Various
Fulltime Factory Vol. 9

After NEF's album in 2019, Ici Bientôt is happy to present today the reissue of "Comme Au Moulin" by Nyssa Musique. Paris 1985... ‘Extra-European’ Traditions meet Jazz and Minimal Music. An unusual array of instruments turn music into a dialogue. For a unique record ... vivid, full of texture, somewhere between Midori Takada, Don Cherry and Jon Hassell.Beginning of the eighties, 5 musicians rehearse in a contemporary dance class hall, upstairs from the ‘’New Morning", renowned Music venue in Paris. Nyssa Musique is born. Passionate for a long time about traditional music, like those of the Middle East, India and East Asia, but also about African traditions, they throw a bridge between Jazz and ‘Extra-European’ traditions, resulting in what would be called "Spiritual Jazz" today, a little bit in the style of Don Cherry's Organic Music or Pharoah Sanders. With the notable difference, however, that their creations are strongly infused by contemporary classical and repetitive music, notably Steve Reich's work with whom they share a great interest for the traditional cultures of Southeast Asia, particularly Indonesia and its gamelans.In the original group we have Armand Amar, Ballet Music composer and John Boswell. Both specialists of traditional hand percussion which they had been studying for a long time in India and the Middle East, they are also very fond of synthesizers. Three other talented musicians quickly join them: Jean-François Roger, percussionist, marimba and vibraphone specialist, Henri Tournier, multi-flutist and Renaud Garcia-Fons, double bass player, who has a passion for the Middle East and has developed a virtuosic play of the bow, reminding that of Cecil Mc Bee.Each of them enriches the ensemble with their personality, originality and musical generosity. The rehearsal hall is rapidly invaded by the phenomenal instrumentarium put together by Armand Amar. A great opportunity for the musicians, for the dancers, to have access to an endless choice of instruments, offering infinite possibilities for mixing different colors and timbres. Their sense for being a group and their great capacity for improvising culminates, in 1986, in the composition of their first and only album Comme au Moulin (« As by the windmill"), testimony of years of creating without hidden agenda.Authentic, free and vibrant, still today, this album has no real equivalent. Even though it recalls the Fourth World current by its combination of traditional instruments with a subtle use of synthesizers, Comme au moulin gives more space to improvisation. It may also recall those of Midori Takada, less the New Age esthetics. An album that should delight as well lovers of "Love Supreme" by John Coltrane, of "Vernal Equinox" by Jon Hassell, as those of Moondog, an artist who, like them, invented a music based on the use of untypical percussions, at the confluence of 'Extra-European' traditions, Jazz and Classical, all together complex and hypnotic.

Greetings from the darkness. Tunnel Vision Records is delighted to introduce you this forgotten masterpiece. Lola V.Stain was a not so typical band formed in 1987 in Skopje, Republic of Macedonia. They took inspiration for the name from a Marguerite Duras novel.Their music can be described as avant-garde, electro-acoustic ambient with Macedonian ethno influence. They released two albums, Ikona (1990) and Mansarda (1992), both for the Croatian label “Blind Dog Records”. The group ceased work after its second album.This is an historical masterpiece from Europe. The music on this record is a great document of pre-war Yugoslavia as it was released on a Croatian label Blind Dog Records.The ethnic identities of four of the quintet's members might have been best described by the term Serbo-Croatian, an eventually discarded name for the mix of languages shared by much of what was once Yugoslavia.The founding member of the group was Zlatko Origjanski, who was born in Skopje in 1963. He formed the band Gospodinot Otiden in the mid-'80s and this is the ensemble that formed the roots of what would shortly become Lola V. Stain. The fifth member is what really gives this group a distinct identity. He is Pece Atanasovski, a traditional Macedonian bagpiper . Lola V. Stain creates a blend of traditional and modern instruments, throwing in everything that comes to mind. It is a totally unique concept. The combination of bagpipe and oboe is beautiful, and many of the percussion and electronic textures seem to foreshadow the post-rock movement that would come along a few years later.Although an obviously negative impression was created by the series of wars that followed the breakup of Yugoslavia, the involvement of a Croatian label in releasing Macedonian music was just typical of the kind of artistic cooperation between sections of the country that made the independent record scene successful. Of course, enjoyment of music is so much a matter of time and place ( and space ) , and perhaps no sensation could match the impact of hearing music like this in Sarajevo in 1990, only a matter of a year or more before a terrible war would split the country apart, making collaborative efforts between Serbians, Croatians, Bosnians, and Macedonians not impossible, but much more difficult. Yet there is plenty of majestical mystery residing in the grooves, and fans of world music fusions can keep this in mind anytime they want to embark on a quest for something next to impossible to find.

Turbulent synths ooze and oscillate, roaming like searchlight beacons across darkened shores. The experimental and idiosyncratic sound of duo Inkasso explores the feeling of being cast adrift in disorientating, mechanical worlds. In the studio, the pair jam with drills, string instruments, field recordings and everyday objects to create a hypnotic cacophony. Hear the penny drop on ‘Asso,’ chains rattle on ‘Träume aus Draht;’ the junglist murk of ‘Tag der Imker,’ and the sharp, crystalline beat of ‘Punkervirtel.’ Inkasso invites you to get lost in the uncanny spaces between dub, drone and techno; static introspection and the primal desire to dance.