New single: Vanessa Wagner “Inverness” [Suzanne Ciani]
After Inland (2019), the French pianist continues her exploration of the post minimalist repertoire at the edge of several styles, between Brian Eno, Suzanne Ciani, Nico Mulhy or Caroline Shaw. An invitation to an introspective and luminous journey, where the tone of the acoustic piano resonates with purity and sensuality.
“My encounter with the post-minimal repertoire has opened up paths that I am determined to continue to explore. After Statea in collaboration with Murcof, then Inland as a solo piano, I wanted to explore again this world so little frequented. This new album, recorded during the second lockdown when all the rooms were closed, tells a lot about the loneliness and heightened emotionality of that moment, through rare pieces with intimate and powerful atmospheres.”
“Inverness” cover is a work by visual artist Laurent Pernot who is currently exhibiting in Paris, Galerie Marguo
Photo: Caroline Doutre
Pre-order: Léonie Pernet new album ‘Le Cirque de Consolation’
The sought after whirlwind of French Pop that exploded onto the scene with her debut ‘Crave’, Leonie Pernet, returns with her second album, ‘Le Cirque de Consolation’, a sort of double negative of her first. While the yearning that sat at the center of ‘Crave’ might not have been resolved, the young multi-instrumentalist and singer has found a new perspective – a more open and positive outlook on her own life and work. Perhaps telling, then, that the title was the first element of the album to exist: as it is and has always been a journey of personal (and collective) consolation first, a musical confrontation with the self.
“This record parallels my life’s journey,” confirms Leonie, “it reflects what has happened in my life since ‘Crave’ came out and how I feel today. There’s still a lot of melancholy, but a lot more sunshine and light.” “I’ve worked a lot on my voice, which is a part of a desire to speak, to address my audience more directly, and also a more pronounced pop desire.”
In line with her new-found ‘openness’, Leonie invites another musician into her creative process for the first time on ‘Le Cirque de Consolation“: Jean Sylvain le Gouic, who lended his coproduction and perspective to her, while Leonie still plays almost all instruments herself with an astounding prowess.
Leonie’s voice oozes with a new-found self-confidence and takes center stage amidst eclectic, distinctively fun and open-minded production. Sometimes she sings in English, mostly in French: “I worked a lot on my voice,” confirms Leonie, “I didn’t dare to sing before, neither live, nor on record, nor in the studio.“ Surrounding her astounding, intoxicating voice are forays into any direction imaginable: from harsh, experimental electronics to the more somber, organic and quiet moments — and everywhere, there is the vision of Africa, (also Middle East) it’s many sonic gifts and cultures.
Leonie has found a universal utopia that she craves for – a musical, cultural amalgamation that is decidedly non-western, political and poetic, rooted in self- discovery and the connection with other humans: African and oriental percussion, synthesizers, drum- machines; Léonie mixes genres and instruments with ease and precision. The French novelist and philosopher Édouard Glissant – whose work and writing had a big influence on Pernet – coined the term ‘Creolization’, the “bringing together of several cultures or at least several elements of distinct cultures, in one part of the world, resulting in new data, totally unpredictable in relation to the sum or the simple synthesis of these elements.
From “Hard Billy”, a techno-influenced rebellious anthem, to “Les Chants de Maldoror”, a club and dance song propelled forward by feverish derboukas, to the deeply moving “A rebours” and its Afro-electronic rock. Leonie Pernet inhabits a world where borders dissolve and everyone makes their own unique and singular utopia. Hereby, the record questions the links between pop music, African cultures and electronic music (“Intérieur Négro”), neo-classical music (Le Cirque de consolation, Dandelion), or the place of the voice, whether human or synthetic as in the atmospheric “Vowel”.
Out November 19, 2021 on InFiné & CryBaby – Vinyl, CD, digital album
New video: Léonie Pernet ‘Hard Billy’ by Jean-Gabriel Périot
Hard Billy is a hymn to life and to our struggles
Hard Billy is a hymn to “diversality”
Hard Billy, the fragile heart of a beating world
“Hard Billy” is a fiery preview of Leonie Pernet’s next album ‘Le Cirque de Consolation’. The artist’s voice now takes center stage with a new-found confidence. She repeats a hypnotic mantra over the distortions of a thundering drum and disseminates a delicious apocalyptic note on this first single. In the video that accompanies the track, images of masked dancers from Burkina Faso, Mali, Togo and the Ivory Coast are matched to the rapid rhythm of the drums, layering a rebellious and almost mystical feel to overflowing energy of the celebrations.
New video directed by Jean-Gabriel Périot
Born in France in 1974, Jean-Gabriel Périot has directed several short films on the border between documentary, experimental and fiction. He develops his own style of editing which questions violence and history from film and photographic archives. His films have won awards in numerous festivals around the world. A German Youth opened at the 2015 Berlinale (Panorama) and was awarded many times. Summer Lights premiered at the San Sebastian film festival. Our Defeats, his last feature documentary, was presented at the Forum during the 2019 edition of the Berlinale.
InFiné 15 ans – Line-up!
For 15 years already, InFiné has operated as a safe haven for diversity and musical innovation.
A groups of music activists, proud of their independence and the label’s motto “easy music for the hard to please”, InFiné accompanies innovative artists from diverse geographical and cultural backgrounds, sharing common values around the defence of sustainable music.
With Deena Abdelwahed, Gaspar Claus, Léonie Pernet, Vanessa Wagner, Rone, Sabrina Bellaouel, Mischa Blanos, Toh Imago, Aārp, Basile3, UTO, O’o, Cindy Pooch, Seb Martel & more to come
Join us to celebrate these first fifteen years on the 13th & 14th November during a weekend of festivities, concerts and meetings at the Centquatre-Paris.
New video: Sabrina Bellaouel “Solar Return” by Jacqueline De Gorter
“Solar Return” is an intimate and powerful performance by Sabrina Bellaouel, taken from her critically acclaimed Libra EP on InFiné. The stripped back song featuring only the piano, Sabrina’s voice and a recorded telephone message, now gets an equally minimal and enticing video directed by Jaqueline De Gorter. As with all things Sabrina Bellaouel, there are hidden messages about spirituality and self to be discovered everywhere, both in the musical arrangements, the lyrics and visuals.
Directed by Jacqueline De Gorter
Produced by Allumette
Art director – Kellia
05.09.21 – PARIS – Peacock Festival
19.09.21 – NIORT – Nouvelle(s) Scène(s) Festival
New video & remixes: Secret of Elements ‘Cassini’
Cécile Friedmann aka Chill Okubo and Secret of Elements guide us on a transcendental trip in the new video to “Cassini”
Seemingly unconnected everyday images become increasingly unfamiliar and eery when connected by the thread of Pätzold’s music. Further and further we travel outward, looking upon humanity’s place on earth as if we are onboard the “Cassini“, the titular space probe, connecting the mundane and the wonderful, humanity, nature and the wonder of life itself.
Meanwhile, Cassini EP compiles new versions and remix of established artists of the European electronic scene and exciting newcomers take on the track. InFiné’s own Almeeva hands in two remixes, one dance floor focussed, one spaced out remix as Kabbel, while Denovali member SaffronKeira sends us on a sci-fi trip on his version. Newcomer Koyil from Russia “spins the source material out into a kosmische mission.” (from Inverted Audio).
Behind the Scenes: Sabrina Bellaouel & Sarah Al Atassi talk about “Arab Liquor” video
© La Main Productions
Sabrina, Sarah, in the video to Sabrina’s song “Arab Liquor” that you both worked on together, we can see numerous nods to Matrix-influenced sci-fi. In the Matrix, it is revealed that the life we think we know is actually based on codes written by those in control. Are the both of you, in your respective art forms, trying to rewrite those codes?
Sabrina: One hundred percent. That reference has many levels. First off: I am a huge fan of the Matrix, all of the movies – right down to the anime spin-off. Secondly, I also am a coder, and in the movies, there is this theme of being „awakened“: There is a program, an entity controlling everything, but you have the ability to unplug yourself from it once you have awoken. That idea feels incredibly real to me.
Sarah: For me, creation is visceral in nature since art is essential to humankind. It goes beyond everything, starting with our very existence on earth and all the codes – of virtue or vice – built by humans over time to condition it. And as an artist, I cannot create but by inscribing my work within my actual condition. My projects are based on concrete issues directly connected with the system that governs our civilized societies. This is how I proceeded to get into “Arab Liquor”. As for my other works, I first approached the collaboration with Sabrina by taking into account these codes of social reality but considering them in relation to the personal intention she wanted to share through this music video dear to her heart. When I grasp the essence of her own desire with a conscious distance freed from mundane shackles, I fully immersed myself in it too, and instantly began my reflexion on filmmaking taking care to take a step back – or rather forward! – from these regressive codes to honor Sabrina’s message as faithfully as possible (designing, among other directing considerations, the aesthetic universe of the video in line with her retro-futuristic and favorably progressive vision).
More broadly, I would say that I try to act without focusing on the obstacles but rather on the possible virtues. Whoever is in command of authority, I like to question the moral sense of the limits set by law, especially through my work as a filmmaker. And this is precisely such an approach that allows my life journey to free itself from predefined and imposed codes which are, to say the least, toxic towards the equality of rights between wo·men.
How did you end up working these themes into the video that we can see today?
Sabrina: The video is a fairytale of a futuristic club where Arabic women like ourselves are free to enjoy themselves, our culture. We wanted to portray a different type of awakened women.
Sarah: I worked out the story following Sabrina’s editorial line and wrote the plot like a movie script as a point of encounter between Arab traditions and an otherwise modern, even anticipatory, perspective. I wanted to place this contemporary observation in the direct continuity of the ever-changing oriental history and culture. By focusing primarily on the emancipation of women in all their diversity. In my opinion, women of Arab origin, whether Muslim or not, are first and foremost human beings who should unconditionally enjoy the same rights as any man. The imaginary “Arab Liquor” nightclub thus represents a proposal for feminine freedom designed to give pride of place to entertainment in complete privacy. A shisha only reserved for women in favor of their emancipation. Where the laws of the virilist harem version have given way to those of the female hammam. Long live Girl Power!
The world of the “Arab Liquor” video for you two is a vision of a possible utopia, then?
Sabrina: Yes, maybe. Because we are trying to break the codes, we are trying to create a new program. We all know the codes of the club: alcohol, dancing, drugs, lights. But the girls with me in the video are my tribe, my sisters, and we are living our future.
Sarah: I wanted to create an unreal but welcoming space: A safe place of leisure that every woman could identify with, beyond time, geography and any restriction of freedoms. To design such a haven of peace, I worked on the representation of inter-feminine solidarity and kindness that Arab female communities come to seek when they meet in the hammam, this cosy and intimate cocoon. By using warm colors and a vaporous atmosphere, I wanted to show how body care is the basis of healthy soul. The veil of smoke that immerses the party girls in a soothing cloud thus symbolizes their modesty and signs their desire to preserve self-privacy. In this sense, the video aims to thwart the clichés of domination linked to patriarchy so as to stage a chic pajamas party in the Matrix atmosphere style but in an oriental way in which sorority rhymes with equality and where women make themselves beautiful for none other than themselves.
The video is packed with those details and codes, some that are obvious and others that are only recognized if you know what they are referring to. How did you get those details right?
Sabrina: We carefully selected the brilliant people working with us. The styling was done by Leila Nour Johnson, a young French-Afghani designer. She’s a boss, on point. The clothes she designed for us are traditionally men’s clothes from the region around Afghanistan, the Salwar Kamiz, and she turned them into women’s clothes. She worked with fine materials like silk, material that is close to the body yet flowing. They are sensual clothes, not sexual clothes.
The long coat I wear, a mix of denim and a Djellaba, a tradition North-African dress, was made by Algerian designers (Pickloz brand) and is also such a clever mix of the traditional and the futuristic.
Not to mention the stunning jewelry.
Sabrina: Exactly. The original and unique creations jewelry were made by Berberism, also from Algeria, Kabylia: she mixes her own, new design with old materials, items and symbols. I wanted to very clearly represent the cultures we are representing. I wanted everyone to know. But I also wanted them to know that we are not only representing those cultures.
We also just wanted to shout out some of those young designers creating exciting these new visions. We wanted to make a point of awakened sisters supporting each other, working together, starting something together.
Sarah: Like Sabrina, I’m more than proud to work with diversity artists and, for Arab Liquor, I did not hesitate for a single second to bring together the precious team that has been involved with me since „Fist“ („Prends mon poing“ in French), my first meaningful movie released in 2017. So now I see the quality of a successful collaboration essentially based on the skills, more authentic than purely technical, that each contributor invests in the creation of such a collective work. My dear post managers such as (to name a few of them), DOP, script supervisor, costume supervisor, makeup artist and head decorator are all powerful women! On the „Arab Liquor“ set, the team was consequently made up with a majority of women of over 80%. As a direct consequence, I owe the professional legitimacy of my work as a filmmaker in part to the loyalty and talent of my core female team!
Sarah, I would like to know more about some of the specific symbols and practices of the harem in the video like lokums, incense, shisha. What was your twist on how they are represented?
Sarah: Although I am of French nationality, I grew up with a lush mixed cultural heritage due to the French-Syrian union of my parents (my father left his native Middle East territory at the age of 21, bringing with him a baggage full of faith and history which clearly influenced the education he passed on to my brothers and me). And as an independent, queer, and punk artist, I wanted to revisit the codes inherent in my father’s culture in order to adapt them to my openly inspired personality but nevertheless marginal compared to certain traditions associated with Arab woman figure. That’s why I transposed the customs you mention through an offbeat aesthetic, tailor-made to match the futuristic DNA of Sabrina’s vision. Among other works, I was inspired by the visual aesthetic of Nicolas Winding Refn’s cinema, which gives the narrative background a dimension outside of space-time.
So Sabrina, it sounds like you had a moment of awakening like Neo did in the Matrix in your own life.
Sabrina: I actually did. It came right after I started studying astrology, which opened up a new kind of metaphysical thinking for me. I found out about eternity – that the end of our physical bodies is not the end of our lives. That gave me a new perspective, a new sense of faith.
I have my own philosophy, one that transcends all religions that I have encountered. There is a uniting philosophy, an order to the universe of god. Or, if you will, a code. And maybe like in the Matrix, our life is a series of tests, and when you pass them, you get to move on, to unplug. In order to succeed, you have to learn. If you don’t, you try again.
And your mission in life, now that you have awakened, is the journey of music?
Sabrina: Exactly, and it’s about my influence on others, on following generations or even on young girls. Of course, I have to question my message before sending it out, and that’s what we did with this video. I wanted to positively influence others to listen to their own voices, to find their own truth. You can create your own program that a lot of people can subscribe to
Sarah, I know that you had a moment of awakening yourself – the moment you decided to work as an independent film maker. Can you tell us more about it and how has that moment led you to creating this video?
Sarah: When Sabrina and her label formalized my participation in the “Arab liquor” adventure, I was delighted and even more stimulated by this collaboration given the position of Sabrina, aware and resonant, towards the rights and social issues of women today, especially those from an Arab background (whether Muslim or not) who ended up assimilating Western values alongside their native north African or Middle-Eastern culture. As a self-taught filmmaker, I made myself on my own.
To answer more precisely, I would say that I gained self-confidence in early 2018, when the quality of my work was praised by the cinema industry (via the selection in official competition of “FIST”, my first funded movie project, in the prestigious Clermont-Ferrand short film festival).
Consequently, how much of your own empowerment do we see in “Arab Liquor”?
Sarah: Since I seized the right to express myself on the same basis as other male directors in this competitive sector, I fully assumed my vision of art and deployed my personal style unconditionally! Using cinema as a militant duty to speak about unusual — but nevertheless major — themes through a striking and openly hybrid signature. This same intention guided my work on “Arab Liquor” as well. I drew my inspiration from Sabrina’s will as an opportunity to highlight women empowerment by enhancing their authentic and sensitive strength. On a personal level, I came out stronger after this unique (and epic!) experience made of the collective passion and conviction.
Sabrina has spoken about an evolution from her Muslim upbringing to a personal awakening and a new sense of religious self. Is that something you can identify with yourself? Is that aspect of your life visible in the video you created together?
Sarah: Coming from a poor neighborhood in the south east of France, my mother has modest and mixed roots (her blood being more Italian than French), as for my father’s origins which were just as disadvantaged to him. Like a cliché of the foreigner who immigrated to Europe for higher studies but quickly aborted his life plan because of his precarious situation unsuited to his aspirations. I grew up accordingly, in the middle of the countryside, a conservative region near Tours. When I was young, it was not easy for me to assimilate the deep and shining meaning of my fatherly origins. It’s not so much that I didn’t see their value, but rather that I barely accepted them… Not easy to build yourself in a pro-white and narrow-minded environment regarding foreign cultures (failing to speak of “immigration”, especially Arab immigration from Middle East). But today, I am proud of the values my father passed on to me, including those in line with his faith in Islam. My atheism of yesteryear has turned into a spirituality dear to my life and art journey. A dimension that goes beyond everything and without which I could not have braved so many obstacles. So I hope that the faith I invest in my work is perceptible by sensitive souls, whether they share it or not. In conclusion, “Arab Liquor” has definitely left a significant mark on my committed career. I’m grateful for this. May this vivid and vibrant video find its audience in peace and love!
Pre-order Gaspar Claus’ solo debut album ‘Tancade’
Photos: Lucie Rimey Meille
Artwork & design: Motoplastic
Following on from his previous soundtrack work and a wealth of collaborations (The National/Bryce Dessner, Sufjan Stevens, Jim O’Rourke), Gaspar Claus brings forth a collection of pieces which free the cello from its own limitations. Majestic and adventurous, stormy and radiant, dreamy and rigorous, Tancade defies categorisation, evoking chamber music suspended in the fourth dimension, the soundtrack of an experimental film or the strange folk music of an undiscovered tribe.
The LP/CD versions include a beautiful unpublished booklet print by Studio Fidèle, featuring stunning pictures by Lucie Rimey Meille shot in Tancade.
Until the album is released in September, you can watch “Une Foule” video, ‘Adrienne OST’ and Gaspar Claus’ previous releases on all platforms.
“For me, each record, each piece of music draws a landscape, or a territory that is often both real and symbolic. The album is a tribute to this off-grid location, and to the friends with whom I have often shared it. Like these friends, ‘Tancade’ has the ability to soothe, even just by thinking about it when far away.”
To be released September 10, 2021 on InFiné & Les Disques du Festival permanent.
New “Cassini” reworks by Secret of Elements, Almeeva, Kabbel…
“Cassini”, was the first single off of Secret of Elements’ critically acclaimed new album ‘Chronos’ and is arguably the center piece of the record, written by Johann Pätzold during the great conjunction of Jupiter and Saturn as his personal life turned upside down. „Cassini“ is the name of an Italian space probe – the man-made object that traveled closest to Saturn before burning up in its atmosphere. Pätzold’s writing mirrors the grandiose scale of its story: strings floating eerily in space, following the probes lonely journey, then leading into a fiery, almost self-destructive finale that dwarfs everything that came before it.
Pätzold himself delivers two new versions of the song, a rework and a beatless version, and is joined by a string of diverse and exciting guests. French InFiné family member Almeeva is the first to set out on his mission, turning Pätzold’s strings into glimmering pads that lay the foundation for a Detroit-ish, Drexcyian electro piece. Between shuffling drum machines and wide-open spaces, a rough yet melodic bassline unfurls and guides the listener on their way to Saturn.
Like its space travel inspiration, the Cassini EP crosses borders and unites musicians from different parts of the globe: Koyil from Russia delivers a psychedelic, organic groover of a remix that is firmly rooted in Krautrock. Sounding more like a full band jamming than a single remixer in his studio, he creates a warm, dubby trip hop beat around Cassini’s melodies and pads that shows how diverse interpretations of source material can be.
Sardinian SaffronKeira – usually at home on renowned German label Denovali – leans in fully into the sci-fi theme, using the original’s melody to create an electronic symphony that sounds positively digital and futuristic while never losing sight of the human core of the piece.
Kabbel ́s remix is cinematic, epic and vast. Distant choir voices join the ever-rising arpeggios and strings, leading the listener into the final moments of the space probe Cassini – before our minds eye, we can picture the grandiose finish to an epic journey.
Arandel releases the second volume of ‘InBach’
“There is a Bach for everyone” Arandel says, “and that discovery is what led me here, to InBach”. Beneath the intricate history, the godlike adoration placed upon Bach, he was a playful musician, an eclectic one even. And so, a full year after the release of the first InBach record on InFiné, there is enough material to make a second one. “There is so much about Bach I didn’t even know when making the first one – but after the release, people kept coming to me, telling me about certain pieces I should listen to or rework; songs that I had never even heard of.”
The second InBach grew like a garden from the seeds of the first one – an eclectic journey through melodic fantasies, intricate sound design and a certain Pop silver lining. Some tracks were born out of Arandel’s band performing on stage, experimenting with the songs live and composing them anew, like “Nos Contours“, a new, French-lyrics version of “Bodyline“ with Ornette, Arandel’s stage partner.
“Doxa Notes” is a reinterpretation of “Aux Vaisseaux”, which was already a reinterpretation of Bach’s 14 Canons On The Goldberg Ground, BWV 1087, now featuring Myra Davies of Gudrun Gut’s label Moabit Musik. “The album naturally evolved out of the work on the first one, the con- nections I made with Bach’s music and the connections that listeners made with him through me. I was a longtime fan of Myra’s work, and when we connected for InBach vol. 2, we spent hours on a video call, talking about everything from the relation between quantum physics and metaphysics, our lives and Bach’s music” .
InBach vol. 2 is a logical consequence then, of someone diving into a pool of music and history so large that it is being chronicled to this day. A substantial part of the instruments used on the lofty, eclectic album were recorded at the Musée de la Musique Paris: rare instruments like the Erard square piano, ondioline, Zach’s cello, Stroh violins. They help shape the unique sound of Arandel’s InBach project: sometimes eerily familiar, always otherworldly and elusive.
In the vein of rare instruments, the first guest musician Arandel approached for InBach was Thomas Bloch, who lends his gift to four tracks over the two albums, playing the ondes Martenot, one of the first elec- tronic musical instruments ever invented. “He said yes right away, which was a pleasant surprise, considering he has worked with so many major artists in his career” (Radiohead, Gorillaz, Marianne Faithful, Tom Waits, Daft Punk etc).
The record travels between styles, ideas and moods elegantly – it is a distinctly fun and personal album. Freeing himself from the weighty shackles of expectation surrounding the classical maestro, Arandel goes for the core of every Bach piece he tackles, making them his own: on
“Octobre”, based on Air On G-String, from Orchestral Suite No. 3 D-dur, BWV 1068, his nephew tells a dreamlike story of an ominous gang of children, literally blossoming in the mud. “Fabula” – featuring the French singer Scalde – based on the melancholic, Christian lament Meine Seele wartet auf den Herrn, be- comes a grandiose, auto-tuned pop ballad on InBach vol. 2, featuring the virtuoso cello of fellow InFiné associate Gaspar Claus.
After the release to the first album, InBach collaborator and organist Sébastien Roué told Arandel about the Capriccio Sopra La Lontananza Del Suo Fratello Dilettissimo, Adagiosissimo, BWV 992, a slow movement Bach wrote for his parting brother. After the passing of his own brother in 2020, during Covid-isolation, “Capriccio” was the first song Arandel wrote for the new record, a touching farewell to his own sibling.
The use of spoken word is another new layer to InBach, and acts a lyrical thread carrying the listener through InBach vol.2: the closing track features Bridget St.John, John Peel-associated folk legend from the UK to offer to collaborate on a poem for this second volume, she replied to him with a line from André Gide : “You can’t discover new land if you aren’t willing to lose sight of every shore”. A lovely way to sum up the InBach experience for both artist and listener.
InFiné Box N°3: Summer edition!
InFiné Box is a seasonal subscription for all adventurous record lovers who want to support independent artists and innovative projects. 4 times a year, order your Box on Bandcamp and get a surprise package from our team, including:
VINYL / CD BOX
• 2 InFiné albums: 1 new release + 1 essential record of our catalogue
• All the latest EPs for download
• Merch & goodies from the label and partners
= 49€ / 35€ for 3 months, shipping included
• All the EPs of the season for download
= 20€ for 3 months
Order & shipping until September 30.
KMRU joins InFiné!
Born in Nairobi, now based in Berlin, KMRU is a young sound artist and producer who explores sounds and awakens intense emotions in the listener. His music fed on field recording, improvisation, noise, machine learning, radio art and drones has been praised by NPR, Pitchfork, Resident Advisor, DJ Mag & Bandcamp.
Since 2018, we’ve been seduced by KMRU’s artistic approach: in 2020, we invited him to rework Rone’s “Room with a view”; today, we finally join forces promoting his music, between experimental ambient and African music.
Like other guests before him at the INA grm – Jim O’Rourke, Matmos, Kali Malone… – KMRU has been able to further his research into concrete, electroacoustic and experimental music in the best conditions.
This Parisian residency will be followed by a time of live creation around a 360° multichannel device, presented exclusively at the 2021 edition Maintenant Festival in Rennes as well as at the InFiné 15th Anniversary weekend at Centquatre-Paris in November.
KMRU’s next album is set for release on InFiné in 2022.
Photos from KMRU’s residency at INA grm in Paris © Joris l’Hotellier
New video: “Une Foule” by Gaspar Claus
In the hands of Gaspar Claus, the cello loses all its limits. Gaspar summons the listener to the imaginary beach of “Tancade”. On the shore one sees “a crowd”, a grouping of young people enjoying life. The rhythm of the cello is rumbling, pinching, like bare feet dancing on the sand. It is joined by a nostalgic, elegiac melody that paints the scene before our inner eye – the beach, the sea, the slowly dancing friends. Video directed & edited by Clara Claus.
New album ‘Tancade’ out September 10th, 2021
Following on from his previous soundtrack work and a wealth of collaborations (incl. Bryce Dessner, Sufjan Stevens, Jim O’Rourke), Claus brings forth a collection of pieces which free the cello from its own limitations. Majestic and adventurous, stormy and radiant, dreamy and rigorous, Tancade defies categorisation, evoking chamber music suspended in the fourth dimension, the soundtrack of an experimental film or the strange folk music of an undiscovered tribe.
Basile3 ‘Sans Retour’ EP
In the depths of a sullen, dark forest, a blinding white light emerges and grows. If the summer of 2021 could be the end of a tunnel for humankind – hopefully the end of isolation – the year that has passed has been one that put humans in their place”. It was humbling to be shown so clearly the limits of our power over nature, and it should have taught humankind a valuable lesson in our treatment of our environment. Basile3’s new EP “Sans Retour” (eng.: ‘”without return”) carries that “sense of place“: his music lives between the organic and the hyper-artificial, expanding scenes before the minds eye that feel familiar yet futuristic. Like a floating, glowing white egg cracking open in between the trees, revealing a dark fate or a future full of potential. That may be entirely up to us: humankind.
The EP opener “Expanse” feels like the soundtrack to that scene, the initial contact of a sci-fi epic unfolding in our ears. Field recordings that Basile3 made in the year of isolation are paired with ominous, ever growing synth lines – shimmering, brooding, foreboding. The hopeful arpeggios let us know about the duality of the moment: is the visitor friend or foe?
“Sans Retour” is the clubbiest of the tracks, very “in your face” as Basile3 calls it himself: “I think that having very expressive tracks is a way for me to project into a more intense fantasized life than what reality has been for months.“ But even here, between glitching percussion and otherworldly melodies, there is an organic core: our bare feet are still touching the soft, familiar moss floor of the forest while things unfold before our eyes that no man on earth has seen before.
What this year has been is universal and hyper-specific at the same time – experiences were shared across the world, while the real, lived consequences still had to be dealt with by each and every one individually. One of those experiences was “Abundance Is A Myth” As life came to a full stop, the abundance of possibilities, goods, freedoms we had taken for granted collapsed in front of our eyes. If this track is the soundtrack to that moment, its ecstasy bears a warning undertone.
Basile3’s previous EP ‘Ciel Rouge’ made use of the human voice in many different ways – coming to the close of the record, he comes full circle on these ideas. In “The Oxygen, The Walk, The Dreamer And The Bird“ we hear a whispering voice tell us of a dreamlike walk through the woods, while manipulated and pitched voices combine with field recordings and pads to create a state of lucid dreaming.
A new version of “Ciel Rouge“ with Simili Gum, the title track of the previous EP, closes out “Sans Retour“, and actually was the starting point of this new body of work. When working on a short edit of the track for a video, Basile3 discovered untapped energies within the track: „When i started doing the editing I brought new elements in the track and ended up changing the synth melodies. I was really excited about it and flipped the whole original track, and Simili Gum wrote a new verse for the second part“ The new version is the “Spring Mix”, brighter and catchier yet still with an air of impressionistic intimacy. The lyrics tell us about the need to travel new paths after a relationship, and the willingness to take on the risk of accidents along those roads.
Gaspar Claus returns on InFiné with ‘Adrienne’ OST
We are pleased to welcome back Gaspar Claus with the release of ‘Adrienne’ EP, the soundtrack of a short film by Colin Solal Cardo – and a foretaste of his solo debut album ‘Tancade’, to be released in September 2021 on InFiné.
The four tracks of ‘Adrienne’ were recorded in 2019 at the Performance Art Forum in France to be part of the documentary series “Hobbies” broadcast on Canal+. Colin Solal Cardo filmed a group of women training pole dancing, and directed the music video for “L’envol” featuring Camille De Haas, the leader of the dance troupe. An eery, evocative piece of classical music, with the cello at the center, combined with modern ambient ideas of composition.
Gaspar Claus first foray into the world of soundtracks was “Malaka“, a movie by Emmanuel Gras screened at the International Critics Week at Cannes, winning the Nespresso Grand Prize for young talents. Then, “Burning Ghost“, winning a Jean Vigo award after being premiered at ACID Cannes.
These solo soundtrack efforts show the promise of his upcoming solo debut album on InFiné.
Rone on his way to Cannes Film Festival 2021 with Jacques Audiard
The movie is an adaptation of the comic strip ‘Les Intrus’ (or ‘Killing and Dying’) by Adrian Tomine, known for his work in The New Yorker magazine.
“This journey through the 13th arrondissement of Paris, with a film written by Léa Mysius and Céline Sciamma, is also a geographical, cultural, social and generational journey, a film in black and white in which the strength and fluidity of Jacques Audiard’s style is wonderful” – Thierry Frémaux, general delegate of the Cannes Film Festival.
Rone will also be a member of the jury for the “Best Sound Creation Prize – UNESCO”, chaired by French actress Sandrine Bonnaire in “Un certain regard” category.
Sabrina Bellaouel x Sarah Al Atassi “Arab Liquor” new video
In a nightclub somewhere between ‘The Matrix’ and ‘A Thousand And One Nights’, Sabrina Bellaouel is partying with her feminist harem in the “Arab Liquor” video. She wrote the track about her experiences working as a waitress in a London Shisha Bar, and the video director Sarah Al Atassi flips the focus on female empowerment, intimacy and the free expression of femininity. Oriental, traditional customs like shisha, mint tea, massage, hairdressing and henna are sublimated and reclaimed by Sabrina’s entourage: a futuristic harem freed from societal shackles.
For the first of the new versions, Sabrina enlists one of Rap’s most exciting young talents for a border-crossing, futuristic alternative version of “Arab Liquor” by Dak. “He had just released his video “C’est Magnifique” featuring MC PISSCO. I found the track very fresh and so I DM’d him on Insta. We exchanged and I made him listen to “Arab Liquor” which he loved. We worked at distance since Dak is based in Annaba, Dawee (his producer) in Paris and I was in London at that time.“
Far away from the mainstream hotspots of trap and drill, UK and US, Dak and Sabrina are making a wave from their shared home of Algeria. The young duo push the luscious hymn of “Arab Liquor” into a darker, more brooding sound. Proudly introducing: Algerian Drill!
“She Don’t Care” gets two remixes, an up-tempo tech house version by Abel Ray that focuses on the original’s marimbas and is the perfect fit for sun-drenched open air gigs this summer. The other is a glitched out, chopped and screwed drum whirlwind by Povoa, who took Sabrina’s original and turned it inside out.
Last but not least is Tim Karbon, who took “Wish You Were Home” with Gracy Hopkins and created a modern UK Garage version with it, a +130 bpm peak time bomb with chopped vocals and a huge baseline in the vein of the 2000’s London classics.
Mischa Blanos’ debut album ‘City Jungle’ out now
Directed by Mircea Ghinescu / Digital Creative
Artwork: Matei Bacanu
Design: David Normant MTPC
Photo: Felicia Simion
“The city is an untamed beast, and we are creating it one cell at a time”
Renowned as an exhilarating solo live performer, Mischa Blanos makes the piano his own on his debut album ‘City Jungle’, using it as rhythmic element, organic groove or drowned in noise, perfectly interplaying with free flowing, polyrhythmic percussion and morphing synths, to create his own unique musical force.
‘City Jungle’ was conceived in the isolation of a studio in Bucharest, punctuated by curfews imposed by the health crisis and endless night sessions where Mischa gathered his memories of the cities he used to travel, with as an escape, a vessel called Piano, propelled by hammers with atypical rhythms and a board of electronic tools drawing the dystopian horizons of a new type of fascinating and twilight “urban” music.
At a time when Europe is reopening its doors and letting in the natural light of spring, we rediscover this album with the perspective of the stage, the physicality of the playing of a pianist who devoted body and soul to the transcendence of his transport tool. Where the album’s first two singles, “Silicon Road” and “Innervision”, encouraged cerebral escape, “Crystal” brings us back to the reality of human relationships. A mysterious feminine apparition takes the place of the main thread in a track that lets earthy emotions explode.
“Crystal” first announced itself to the world when an unknown woman entered the room Mischa Blanos was playing piano in: without realizing it at first, Blanos started improvising for her and spontaneously composed this gorgeous piece of floating, electric classical piano music.
“Crystal” is one of the central pieces of the album, and was the obvious choice for a stunning video of Mischa’s skillful live performance — solo on the grand piano in an empty room, surrounded by seven illuminated poles. The viewer becomes the only person in the room with Mischa, the single listener of a song improvised specifically for them.
Sabrina Bellaouel meets Algerian producer Dak on “Arab Liquor”
Artwork: Maxime Wolff
© Photo: air_ouane
After a hugely successful 2020 with her two breakout EPs ‘Libra’ and ‘We don’t need to be enemies’, Sabrina Bellaouel is back with a bang in 2021. Alongside the physical release of her two EP’s as one special Vinyl edition, she is releasing the ‘Arab Liquor’ remix package and a brand new video on May 28.
For the first of the new versions, Sabrina enlists one of Rap’s most exciting young talents for a border-crossing, futuristic version of “Arab Liquor”. The young Dak, has his roots in the Kabylia culture of North Algeria — and when Sabrina discovered him, she knew she wanted to make that connection musically: “He had just released his video “C’est Magnifique” featuring MC PISSCO. I found the track very fresh and so I DM’d him on Insta. We exchanged and I made him listen to “Arab Liquor” which he loved. We worked at distance since Dak is based in Annaba, Dawee (his producer) in Paris and I was in London at that time.“
Far away from the mainstream hotspots of trap and drill, UK and US, Dak and Sabrina are making a wave from their shared home of Algeria. The young duo push the luscious, female empowerment hymn of “Arab Liquor” into a darker, more brooding sound. Proudly introducing: Algerian Drill!
BoogzBrown live from Bethléem, Reunion Island (Carte blanche Electropicales)
Hailing from La Reunion, BoogzBrown delivers an energetic, transcendental EP that spans everything from traditional Maloya rhythms to modern dancehall. After being part of Digital Kabar compilation and working with Cubenx on “Antipode”, “3883” is a stellar full EP debut on InFiné & Eumolpe for the promising musical and visual artist.