Les Ya Toupas du Zaire
Les Ya Toupas du Zaïre

At the turn of the 90s, Philippe Cohen Solal, then musical director for Virgin, becomes one of the first music supervisor in France and works on film scores by Arnaud Desplechin, Nikita Mikhalkov, Lars von Trier, Bertrand Tavernier or Kieslowski, then later composes for Tonie Marshall, Christian Vincent and Didier Le Pêcheur. He meets the very young composer and arranger Christophe Chassol with whom he will sign early 2000 soundtracks, during these sessions they create together the soundtrack of an imaginary film where music would be our spiritual food.The majority of themes are composed by Philippe with his musical partner at the time Christoph H. Mueller before they formed the Gotan Project. Unveiled here for the first time, this album pays tribute to the art of soundtracks, inspired by the world of sophisticated arrangements by Michel Legrand, Henry Mancini, Lalo Schifrin and so many others. Add a touch of folk jazz with the singers Nivo and Gabriela Arnon and the voice of the brilliant Welshman, leader of Scritti Politti, Green Gartside.

CCR003 - UK - 2021 - Livre + Vinyl.Clap City Records, an East London based label specialising in giving new life to rare records, have reissued David Durrah’s ‘Venus Fly Trap’ single for the first time since 1975. ‘Kai’, a sultry Rhodes laced track, will feature on the B-side.A 44-page zine accompanies this 7″ – an exploration into the life and musical development of revered composer and musician, David Durrah. Ranging from Durrah’s early life in Cleveland and meeting with Doug Hammond, to the events that led to the duo’s Reflections In The Sea Of Nurnen sessions, later issued on Tribe, this zine features information that has never before been published, built from hours of interviews with the man himself, displaying photographs taken from Durrah’s personal family photo albums. In addition, a ​short film​ has been created illustrating the events that led to the creation of Reflections In The Sea Of Nurnen.The track has been re-mastered and cut by Grammy nominated audio experts at The Carvery, London

'Music For Theatre And Dance – Volume Two' is the second in a small series of EPs that will focus on music which was initially created for or inspired by dance and performance. Created as a dialogue with the avant-garde and highly experimental work in dance, theatre and art evolving at the time, the music was in turn at times greatly innovative.That it was created for a dance or performance though means that such music was also often highly rhythmic and a number of pieces from this time stand out and seem greatly deserving of a new context.Whether it's more ambient or atmospheric works or whether it's in the more rhythmic or percussive pieces, Music From Memory brings together another selection of tracks that aims to highlight this highly innovative direction in music.

Le temps lent by Enfant MagiqueSlowing down time with Eric GingrasThe simple acoustic guitar plucks out a lulling back-and-forth, accompanying a voice that seems to arrive from another, far-off era. Elsewhere, the guitar moves around in the background, repetitive and drawn-out. But here, alone, it takes the time to find its rightful place, much like the deceptive simplicity of a hand-made quilt. This humbly whimsical patchwork seeks out form, succeeds, and is reunited with the voice. Articulate and elastic, it sometimes crisscrosses, sometimes circumnavigates this landscape of song both subtle and rich. Its clear lines of flight point to a remote village and its recent arrivals, a motley crew of hybrid things and beings: woolly sheep, beat-up robots, small synthetic drums, minimalist jaw harps, obsessive alarms, light footsteps on a gravel path, a few propellers, many layers of slow time.The sea’s waves break against this shoreline where our mutant from the 1970s seems to have washed up. He isn’t looking for a fight, and he isn’t looking to show off. However, as the custodian of utopian leftovers from an open agreement between artifice and artful making, he is clever and skillful in a thousand and one little ways. His voice is stubbornly discreet, but also able to take flight, carrying with it words devoid of preciosity and over-categorization. This is a voice that prefers attention to affectation. Bresson-like, it knows how to recount when recounting is needed, articulating both quivering fatigue and deep doubt.Joined now by others, the mutant feels supported, loved. He withdraws, and an assertive, childlike voice moves into the foreground. The mutant accompanies, discreet but fully present. And what better medium for this finely woven poetry and play of childhood’s expression, both clumsy and bold.- Anne Lardeux (translated from French by Simon Brown)