[engl] Borghesia’s new album is a free-floating retrofuturist industrial art rock epic based on Sre?ko Kosovel’s modernist poetry that sits somewhere between an alternative soundtrack of Blade Runner, the uncanny ambience of Coil, melancholy of Berlin era David Bowie and immediacy of Nine Inch Nails.

[engl] Art is a matter of different phases and influence. The artists' core reaches out like heat waves. And very rarely do these artists' core merge like Brigitte Fontaine and Arseki Belkacem have. Their Saravah Era lasted ten years (1969 to 1979), ten years of "folle sagesse" (crazy wisdom), above all genres and song limitation. « Le plaisir secret que donne une chanson, dessin à la craie sur le mur de tes sons » (the personal delight within song, a chalk drawing on your wall of sounds) whispers Areski, right after Brigitte's voice on the penultimate song of the double album "Vous et nous". Released in 1977, this free flowing record contains 33 songs, it's their 6th album after « Comme à la radio », « Brigitte 4 », « Je ne connais pas cet homme », « L'incendie » and « Le bonheur », and it continues to spread the wide and generous spectrum of the couple fully blossoming talent. Electronic experiments, North African trance, refined acoustics and medieval drones gracefully blend with the acid and candid tongues of the singers, surprising us each step along the way. The making of this record was also full of twists and turns. It started out as a solo effort by Areski at Jean-Pierre Chambard's studio. Little by little, as Areski was filling tapes with poems and improvised skits, Brigitte would sneak into the studio at nightfall, adding her voice here and there, her whispers then became screams, giving fuel to the fire in a total blaze, a surreal blaze. The solitary work ("je") thrived to become us ("nous") and you ("vous") …

[engl] A follow up to 2012's widely-praised Tempest, Olympia, Washington favorites BROKEN WATER’s new album was recorded and mixed with STEVE FISK (Nirvana, Soundgarden) and features a mix of noisy, fuzzed-out guitars and melodic vocals. Features a guest appearance from LORI GOLDSTON (EARTH) on cello

[engl] "It’s 2019 and the planet is a mess. But back with a lightning flash and new tracks are the three enigmatic individuals collectively known as Burning Alms — Thomas Whitfield, Sebastian Lenton and John Biggs, formerly of Calories and Distophia, with 'Afternoon Sass'. Captured during a bleak English winter by recording engineer and long-term collaborator Tom Livemore, the resulting album fuses punk noise and lo-fi pop with ornate jazz flourishes, garnished with the occasional Derek Bailey-esque skronk. 'Afternoon Sass' is being released in Europe by Croatian label Geenger Records. Reminiscent of the likes of Superchunk, Sebadoh and Jim O'Rourke, the record is made up of nine songs including imminent single releases 'Every City' and 'Everyone You Know'. The album is a follow up to their previous recording, 'In Sequence'. "

[engl] Think about Reigning Sound at its best, you get The Buxom Blade!

[engl] The name Afroamericans gave to this dirty style of music was funk in reference to the body odour produced while in a state of excitation. That’s what we do, repetitive riffs and a maximalist attitude in a mosaic of arabic melodies, analogue drum machines, sinuous guitars, with a bombastic horn sections that could make snakes dance. The album includes 13 tracks, composed and produced by the duo C’mon Tigre and arranged together with its extended family, a great cluster of musicians from all over the world: Jessica Lurie, Henkjaap Beeuwkes, Pasquale Mirra, Ahmad Oumar, Enrico Fontanelli, Danny Ray Barragan, Eusebio Martinelli, Dipak Raji, Rocco Favi, Paolo Berluti, Malik Ousmane and Simone Sabini. More than two years of recordings, with a constant change of longitude and latitude. We have travelled far. We have met musicians with great souls and worked together with them on these 13 tracks. A group of people mutually contaminated sharing their musical memories. C'mon Tigre began life in the Mediterranean basin and spread out to the corners of the world's metropolises. C’mon Tigre talks about the fascination that Africa holds in a tales that stretch along a curve line from San Diego to Bombay. That's the reason why we choose not to sign this project with our birth names, because C'mon Tigre represents the single artistic voice which keeps those memories. Where do we come from, who are we similar to? that is not relevant. There’s not one single place, there are many places. There’s not one single face, there are many faces. C'mon Tigre are two people but at the same time is a collective of souls. This condition will change constantly, on stages, in the next recordings sessions and also in all those areas that are not strictly related to music. C'mon Tigre will invest in artistic research continuing his collaborations with animators, illustrators, visual artists like the successful experiment made with Mr. Toccafondo. More it will change, the more it will grow.

[engl] 200 copies. Hand screen printed sleeve.

[engl] The Cesarians were born in Hackney, the London borough synonymous with poverty, punk, and politics, a district that mixes multi-culture with gangster glamour. It was here, one winter, in a damp pub cellar, that the legendary producer, Craig Leon, first auditioned the band. Whisking them off across town to the leafy and gentile environs of St John’s Wood, they cut their debut album in Abbey Road’s infamous studio 2. But London was not their calling. They set off, touring Europe, gigging the major cities - Paris, Barcelona, Lisbon, Zurich, Berlin and Rome - and feverishly playing all the towns in between as if in search of another home. Returning from a show in Prague at the dead end of 2010 they got the call. “How about Christmas in Italy?” Well naturally. Wasn’t it here that the great English Romantic poets chose to winter? But this wasn’t to be a time of hibernation for the Cesarians. Though they had found a home away from the London snow, in the shadow of the Apennine, they also found a studio. And as England dozed, fed up with it’s bland seasonal faire, The Cesarians were cooking. The result: A blistering new five track EP that the moves from the brooding menace of “In Your House” to the orchestrated and opiated haze (and highs) of “I’m With God”. It screams and blasphemes with Clash like savagery in the anthemic “Worst Thing” then redeems it’s self sweetly with the sad melody of “School Yard” and the lonely poetry of “Questa è lei”. I don’t believe in God . . . but I do believe in The Cesarians.

[engl] Unless you are a monomaniacal specialist of the 80s, there is very little chance that Cha Cha Guitry will ring any bell. And yet this band, buried away in Saint-Etienne – at the very heart of France – could have rivalled easily with Elli & Jacno or Telex. Emblematic of that French touch which tinged new-wave with a bit of sunshine, their electro, retro-futuristic songs have that slight sweet and sour flavour between casualness and sophistication. The birth of Cha Cha Guitry in 1981 was a landmark for its members, Serge, Dominique, Charly and Marie. High-school friendships and love stories helping, it is in a most spontaneous way that these art lovers formed their band. Once their hippie phase was over, the guitar, sax and flute were abandoned in the closet while machines took over: an EMS AKS synth, a Roland SH101, a Roland TR808 rhythm-box. The two couples met in the congenial atmosphere of their “home studio” to record their songs. The boys composed and sang, the girls sang and designed minimal costumes, the elegance of which was enhanced by some DIY touches: no need for fabric, paper will perfectly do. As deceivingly offhanded stylists, the Cha Cha crew carefully crafted a music that was both studied and charmingly quirky, making collages of pop raw materials and avant-garde stuff. Scissors in hand, they took what they wanted from the Bauhaus, Moholy Nagy, or Sonia Delaunay’s dresses, taping these iconic bits onto the sounds of Kraftwerk and what remained of pop culture (comics, movies, songs of the 30s or easy listening). Cha Cha Guitry, wisely ingenious, modelled tropical landscapes out of cellophane, thus elaborating its own synthetic surrealism. We’ll offer as evidence the title “Les Yeux Ouverts sur les Beautés d’Aujourd’hui” (“Opening Our Eyes to the Beauties of Our Days”), borrowed from a handbook about mechanics. “We were aware of the beauties of the decade, both visual and aural. That was the spirit of Cha Cha. It was like living in an inspiring utopia: we were at the wheel of a bubble, driving at full speed through the 80s!!!” The adventure would not last more than a few years, just long enough to record two cassettes on Kronchtadt Tapes (a local label central to the underground scene that was more into punk) and give three concerts. “It was difficult to play our music on stage with studio synths, so we figured out a system in which the fifth member was a Revox. It throned among us on stage, playing the soundtrack as we sang live.” As isolated as they were in Saint-Etienne, they got nevertheless noticed by Alain Maneval who programmed them regularly on Europe 1, and they could even be heard on Radio Gay. So they went to Paris to meet a manager from Virgin, but they never got the luck, rare in those days, to release a vinyl. Their arty, pop style was also too DIY for Agnès B’s freshly opened shop: their second cassette, though wonderfully packed in a Plexiglas case resembling an icicle, was not to the brand’s taste. Serge has been living in the same flat since 1975 and never got rid of his synthesizer. The studio where Cha Cha would record its songs has not changed a bit. Everything has been kept, ordered, archived, from the piles of magnetic tapes to the hundreds of Polaroid shots. We are happy to offer you a selection of them.