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Imagine Prometheus, the thief of fire, the father of civilisation, had been spellbound by the sirens chanting and never felt pain, when the eagle bit his liver. Total enchantment, created by sound to overcome the pain of existence. A sound, styled by the ideal harmony of body and soul. And yet, the pain is still there, hidden between the notes, driving a romantic vision of salvation.

If Prometheus could have translated his fictitious epiphany into singing, it might sound like Ghédalia Tazartès’s chanting in “White Layers Over Black Paper”, one of the eight snake dance tracks-not-tracks by German producer Detlef Weinrich aka Tolouse Low Trax and French singer, hurdy-gurdy, spinet and harp player Emmanuelle Parrenin. During some days of intimate plays in Paris they created “Jours de Grève”, a bouquet of music full of mirrors, eyes, statues, secret doors, rooms, and blood. With the offhanded help by friends and like-minded souls like Versatile aura mystic Gilbert Cohen, French avant-garde saxophone player Quentin Rollet and his fellow countryman, experimental voice artist Ghédalia Tazartès, they transformed in Cohen’s studio impulsive emotions into a kind of medieval cult sound that dances with tribal dub layers in search for a higher ground.

The session took place during an intensive time of public strikes in the French capital, that tied up the public life of Paris and gave birth to the album’s title “Jours de Grève”. After the jam, Weinrich drove back to his old hometown Düsseldorf, sat down with his friend Jan Schulte aka Wolf Müller and mixed the captured notes, sounds, rhythms and singings into pristine tripping music, that avoids stylistic categorisations. As rather architecture, sculpture, painting, performing or film could express what Parrenin’s hypnotic hurdy-gurdy performances, Tazartès’s ancient deeply emotive ululations, Rollet’s almost religious saxophone notes and Weinrich’s toting grooves evoke in the psyche, it might be better to go back to Prometheus and the fire, that brought us light and warmth. “Jours de Grève” does too.

And it is a stolen one. A borrowed one. Affected by art and life outside of sound. Lent from a forgotten monument in a random city around the world. Swayed by an afternoon glass of wine in a Parisian street café. Affected by music of all ages. Unconsciously developed in the spirit of Philippe Doray and Les Asociaux Associés, Théâtre du Chêne Noir d'Avignon or Areski Belkacem’s collaborations with Brigitte Fontaine. Above all Emmanuelle Parrenin extramundane voice swings, mutating between speech and chant, while Ghédalia Tazartès mourns like a wise illusionist. In tunes like “Caltec’s Dance” you even feel the airiness of early Fun Boy Three recordings. All that is rooted on Weinrich’s Tolouse Low Trax magnetic signature grooves, this time floating between dark tribal upbeat sexiness and dubbed-down bass sculpturalism.

If it is true that illuminating music stirs by its mysterious resemblance to the objects and feelings which motivated it, then “Jours de Grève” is an in impulse composed primitive state of rhizomatic paranormal psychic phenomenon, that incorporates all the worlds, that the naked eye cannot see.
Michael Leuffen 

Credits:
Depuis longtemps me trottait dans la tête l’idée de faire un disque avec l’immense Emmanuelle Parrenin, égérie folk française des 70’s qui n’a jamais arrêté de polir son âme.

Une voix du fond des âges,des gazouilis qui n’appartienent qu’à elle, et le don précieux de faire parler la vielle à roue, cet ancêtre moyenâgeux du drone.

L’idée de l’associer au sorcier minimaliste de Düsseldorf, Detlef Weinrich (aka Tolouse Low Trax) s’imposait, tant leurs univers me semblaient étrangement converger.

Le disque fut enregistré dans les studios parisiens de Versatile, pendant la semaine de grèves de 2019: Une session en “lockdown” avec des invités exceptionnels: le saxophoniste français free-jazz ,Quentin Rollet et l’iconoclaste Ghédalia Tazartès au chant. Avoir ces 2 artistes ensemble dans le studio restera un souvenir inédit Bien qu’à un âge avançé, ils ont gardé leur âme d’enfant intacte et ont cette capacité de toucher au plus profond de nous-même. C’est enfin Jan Schulte/Wolf Müller (échappé comme Detlef du Salon des Amateurs de Düsseldorf) qui mixera cet disque, devenu oeuvre  de transmission générationnelle. 

Gilbert Cohen

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Μaster harpist Maria-Christina Harper and lute player Υiagos Hairetis create an original duo that combines the contemporary music scene of London with the musical tradition of Crete. "Draft" is the debut album of the Hairetis Harper project.

The album was written a year after their initial musical acquaintance when their improvisations took the form of complete tracks. The album was recorded at Suono Studio by Coti K. who also did the mastering and at the Music Art Lab by Nikos Asimakis.

In the seven tracks of the album, the two musicians combine masterfully the sounds of the two instruments and their musical influences, approaching the Cretan tradition in many ways and creating their own distinct sound.

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"Road to Knowhere is inspired by bits and pieces of Ethio-Jazz, Afrobeat, Highlife Spiritual Jazz and dusty funk 45’s. It’s what has kept this mortal vehicle fueled. I tend to take different paths each musical outing but this one is for the long haul, the one for the blue highways and forgotten byways. It’s the one to get lost to. It’s about the journey, not the destination… [If Road to Knowhere was about the long haul, TG’s new album Sunshine Radio is all about cruising on, dropping the top, and taking in a bit of fresh air]. Sunshine Radio hopes to spark a bit of joy as well as a moment to reflect and consider the fires of the world. Take a sonic respite from the endless noise.” – TG 

Credits:
TG // GUITAR // BASS // KEYS // DRUMS // PERCUSSION
MATT RODRIGUEZ // CONGAS // BONGOS
CHUCK TREECE // DRUMS ON "RISE OF THE EARTH PEOPLE"
RECORDED AT HOME 2019/2020
MIXED BY MONTE VALLIER
MASTERED BY MIKE WELLS
ART BY BRIAN BARNECLO
LEGAL BY AL EVERS / LABEL: TOO GOOD / DISTRO BY A TRAIN ENTERTAINMENT

FO TRAQUES ANA MUNKEY MUSIC (BMI)

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The fourth album for the Lisbon based band and their second on Ghost Box following on from The Invisible World of Beautify Junkyards in 2018. Cosmorama is a beautifully crafted and lavishly produced adventure into tropicalia tinged psychedelic dream pop. Like a hallucinogenic fusion of Os Mutantes and Broadcast. Music that’s deeply influenced by Portuguese and Brazilian vocal traditions; gauzy layers of male and female vocals shift dreamlike against a backdrop of masterly acoustic musicianship, complex percussion and haunted electronics making this album perfectly at home in the world of Ghost Box records.

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Viennese artist Conny Frischauf’s music is a whirl of Kraut, leftfield electronica and synth pop. She playfully shines a new light on on tradition to create a fresh, contemporary sound. Having released a brace of EPs – Effekt & Emotion“ (International Major Label, 2018) and Affekt & Tradition“ (Kame House, 2019) – Frischauf now presents her debut album, Die Drift.