Paul Régimbeau, aka Mondkopf, joins the Hands in the Dark ranks this Spring with a new album, ’How Deep Is Our Love?’
For more than a decade now the prolific Parisian producer hasn’t ceased to surprise us with his compositions, constantly treading new ground with artistic bravery and curiosity. At times extreme, at other times méditative and always complex, his music is never easy-access. In recent years his work has taken a clear turn towards a more ambient, intimate, less abrasive style.
Based on minimalist instrumental improvisations, ’How Deep Is Our Love?’ will become the soundtrack for the new film adaptation by Diana Vidrascu of the Kafkan play, 'The Silence of the Sirens'. Composed of four long, bright, poetic, contemplative pieces, which grab you by the heart strings and keep a tight grip until the very last note.
It’s an epic, grandiose album, which rings out with an unfathomable but extremely touching language.

Sophomore album by DRAGUNOV
credits
released January 31, 2020
DRAGUNOV is :
Sebastien - Guitars
Tristan - Drums
ARKHIPOV was recorded at Mastoïd Studio
Mixed and mastered by Raphaël Bovey at MyRoom Studio
license
all rights reserved

Monochromie is the musical project of Wilson Trouvé. Visual artist, self-taught pianist and composer, he has been releasing music since 2012 under the moniker Monochromie or his real name. As Monochromie, his music goes through various genres such as ambient, post-rock, electronic, experimental and cinematic music.
Beyond Frontiers differs from his previous record on Fluttery Records (Stained Glass). The album is greatly influenced by modern classical music. The opening track Permafrost is longer than 12 minutes, yet it is mesmerizing with the piano, strings running over ambient soundscapes.
We have asked Thomas Mathie (Weareallghosts, Echoes and Dust, Headphonaught) to write the rest of the press release. Here are his words on the album:
“It is always a treat to hear new music from Wilson Trouvé aka Monochromie. His music is simply magical. I say “simply” from the point of view of someone utterly bedazzled by his approach to composition & “magical” from a place of awe as I try to comprehend the expression he weaves with strings & piano, electronics & synths.
His latest album, “Beyond Frontiers” could easily be the soundtrack to some bleeding-edge film, it is breathtakingly beautiful & utterly beguiling … it captures eager attention & rewards repeated listens … it is a body of work that you will come back to, time & again. I know I have.
Take “Solstice (Parts 1 & 2)” for example, it is delightfully long piece that morphs from an deeply atmospheric electronic piece to something more melodic & refined with the introduction of layered guitar. That transition is expertly crafted and shows the skill of Trouvé as a craftsman, someone who knows how to create more than sound, someone who knows how to capture emotion & distill beauty into something simply magical.”
FLTTRY177
Release Date: December 06, 2019
© Fluttery Records

1992 album from the punk influenced French alternative rock act. The band's frontman is currently in the news for the alleged murder of his girlfriend actress Marie Trintignant. 12 tracks. Barclay.

Bridging the spaces between the Paris and Chicago scenes, Moving Cities brings together the best of both worlds. Initiated by French trumpet player Antoine Berjeaut and Chicago-based drummer/producer Makaya McCraven (along with a cast including bassist Junius Paul and saxophonist Julien Lourau), Moving Cities is emblematic of a new, utterly modern jazz going through a true aesthetic revolution. Moving Cities started as a live laboratory set up by Berjeaut and McCraven; it echoes the recent evolution of international metropolises constantly torn between individualism and collective endeavors, in a disrupted geography.
credits
releases December 6, 2019
Composed by Antoine Berjeaut & Makaya McCraven
Produced By Makaya McCraven
Antoine Berjeaut (Trumpet)
Makaya McCraven (Drums)
Julien Lourau (Sax)
Junius Paul (Bass)
Arnaud Roulin (Synth)
Guillaume Magne (Guitar)
Lorenzo Bianchi Hoesch (Live electronics, Fx)
Matt Gold (Guitar) #10, #12
Recorded & Mixed Live by Sebastien Miglianico at Musiques au Comptoir, Fontenay (FR), April 2017
except track #10 & #12 recorded & mixed by Anthony Gravino at Shirk Studio, Chicago (US) May 2017
Mastered by Antoine "Chab" Chabert at Chab Mastering, Paris
Artwork: Yann Bagot
(p) & (c) 2019 Musiques au Comptoir under exclusive licence to I See Colors

WRWTFWW Records is honored to announce the official reissue of super rare and fabled prog-rock/library/synth album L’Univers De La Mer by French composer Dominique Guiot. The full length release is sourced from original masters, available on vinyl LP for the first time since 1978 and housed in a 350g sleeve with a spellbinding artwork by surrealist sci-fi artist Jacques Wyrs. It it also available on CD and digital formats for the first time ever.
Written, composed and played by Dominique Guiot with his Mellotron, Minimoog, clavinet, organ, and guitar, L’Univers de la Mer draws its inspiration from deep sea exploration, oceanic creatures, and underwater kingdoms. The 12-track album navigates organically through diverse mutations of the prog-rock and synth kind, from scenic meditation pieces ("Wind Surf Ballad"), to medieval electronica ("Une Ballade Pour Une Goélette"), spacey smooth jazz ("Les Deux Poissons"), funked out fantasy folk ("L’Univers De La Mer"), or even incredible Sega Mega-CD vibes ("La Danse Des Méduses") - altogether painting a fascinating world of eerie magic and subaquatic sensuality. It’s escapism at its best with subtle overtones of Schicke Führs Fröhling, Mike Oldfield, and Claude Perraudin.
The sound of the album is brilliantly captured by its surreal cover art, the work of legendary artist Jacques Wyrs, whose memorable record sleeves include Klaus Schulze’s Picture Music, Eloy’s Floating, Ange’s Le Cimetière Des Arlequins, and the 1974 reissue of Larry Coryell’s Spaces.

There are moments in our lives
when birth and death intersect and engage in dialogue for a moment. Often, this is done in silence. La Féline decided to go the musical route.
Vie Future, the third album by musician and author Agnès Gayraud (she is just about to publish her recent philosophical essay Dialectic of Pop in English (Urbanomic, 2019), is a truly cosmic record. At once deep and airborne, like the musician herself, it is an opus concerned with the cycle of life – that arc in which the cosmos expresses itself in the physical world, and where worries about the present never stand in the way of joy.
The songwriting process began in February 2018, when Agnès’ stepfather was about to pass on, just as she was herself about to give birth. She just didn't know yet. And, feeling her way through it, she took her guitar, a few effect pedals and her iPad, and started writing songs in her Lyon studio. Songs that would tell her of her future, the melodies becoming like small oracles.
In the ensuing months, pregnancy succeeded mourning, the two woven closer together by the emerging music. Somewhere in the space between earthbound gravity and cosmic trip, coldwave and astral ballads, La Féline intelligently chronicles the interlocking "immense sadness and immense joy, a hopelessness that sidles up to a deep trust in the universe ».
Delving into the intimate in a manner reminiscent of the greatest French songwriters like Anne Sylvestre or Brigitte Fontaine, La Féline channels a sort of Laurie Anderson-like universe. This collusion is prodded along by Xavier Thiry production, who has been working with Agnès since 2008. Together, they paint La Féline’s sound using wide-screen reverb, space echoes and pitch effects, playfully juxtaposing synthesized sounds and string ensembles, peppering songs with noises from the worlds that make up the album's galaxy. The result is imbued with a cinematic glow, recalling science fiction akin to Pink Floyd's Set the Controls to the Heart of the Sun, Ray Bradbury's short stories, the cold exoticism of David Sylvian, and 2001: A Space Odyssey. In this case, however, the science fiction has already happened, the present we are going through already resembling unsettling dreams.
Vie Future is a contemporary record: it is the soundtrack of our unsound present. A survey of the anguish and joys that accompany the ecological and political disasters we are facing.
Just like the Jacques Tourneur film that inspired her nom de scène, La Féline seems struck by a curse and "begins to doubt this reality". With her shapeshifting, heavenly, powerful voice, she sings of the collapse of our beliefs and certainties. The impossibility of resurrection (Tant que tu respires, Où est passée ton âme); our planet's doomed future (Palmiers Sauvages, Depuis le ciel); but also, mankind's vulnerability, as we continue to fight for survival in a world we are at once responsible for and subject to (La terre entière), and her infinite love for her child, who she could visualize even before the birth (Vision de Dieu, and Voyage à Cythère, a track that samples her baby's heartbeat, captured during an ultrasound).
As a way of ending the trilogy that she had begun with Adieu L’Enfance (2014) and Triomphe (2018), Vie Future is full of ambitious, moving, future-forward pop that takes us to the edge — between dream and reality, present and future, disaster and comets. An album full of menace, surprise, and promise. Just like life.
Blandine Rinkel
An album full of menace, surprise, and promise. Just like life.
credits
released October 11, 2019
Written and composed by Agnès Gayraud, arranged by Agnès Gayraud & Xavier Thiry,
Produced by Xavier Thiry
Recorded by Benoît Bel @MikrokosmStudio
Mixed by Stéphane "Alf" Briat @BleepsStudio
Mastered by Sam John @PreciseMastering
Published by Schubert Music Publishing
P&C Kwaidan 2019

Olivia Louvel works at the intersection of creation and documentation, often taking existing texts as a point of departure. Following the tapestry of interwoven tales that was 'Data Regina' (2017), 'SculptOr' is her most geometric work, a suite of nine pieces, using the words of the sculptor to weave and create an aural edifice.
For a project inspired by British sculptor Barbara Hepworth, it is appropriate that hers should be the opening voice on the album. In ‘Use Your Own Body’ Hepworth’s voice is re-sculpted in the first moments until handing over her text to the voice of Louvel for the remainder of the compositions. The physicality of sculpture and concrète sound is present throughout the album.
Louvel’s practice is built upon a long-standing exploration of the voice, sung or spoken, and its manipulation through digital technology thus expanding the plastic dimension of voice. Working with the software AudioSculpt (IRCAM) Louvel is sculpting the voice directly on its graphical representation, applying principles of sculpture to Hepworth’s voice to manipulate its texture. As the infrastructure of the Pompidou centre was laid bare so Olivia’s scalpel exposes the shifting fabric and textures of the creative method.
credits
releases February 7, 2020
Composed, performed, produced and mixed by Olivia Louvel
Mix consulting, Paul Kendall
Mastering, Norscq
Design, Jesse Holborn
Studio facilities, Tin Foil Studio and DMSA, University of Brighton
PR: Ed Benndorf ed@dense.de
Thank you to the continued support from Sophie Bowness, trustee of the Hepworth Estate.
Thank you to DMSA, University of Brighton.

Elend’s purpose came into being at the beginning of the 90s, an ‘Office de Tenebres’, composed from a prayer of darkness. A prayer that in the Roman-Catholic liturgy is originally a cycle of 3 masses. These were called the ‘Lecons de Tenebres’ and performed during the last 3 holy days before Easter. The third part of the prayer is the darkest and the most desperate. Every one of the first three ELEND albums was one of these masses and the whole cycle led to a descent of extreme immense Elend (which the name comes from). The first album was dedicated to despair, the second much influenced by wilderness and power and the third by death.
Five years after the end of the 3 part Mass cycle, which peaked with ‘The Umbersun’ in the depths of extreme darkness, a new ELEND album appeared. ‘Wind devouring men’ broke the boundaries of the previous concepts for the first time.
Lyrically ‘Winds devouring men’ is based on a French poem describing an Odyssey (homecoming), combining personal themes with references to the classical poem and its variable new versions.
Musically ELEND have further developed without denying their roots. Bombastic sounds meet industrial noises and melodic strings. As well as leaning towards post romantic and ‘musique concrete’ (arising from the later music style like industrial). With ‘Winds devouring men’ ELEND present a piece able to evoke varying moods.

The health crisis in March 2020 forced the closure of the theatre and paralysed the development of this unique show at the crossroads of disciplines, which, up until then, was met with both critical and commercial success. In the following social isolation, Rone felt the need to come closer to his artist friends and to reshuffle his creations with their voices as the new beating heart. The only good thing bound to this pandemic is that they too, deprived of touring and slowed down in the productions of their upcoming albums, found themselves available to infuse their vocal and textual energy into Rone's recent laidback productions.

Eths是一个于1996年成立于法国马赛的metalcore/nu metal的5人乐队,五人中以女主唱Candice的死嗓最为突出,就目前而言可以说在法国这样一个不太有金属环境的地方他们算是相当具有代表性的一支乐队.乐队经常在街上演出或是参见法国甚至欧洲的各种巡演,紧张的歌词加上女主唱厚重的嗓音时而轻吟时而怒骂是乐队善于制造一种重而不健康的气氛.
本人是从一张合辑中发现他们这样一个当时不太知名的乐队的,但是从他们某些曲目的水平来说是绝对可以和某些大牌新金属乐队媲美的.(个人觉得有点像女版Coal Chamber)
这是乐队第三张专辑,法语维基百科上说这一张才是乐队真正意义上的专辑,而本人也亲眼所见这张专辑在法国音像店金属类音乐专柜的第一排摆了半年之久,这张专辑充分表现了乐队的成熟.