Instru. Bigo Bigo Bigaurès Aka Résau Stylaurès musique : https://soundcloud.com/aursgmp

La Révolution - Instru. Aurès

ce soir je me sens émue d’etre moi .m4a

Bleus

Extraits du split k7 "Donna Summer"
avec Christophe Clébard
paru chez Ultravnr en Septembre 2022

https://ultravnr.be/k7/uvk7/

La canzone del riposo

Diana Vaughan, duo composé par Nico Germina et Vincent Vey, convoque un imaginaire où mysticisme et spiritualité catholique s’entremêlent.

“Nous sommes encore si loin du jour”, premier EP de Diana Vaughan, laisse flotter une pop parfois lumineuse, souvent macabre. Une balade céleste de 23 minutes mélangeant des notes de synthétiseurs FM rappelant la dungeon synth des années 90, avec une interprétation acoustique, amplifiée et organique (flûte traversière, basse électrique, voix, …). Les mélodies y apparaissent comme des ritournelles, tantôt désaxées par des boîtes à rythmes boiteuses, tantôt dévorées par des nuages de reverb.

Une pop froide et mélancolique, errant entre mysticisme et mélodies lancinantes, entre les limbes et le mont Carmel.

“Nous sommes encore si loin du jour”, cassette à paraître le 15 janvier sur WOMB.

ENG : Diana Vaughan, a duo made up of Nico Germina and Vincent Vey, conjures up an imaginary world where mysticism and Catholic spirituality intertwine.

‘Nous sommes encore si loin du jour’, Diana Vaughan's debut EP, floats through a pop that is sometimes luminous, often macabre. The 23-minute celestial ballad mixes FM synthesiser notes reminiscent of 90s dungeon synth with an acoustic, amplified and organic interpretation (flute, electric bass, vocals, etc.). The melodies come across like ritornellos, sometimes off-axis with clunky drum machines, sometimes devoured by clouds of reverb.

Cold, melancholy pop, wandering between mysticism and haunting melodies, between limbo and Mount Carmel.

‘Nous sommes encore si loin du jour’, cassette to be released on WOMB on 15 January.

Composé par Nico Germina et Vincent Vey
Mix & master par Martin Mahieu
Graphisme par Faustine Duval

Le jour du turbin

Dakilang Manlilikha

as long as echoes unravel, fake truths will travel

Dark Cabaret, Vol. 1 is a séance for machines, bodies, and ghosts that never stopped performing. It lives somewhere between the gutter and the stage — a fever-dream city where the bars hum in trip-hop time, the circuses burn, and the jukebox keeps spinning cracked vinyl long after last call.

Each track is a small theatre of survival. The rhythm crawls slow and narcotic; beats pulse like faulty neon; melodies sway with the weariness of dancers who’ve outlived the applause. The stories move through smoke and rain — bartenders pouring fire instead of faith, wire-walkers hanging whole crowds on a thread, street preachers soldering sermons out of broken circuits, lovers reading the scars on each other’s skin like sheet music.

The sound is cabaret after the collapse: trip-hop basslines and downtempo electronica draped in dust-bowl brass, cracked-piano chords, and whispered confessions. It borrows from vaudeville, gospel, and film noir but speaks in the language of feedback, reverb, and rust. Every groove is haunted by the same tension — between flesh and circuitry, performance and decay, faith and fatigue.

These songs inhabit the ruins of spectacle. They ask what remains when glamour corrodes and holiness shorts out — when all that’s left is the pulse, the hiss, the breath between verses. Dark Cabaret, Vol. 1 is that breath made audible: an after-hours communion for the wired, the weary, and the beautifully broken.

Portrait

Majeur Pliant

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