de loin. 

Format numérique en vente à prix libre en soutien aux migrants précaires via les collectifs RESF 69 (Réseau Éducation Sans Frontières) et Jamais Sans Toit. 
http://www.educationsansfrontieres.org:8080/?page=contacts&id_rubrique=27 
www.facebook.com/jamaissanstoit69/ 

La totalité de l'argent récolté leur sera remis. 

Vous pouvez aussi la télécharger gratuitement et faire un don à l'asso de votre choix si vous en avez les moyens. Nous vous encourageons également à découvrir et soutenir les artistes et labels de cette compilation en achetant leur musique ou en allant les voir en concert. 

Comme il manque quelques tubes on serait très contents de sortir un troisième volume selon le même principe. Si...  afficher plus
crédits
paru le 14 mai 2018 

Graphisme : Félicité Landrivon felicitonlandrive.tumblr.com 
Mastering final : Rémi Richarme 
Prod : Ligature & Barbapop & leurs ami.e.s 
Arrangements, enregistrements, mix : les groupes

Saintes (avec Morgane/Scarlatine) - Besoin d'amour

AhmedTheArab - Budden  [@therealahmedthearab on instagram]

Taken from th album 'Ecstatic Computation' releasedas LP and Download

Ecstatic Computation

Caterina Barbieri 'Fantas' (EMEGO 259)

CANCELLLED - BXL - TRIPLE

Taken from:
Not Glass - Forma /  Ήθος LP & download [Ecstatic Recordings, 10/05/2019]

• Immersive, theatrical collab by Not Waving and Jay Glass Dubs, aka Not Glass
• Inspired by quotes by classical ancient Greek/Latin poet-philosophers Ovid & Heraclitus 
• Mystic kosmiche ambient meets inverted dub and tribal rhythms
• Mastered at vinyl cut at D&M, Berlin 

Not Glass is the wonderfully lofty, classically-rooted debut collaboration between Alessio Natalizia (Not Waving) and his longtime correspondent Dimitris Papadatos (Jay Glass Dubs), paying tribute to Latin and Greek authors Ovid and Heraclitus in a suite of dramatic electronics and cryptic rhythms comparable to a theatrical soundtrack.

Knowingly, ironically pretentious, yet serious with it, ‘Forma’ is the result of years of daily Facebook chats between the London and Athens-based artists where they cemented the album’s concept around key quotes by the legendary poet/philosophers, who hail from their respective homelands of Italy and Greece. The results are in effect a spellbinding attempt to transmute those notions within the collaborative, contemporary framework of their music, using patented palettes of hardware, vocals, and FX to render and reflect core classical mythological and philosophical ideas about drama, love, metaphysics, cosmology and the “unity of opposites”.

On this timeless plane, Natalizia and Papadatos both step outside of themselves to find “what opposes unites”, spaciously consolidating their typical, yet contrasting, rhythm-driven approaches in a reverberant, often beat less sphere of exploration. Removed from their usual handrails, the artists operate at their most open-ended and subtly suggestive, amorphously shapeshifting from gloaming shadowplays of synth and keys to investigate arcane percussive impulses and iridescent ambient whorls.

The result is a perfect, finely shaded marriage of their mutually esoteric, outsider Southern European energies, which intuitively acknowledges and inhabits the paradoxes of their respective styles. The illusively static yet mercurial ebb and flow of the atmospheric intro ‘Fallite fallentes’ sets the scene, where ‘Dum loquor, hora fugit’ invokes a viscous but brittle tangle of wide bass and pointillist rhythms beside a stately cello vignette ‘Ludicrum_χορικόν’ that recalls aspects of Scott Walker’s mystic charm ’Soused’. The rapid arps and slow moving, glassy pads of ‘Pauper ubique iacet’ conjure a sublime tension that becomes diffused into the cavernous, hollow dub dread of ‘Ut ameris, amabilis esto’, possessed with its throaty, processed vocal, and the lonely strings and plasmic electronics of ‘Forma bonum fragile est’ connotes a psychedelic coming-to-terms with their artistic/philosophic duality.

Not Glass - Fallite fallentes / Ἔφη ὡς ἦθος ἀνθρώπῳ δαίμων [ELP042]

cancellled

DUNKERQUE

Anne Imhof - Faust
Format: 2xLP / CD / Digital
Cat.No: PAN 98
Release Date: 13 September 2019
Purchase: bit.ly/2NCegzC / bit.ly/2zo1bRY

Deriving from the acclaimed performance and exhibition—staged by Anne Imhof at the 57th International Art Exhibition of La Biennale di Venezia and awarded the Golden Lion for Best National Participation— the album Faust is part documentation and part elaboration, the sonic capture and extrapolation of the gestures, intensities, and durations of the live event.
Serving as the dramatic backbone of a several-hour long performance seen by thousands over the course of the Biennial, the soundtrack was a product of the collective and its individuals, animating and organising the performers while immersing the audience in the potent images of power and paradise. The music for Faust was written in a band-like process by Imhof and her close collaborators Billy Bultheel, Eliza Douglas, and Franziska Aigner during the months leading up to its premiere at the opening of the German Pavilion in Venice. From the chaos of the performative, the album is constructed out of live recordings and original arrangements, teasing out the most potent strands and weaving them into a new composition of brutal feeling and baroque intricacy, each track a testament to the energy that brought it into being.

Faust is anchored around three pieces—Medusa’s Song, O.W.E.N., and Queen Song—written and sung by performers Eliza Douglas and Franziska Aigner, whose sonorous and elegiac voices imbue the work as a whole with their crushing depths and dolorous moods. Between these urgent vocal interventions march and twist the winding fugues and electronic abstractions of Billy Bultheel, who has dismantled and reassembled the sonic landscapes of the pavilion, crafting new arrangements that couple the forcefulness of the physical encounter with the artifice of the studio. Throughout the album and culminating in its closing act—the brutal chorus of Douglas’ Faust’s Last Song, a pulsing canon of looped and layered voice pierced by black metal screams—the record admits the listener into the inner space of Imhof’s dramatic vision of power, complicity, and vulnerability.

Shifting hypnotically between times and spaces, between cries and calls, between polyphonic antiquity and polyrhythmic complexity, Faust is the record of a lost event and the promise of a new creation. The release of Faust illustrates the centrality of music to Imhof’s artistic practice. Her musical collaborations with Bultheel began in 2013, and this generative constellation expanded to include the contributions of Douglas and Aigner, together scoring Imhof’s Angst (2016) and recently her performance trilogy Sex (2019).

The album comes with an expansive booklet of photography by Nadine Fraczkowski, another long-standing collaborator of Imhof and a prolific photographer, whose images of the performance and portraits of its cast offer intimate views of the work far beyond documentation.

It was mixed by Nanni Johansson at Hansa Studios and Ville Haimala, mastered by Rashad Becker at Dubplates & Mastering, and designed by Zak Group featuring artwork conceived by Imhof together with Douglas and Fraczkowski. Co-published with German Pavilion 2017 and Galerie Buchholz, Berlin / Cologne / New York.

http://p-a-n.org

Billy Bultheel - Trauermarschmusik (PAN 98)

PAN