Secret Of Elements announces new album ‘Chronos’
©Artwork: Alice Sfintesco. Photo: Nicolas Blanchadell
If you talk to Johann Pätzold aka Secret of Elements about his work, it quickly becomes clear that you are dealing with a perfectionist. Someone who set out to find his own music – at any price. “Chronos” – in Greek mythology, the titanic personification of time – is the title of an album that captures Pätzold’s musical work over a period of more than ten years. And it has also become a monumental work: a retrospective reappraisal of years of work, completed in a year that will probably go down in history as a threshold – time will be soon measured as “before 2020” and “after 2020”.
On “Chronos” we find pieces that tell tales of an eventful life – Pätzold learned to deal with a mental illness, he travelled to the Mediterranean to save lives during the refugee crisis, he fell in love and lost again – ten years is a long time.
Chronos tells of people, moments or phases from the musician’s life. The individual pieces were recorded and reworked again and again over the years by a perfectionist – the artist himself – and completed with the knowledge and experience of today: a journey through an entire life.
Each of these twelve pieces on “Chronos” is therefore a work in itself – they are narratives that you have to listen to carefully in order to decipher them. In an age of neo-classical music that tends to pander to the mood playlists of the major streaming providers in order to be as ”undisturbing“ as possible, Secret of Elements’ incredible dedication to detail is refreshing and startling at once. No sound, no crackle is left to chance – the music feels alive – warm, analogue. You can feel the work that went into this album all through your body, you can picture Johann Pätzold kneeling on the floor of his studio bent over wiring in creative chaos.
The pandemic made this very work increasingly difficult: Pätzold had to cobble together his own orchestra from various musicians in his hometown of Rostock, which then assembled at a safe distance in the Carl Orff Music School. Since there would only be one attempt, a single day for all the recordings, Pätzold worked through the nights in advance to prepare all the notes perfectly to the point.
In the end, it is almost unbelievable that this album now exists – created from countless stories and moments of a lifetime – over a decade of work, and in the end almost prevented altogether by a global pandemic.
First single “Cassini” is a testament to Pätzold’s perseverance to complete it despite challenging circumstances. It is named after a space probe that was launched into orbit in 2004, and which, after almost thirteen years exploring Saturn, finally burned up in its upper atmosphere.
Watch “Room With A View” full show on France.tv / Culturebox
A committed and visionary show that explores forms of revolt through dance and music, brutally overtaken and brought to a halt by the pandemic.
On stage and through our screens, “Room With A View ” continues to question its spectators by inviting them to rethink our future and to create new imaginaries, in a world that is increasingly troubled and uncertain.
Available on france.tv and soon on France5 TV channel!
Produced by La Blogothèque.
Rone & Friends album available for pre-order! New single feat. Flavien Berger
”Les gens tatoués à l ́aquarelle, aime en secret Polichinelle”
Flavien Berger and Rone are two artists whose frames of reference overlap as much as they clash. The first brings back the sounds of electro-pop by drawing inspiration from the French pop songs of the 80’s as well as from contemporary electronic music producers, cultivating an *offbeat persona* that has made him a strong and singular personality in the French scene. The latter tends to focus on musical timelessness, with his head firmly on the ground when it comes to tackling themes such as “The End of the World”, his music for “Room with A View” stands out as a portal to the waking dream.
On “Polichinelle”, Berger, the genius hacker and surrealist poet derails the milky way of “Lucid Dream”, introducing the chimeras of Berghain and the comedy dell’Arte on the same deliciously psychedelic electronic backdrop. A subtle moment of uncontrolled bliss!
Rone & Friends includes vocal collaborations of Odezenne, Georgia, Jehnny Beth (of Savages), Dominique A, Laura Etchegoyhen (of Botsgehio), Alain Damasio & Mood, Flavien Berger, Yael Naim, Malibu, Camélia Jordana, ,Casper Clausen (of Efterklang), Mélissa Laveaux, Roya Arab (vocal highlight of Archive).
All the artworks were created by French illustrator and cartoonist Coco (who works at Charlie Hebdo) and continues, in its own way, the work initiated by Michel Gondry on the imaginary city of Mirapolis.
You can now pre-order the album on Bandcamp and Bigwax, out March 26th on Vinyl, CD & digital:
12″ Colored Edition* (100% recycled sleeve & vinyl)
+ 3 Risography printed drawings by Coco
*All vinyls are made from scraps of colored vinyl, each copy of this edition will have a different and unique color
12″ Black Edition (100% recycled sleeve & vinyl)
Unisex screen printed T-shirts – Blue/White
Unisex embroidered Bucket Hats – Navy blue/White
Organic cotton & recycled polyester – Made in EU
Feat. SOPHIE, Autechre, Slowthai, Cucina Povera, Kelly Lee Owens, Clark, Smerz, Paul McCartney, Floating Points, Leg Puppy, Sabrina Bellaouel, Frieder Nagel, Bruce Brubaker & Max Cooper…
Pre-order Sabrina Bellaouel’s Libra & WDNTBE 12″ Vinyl
© Artwork & design: Maxime Wolff
At the crossroads of modern electronic production, alternative RnB & North African beats, Sabrina Bellaouel offers her listeners an unprecedented mix of grand emotion of the Pop stage and the cutting-edge underground flair of buzzing nightclubs.
It may sound a bit indelicate, but Sabrina Bellaouel has had a great 2020. Although we can not speak for her personal life, artistically, this past year has been a prolific one, a breakout year.
She as worked tirelessly before, of course, by herself and collaborating with many greats of the French soul scene – but 2020 saw Sabrina Bellaouel step out of her cocoon a fully formed artist.
First, there was ‘We Don’t Need To Be Enemies‘, a powerful and brave record – directing the limelight away from her talent as a singer and focussing on her honed, meticulous production skill and ingenuity in making demanding, forward thinking music. Bellaouel managed to tell stories of her identity and place in the world almost without a single vocal.
Then, there was ‘Libra’ – fusing her own production with that gorgeous voice – showcasing a fully formed, trailblazing, independent artist. Sabrina jumps effortlessly between empowering trap on ”Arab Liquor“ to luscious RnB on ”Float“ and ends the record with „She Don’t Care“, a peak time house curveball that you can picture heating up the festival dance floors around Europe.
The diverse and powerful EP united different sides of the press in its critical acclaim, receiving accolades from Resident Advisor, Mixmag, The Quietus, Metal Magazine and Pan African Music – just to name a few.
Both of these records then, represent a side of the coin – and are now available as a 12“ Vinyl combining them to a singular listening experience. And when the clubs slowly open up again, you will surely see this secret weapon make it’s way some well assorted DJ bags.
Driven by the same desire to discover and support emerging artists, InFiné and the Circulation(s) Festival are back together to celebrate and support creation! Every Thursday, discover a new playlist curated by one of the photographers selected for the upcoming edition of the festival – from March 3th to May 2nd @ Centquatre Paris.
This week, we start with French photographer Mathias de Lattre and a picture that finalizes his project Mother’s therapy: an exploration through time and space, science and humans, of psychedelic mushrooms. His eclectic musical selection will take you on a journey through the lunar compositions Murcof, from the warm flamenco of Pedro Soler & Gaspar Claus to the energetic melodies of Mischa Blanos and the crazy harmonies of Aārp and Chamberlain.
Glassforms Versions by Laurel Halo, Donato Dozzy, Tegh, Max Cooper
© Artwork: Vincent Ballard. Design: David Normant. Photo: Julien Bourgeois
The works of Philip Glass are reflected and refracted in a myriad of ways by some of the most renowned electronic artists alive, making for a blissful, multi-dimensional listening experience.
With ”Glassforms“, Max Cooper and Bruce Brubaker set out on an intimate, nuanced exploration of the works of Philip Glass. The resulting recordings, developed in a fluctuating exchange between the American pianist and the Irish scientist-artist, are an astounding testament to the innovation that artistic collaboration can achieve and what depths are yet to discover in Philip Glass’ compositions. The two artists did not just rework, but fundamentally rewired the original songs using algorithmic software to process and augment the musical data it received from Brubaker’s piano live on stage.
When approaching his remix, Donato Dozzy also tapped into that inspiration to create some- thing new rather than just reworking it, which is one of the core motives that emanates from ”Glassforms“.
The Italian producer and label owner is known for his drive to explore: he develops installations for public spaces and museums, uses obscure musical instruments and collaborates with classical singers or visual artists. ”I chose ”Two Pages“ for it’s hypnotic feel in the notes repetition“, he says, ”but I did not want to merely sample the piano, but instead ask someone I trust and admi- re to carve it from scratch and even go further.“ So he followed the lead of Brubaker and Cooper and teamed up with the renowned Italian percussionist and jazz musician Daniele Di Gregorio to completely rewire ”Two Pages“ into a gorgeous piece of endlessly modulating ambient electronica.
Laurel Halo, the second remixer on ”Glassforms Versions“, does not need a long introduction either: the American musician is at the forefront of electronic music in 2020, a bright star today after releasing her debut ”Quarantine“ on Hyperdub in 2012. Her remix of ”Opening“ brings to mind the string section of an orchestra tuning their violins before the performance – forever. They glide in and out of tune, sometimes individually, then together, then are accompanied by keys that are most likely a ghostly representation of Brubaker’s piano, sampled and pitched down, but sound almost jazzy in the context of Halo’s remix. It’s a blissful listening experience, calling to mind her recent collaboration with cellist Oliver Coates on ”Raw Silk Uncut Wood“ and showing a deep understanding of Philip Glass’ work.
Sound artist Tegh is the third on the remix bill – the electronic musician from Teheran delivers his take on “Two Pages“, once again showcasing how versatile, how inherently complex the works of Philip Glass are. They can be interpreted in a of ways – Tegh’s version is a bounding, brooding piece filled with raw energy that feels like it is performed live, just for you, every single time you listen. His version is, at first, much more focused on the underlying moods, electronic undercurrents of the original than Dozzy’s version, and yet, when the piano finally does break through, it becomes clear that we are listening to Philip Glass, reflected manifold: through the piano of Bruce Brubaker, the synths of Max Cooper, and then again through the mind of the artist Tegh.
Concluding the new ”Glassforms Versions” are two previously unheard edits of ”Two Pages” and ”Opening“ also present on the 12″ Vinyl version. It’s difficult to edit a piece of minimalistic beauty without losing it’s essence, but Max Cooper – after many efforts and close conversations with Bruce Brubaker – managed to bring these two shorter edits into a satisfying, conclusive form.
Rone is nominated for the César 2021 for Best Original Score – “La Nuit Venue”
This French thriller with Camelia Jordana and Guang Ho tells the figure of a Chinese Dj and musician who immigrated illegally to Paris and works as a taxi driver by night to pay his debt.
“La Nuit Venue” is Rone’s first original score. The soundtrack features known pieces (“So So So”, “Parade”, “Bye Bye Macadam”, “Brest”…) as well as previously unreleased ones (“La Nuit Venue” feat. Camelia Jordana, “Vers Marseille”…), that sublimely rhythms the nighttime atmosphere.
Rone won two awards for best original score at La Baule and Saint-Jean-de-Luz film festivals.
Best Music Award @ Saint-Jean-de-Luz Film Festival 2019
Best Music Award @ La Baule Film & Music Festival 2019
“La Nuit Venue“ appartient à la famille de ces grands films noirs qui savent donner à un propos résolument politique les atours de la beauté” – Télérama ★★★★
“Une alchimie et une petite mélodie très séduisante” – Le Nouvel Observateur ★★★
‘The Arrival’ EP by Frieder Nagel
InFiné is proud to present ‘The Arrival’, the new work of Frieder Nagel – a four track EP that was inspired by his interactive outdoor sound-art installation “Sonido Blanco”: conceived, planned and put on during the global pandemic in 2020. What remains of art; how can music be experienced when they are locked behind closed doors? Music, for one, is not just an auditory experience – sound waves travel through our entire body, we feel connected with others at a concert or festival, and a club experience is above all a social one.
When Frieder Nagel got the invite to use a part of the city park Nuremberg for an installation, he teamed up with light artist Stephan Scheiderer “to make music livable again”: When park goers passed by an old, majestic plane tree, it automatically sprung to life (thanks to some complicated motion sensors installed and hidden by the two) – and the first soft notes of “Calm Territory” beckoned people to stop and spend some time by this historic tree. In intact primeval forests, all measurable frequencies of the audio spectrum are covered by the sounds of birds, insects or mammals. The more balanced the volumes of the individual frequency bands are in relation to each other, the more relaxing the effect on human hearing – as with the rustling of leaves, wind, waves or raindrops. This effect in combination with the actual sounds of the park and the background noises of the city rushing by is what Frieder Nagel wanted to evoke with “Calm Territory”, the opener of ‘The Arrival’.
The second track “Into The Open” feels like an intro for a non-existing concert: constantly building, rising to a non-existent release. One could perfectly imagine this piece as the first track of a DJ set, a promise of an unforgettable night that could sadly not be kept in 2020. It is directly followed by “Para” – Nagels’ first ever composition – that works as a resemblance of live music performance on the EP. It is a subtle work of minimalist, orchestral music that was rearranged over years and should be recognizable to those who are familiar with the artists classical performances. On this EP we can hear Nagel perform “Para” live with the Deutsche Symphony Orchestra of Berlin.
The title-track ‘The Arrival’, the last track of the release, starts with an elegiac, then increasingly urgent array of synthesizers and different noise generators that make it clear that we are entering a final phase. It tells the story of an encounter with something yet unknown. At that point of the sound-art installation, the tree was completely illuminated, drenched in an abstract myriad of colors, making the impression it could lift off and leave this earth at any second. It’s a droning, epic climax to a an otherwise relatively subdued EP – in it, you can sense that the artist is longing for the arrival of a new perspective, a solution to a year in limbo.
While spending over two months working on the installation, Nagel and Scheiderer realized that they, too, had been unconsciously influenced by the piece: spending their nights under the majestic branches to find a combination of light and sound that would do justice to the extraordinary atmosphere of this huge, almost 300 years old plane tree. The aim was to put the trees’ magic into focus, to get passersby out of their comfort zone, to meet again and converse with people from different backgrounds and to spend time outdoors in a year that was meant for staying home. Young boys with a blaring Bluetooth speaker went quiet and watched, elderly ladies sat on a bench, listened and ate cake – others were moved to tears by the audiovisual drama that played out in front of them. Music and art had become – even for just a moment – a livable, breathable experience again.
Rone & Friends: First single “Waves of Devotion” feat. Georgia
In March 2020, the sudden halt of his shows with the National Ballet of Marseille and the dance collective (La) Horde at the Châtelet Theatre Paris left a void that prompted Rone to invite a few of his friends to sing along to his music. From these life-saving collaborations, a musical refuge was born, an essential Rone album to be released this spring.
The first single from Rone & Friends is a romance dreamed up by the English singer Georgia, based on the instrumental of “Ginkgo Biloba”. The sequels were written with Yael Naim, Flavien Berger, Dominique A and many others — a total of 16 performers from all walks of life for 12 titles.
This adventure has been illustrated by Corinne Rey aka “Coco” (Charlie Hebdo, Les Inrockuptibles…), who designed à cover and a collection of unpublished drawings to be discovered together with the music.
Georgia Rose Harriet Barnes aka Georgia, singer songwriter and multi-instrumentalist from London, UK, is further carving out her place in the international music scene – topping the UK Indie Charts with a sophomore album firmly rooted on the dancefloor titled “Seeking Thrills“ in 2020. She has worked with industry heavyweights like Damon Albarn and won the AIM Independent Music Award “One to watch” in 2019, followed by nominations for NME, Mercury and MTV EMA awards in 2020. Her collaboration with Rone called “Waves of Devotion” is an ode to romance based on the instrumental of “Gingko Biloba” and kicks of the exciting campaign of ‘Rone & Friends’.
© Artwork: David Normant
For 15 years now, InFiné has played the role of a musical activist and has been able to support independent creation thanks to an informed public aware of the direct impact of its purchases. This loyal and demanding public is, like our team, an essential element of our artistic independence. What would become of our artists’ music, how could we pursue our quest for innovation and diversity without listeners?
Today, in partnership with agnès b. & We Love Green, we offer to our listeners the opportunity to go further and join us in our effort to support artists in their creative dreams. If you feel concerned, curious, passionate and want to help, you can support us by signing up for the first InFiné Box!
How does it work ?
4 times a year, order your box on Bandcamp and get a surprise package from our team:
• 2 InFiné albums
1 new release + 1 masterpiece of our catalogue
• All our latest EPs for download
• Merch & goodies from our artists and partners
= 49€ for 3 months, shipping included
• 2 InFiné albums
1 new release + 1 masterpiece of our catalogue
• All our latest EPs for download
• Merch & goodies from our artists and partners
= 35€ for 3 months, shipping included
• All the EPs of the season for download
= 20€ for 3 months
Box #1 (Winter edition) is for December>February. Order & shipping until February 26, 2021
Rone x Virginie Kypriotis “Esperanza” Video
A journey through time, from the birth of the Earth and Humanity to a futuristic society on the verge of collapse. “Esperanza”’s video lets us relive the mutations of a world in perpetual evolution, sometimes rich and flourishing, sometimes concrete and arid but always animated by the march of man and his rituals. Paradoxically, man is destructive, he monopolises his environment to build endless citadels of skyscrapers, he locks himself up in closed and sterile spaces or in wired virtual universes — yet he is also the one who carries within him the meaning of life, who carries nature in his actions, in his dances, in his aesthetic representations or in his projections towards the future.
This hypnotic animated video intelligently mixes the depth of 3D movement with 2D organic characters. A dystopian world, highlighted by finely composed, powerfully crafted images, reminds us that we must not lose sight of where we come from and where we are going. The young director, Virginie Kypriotis, who has distinguished herself with the official video for Foals’ “Like Lightning“, returns to the theme of environmental awareness, concluding with the same light of hope.
The highlight of Rone’s album ‘Room With A View’, “Esperanza” is a luminous and cinematic piece of hope. It is also a pivotal title of the performance ‘Room With A View’, produced with the avant-garde dance company La Horde and Ballet National de Marseille, which took place in March 2020 at the Théâtre du Châtelet in Paris and which is inspired by the “end of the world“ and questions of “collapsology“. “I wanted to make a piece that is sunny and optimistic, that uplifts you, encourages you to fight,
to see things in a positive light“ says Rone.
With “Esperanza“, like in his first video clip “Spanish Beakfast”, Rone is back to the world of animated videos, including the now mythical “Bye Bye Macadam“ by Dimitri Stankowicz, but also “Origami“ or “Mirapolis”. It is also the fourth clip from “Room With A View” which deals with themes such as over-consumption (“Ginkgo Biloba”), the relationship between individuals (“Nouveau Monde”), a questioning of the foundations of humanity (“Human”) or the impact of the health crisis on artistic creation (“Room with a View”).
Sabrina Bellaouel x Aelred Nils “Float” Video
French-Algerian producer and singer Sabrina Bellaouel unveils “Float”, the first music video off of her newest EP Libra out now on InFiné. The self produced record, which effortlessly bounces between genres, styles and moods, has been met with praise from both the RnB and the Electronic music press. For the official video of “Float”, Sabrina has teamed up with director Aelred Nils to produce an aesthetic fresco, a living painting that evokes and mixes her different universes and spiritual influences. In the video, she is accompanied by a woman who seems to be a representation of Sabrina’s spirituality. “This echoes the theme of the piece, which touches on the subtlety of love relationships, feelings and the often recurring difficulty in understanding and expressing them”, as director Aelred Nils puts it.
Recorded between Paris, Rotterdam, London, this new EP is thus heard as a liberating cry, the affirmation of an artist who draws as much from spirituality and astrology as from her experiences of love, the raw material of her lyrics, deeply linked to her imagination and emotions.
‘Views Of A Room’: 11 remixes of Rone out now on Vinyl & digital
© Photo: Boris Camaca. Creative direction: Alice Gavin. Design: David Normant
“Room With A View”, Rone’s fifth studio album, saw Erwan Castex return to his musical roots and the set-up of his early albums: purely electronic, conceived without any musical collaborators in a voluntary artistic isolation predating the 2020 era of social distancing. Rone, locked into a studio with only his instruments for company, gazed through a window at the outside world, pondering the dificulties humankind had maneuvered itself into: climate change, post-truth politics, the impending collapse of global economic systems. In face of collapsology, what remains but hope? Speaking about one of the key tracks on “Room With A View“, “Esperanza”, Rone called it an ode to those that keep ghting the good ght, those that have hope and refuse to give up.
For “Views of a Room“, Rone is now joined by some of those friends from around the globe. Looking into the studio window, smiling back at Rone — picking up the threads he weaved and transforming them, spreading his message across their own communities like missionaries spreading the good word.
Maceo Plex, an expert in grandiose gestures is the first to deliver his take on “Babel“: the American superstar delivers a trademark progressive big room remix of the Rone original, but with a twist: it feels set somewhere between Ibiza and the Los Angeles from Blade Runner 2049. Vangelis-esque synths shimmer across the pulsating four to the floor pattern, grandiose yet ultimately haunting. Cinematic as the original, one can’t help but feel a brooding, dark undertone creeping into the tune, a foreboding of what happens if we don’t take Rone’s message seriously.
Sutja Gutierrez transports Rone’s theme of “fighting music“ into his remix, adding tribalist chants and large, bounding synth walls. In its long breakdown, the piece breaks down almost completely, only to build back up around Esperanza’s core arpeggio line, rallying chants and climactic strings. It’s a gorgeous, empowering dance oor moment that does the originals intentions more than justice, becoming an optimistic anthem all the same.
If this LP were an end-of-time cinematic blockbuster, the sequencing of internet sensation DJ Lostboi’s take on “Esperanza“ would signal the calm after the storm. The enigmatic producer goes into an entirely different direction, pulling the original into his elegiac sphere that has made him a star in the ambient world. Distant, drifting vocal samples take us flying across the clouds, looking down at a world in turmoil.
InFiné family member Frieder Nagel takes the source material and gives it some extra punch. His remix is warm, more straightforward Techno roller that opens up and closes in waves, taking the listener into outer space, reliving the pulsating, climactic energy of “Esperanza“ in a way that just about stays bubbling under the surface.
The London native Loraine James burst onto the scene with two EP’s on Hyperdub, combining Glitch and IDM with elements of Jazz, Grime and R&B. Her “Esperanza“ version lives in this exact dichotomy: a powerful interplay of ghostly pads, head-spinning percussion and ambient bliss.
It sounds like the music of someone who grew up listening to Warp — now pushing the envelope even further in her own, unique direction. Ulrich Schnauss, Mathew Jonson and Glass Museum take on Nouveau Monde, a track centered around a quote by Alain Damasio stating: “it’s just a matter of consuming a little less, damn it.“. Each of the remixers weaves something entirely new out of Rone’s original: we jump from synth-laden, progressive Ulrich Schnauss to Deep House with Mathew Jonson all the way to an ecstatic trance version by Glass Museum.
Kenyan Newcomer KMRU, who has just released a Solo EP with Editions Mego transforms “Room With A View“ into a gorgeous ambient piece, while the illustrious British duo Plaid turn the track into a slow waltz of swirling melodies, creating a driving counterpart to the KMRU version. Focusing on the rhythmic elements of Rone’s original, it’s warm, analogue and bass heavy production makes it a perfect t for the sci-fi dystopia feel of “Room With A View“.
Fittingly, we segue into a remix by the masterful Si Begg. Harps glitch in and out of time, playing an unpredictable melody over a stomping, grimly foundation. One of the beautiful things about Rone’s music becomes very clear on this LP — it can influence and inspire everyone in a different, unique way. Maybe even inspire a better future for all of us.
New EP ‘Libra’ by Sabrina Bellaouel
© Photos: Louis Muller
Artwork & video: Maxime Wolff
French-Algerian singer and producer Sabrina Bellaouel operates in her own world. Fusing sensual vocals and delicate R’n’B, neo-soul and trip-hop sounds, her experimental approach to electronic music production speaks volumes on genuine talent and authenticity. With inspiration drawn from cities like Maghreb, Paris, London and beyond, her spell-binding sonics are informed as much by her formative musical influences including punk and gospel as they are by visits to far-flung corners of the world. Her personal pendulum swings often from spiritualism to harsh realism and back again.
Libra, her second EP for InFiné after We Don’t Need To Be Enemies now dives deeper into the depths of what Bellaouel has to offer: a masterclass in electronic R’n’B. Spoken word samples, ambient elements and broken beats shimmer over classic soulful grooves, sensual melodies and her own silky vocals. More than once she uses samples of Astrologer Fernando Prudhomme sharing his understanding of the ‘Cosmic Truth’ and his astrological interpretations – making the idea that Libra creates balance a central theme of the EP.
With ease, Sabrina jumps between the trap-influenced “Arab Liquor” – an empowerment hymn based on her own experience of working a London Sisha Bar – to high energy electronica laced with yearning neo-soul on “The Build Up” back to bubbling, dancefloor-heating House à la Strictly Rhythm on “She Don’t Care”.
Guiding the listener through all these contrasting yet interconnected themes and ideas is – for one – Sabrina’s own voice: a powerful instrument capable of conveying raw emotion in the one instance, then drawing the whole world in with soulful serenades the next. On the other hand, we have Sabrina’s masterful production, which was already the focus of her first EP for InFiné. She achieves the perfect balance of these two key elements on “Libra”, and it is quickly becoming apparent that Bellaouel is a master of musical storytelling.
Bottler live session
The American duo Bottler is one of our most prolific new signings of the year: the two lifelong friends and musicians combine a myriad of influences and styles into a sound distinctively their own: an explosive mix of Pop, Electronica and Rock that is as unique as it is fun. In the build up to a debut album on InFiné in 2021, they released two EP’s with us this year: Clementine and Grow, which consist of eight original songs – some of them years in the making.
Naturally, they would do anything to be able to get on stage and present their new material, feel the energy and hard work be returned and appreciated by a crowd of new fans. But as you know, 2020 has not been an easy year to be band, and after months of bad news, a health crisis and political pressure building in their home country, the duo decided to just plug their guitars and keyboards in, set up a camera in their own living room in Brooklyn and make their own, intimate stage.
The live version of their new songs reveal a totally new side of their recent studio productions for InFiné: while the two finished records show off Bottler’s honed skills in mixing, producing and songwriting, this live session shows a deep passion for making and performing music that is exhilarating and contagious.
Arandel’s ‘InBach’ remixed by King Britt, Eris Drew & more
© Photo: Julien Mignot
The InBach remixes on InFiné are as much a reflection as they are a continuation of an album by Arandel that was a poetic, infinitely respectful and an an innovative reinterpretation of Bach’s sacred workings itself. The original album was composed with help from illustrious guests and friends like Areski, Ben Shemie, Barbara Carlotti, Flore, Vanessa Wagner, Petra Haden or Sébastien Roué – recorded with rare and historic instruments from the Musée de la Musique / Philharmonie de Paris.
Now, a lineup of five familiar guests and friends takes on these recordings as a way of reshaping and reimagining the core ideas of these tracks that were – essentially – reimaginations themselves.
Toh Imago takes the bubbling „Ces Mains-Là“and Areski Belkacem’s vocal and drags it underwater, into Drexcyian submarine-electro territory where every breath could be your last.
It’s unsettling, immersive and utterly compelling — one can imagine it’s low end tearing up sweaty dance floors in a parallel universe, complete with sonar beeps fading in and out. When the breakdown unveils the string section, a distant memory of Bach fades into existence like the last light coming from the sea’s surface, before we plunge deeper and deeper again.
“Bodyline”, one of the center pieces of ‘InBach’, is a modern chanson based on Bach’s “Canon super Fa Mi” featuring the vocoder-laden vocals of Ben Shemie (of Suuns), and got remixed by King Britt and Eris Drew.
The Philadelphia native King Britt reimagines the original as a modern Minimal-House tune playfully dancing around Trance, teasing but never fully releasing the big room elements. It’s reminiscent of the outings of Swedish producer Baba Stiltz: dance floor focussed House with Pop elements that is about having fun and does not take itself too seriously. With a driving acid-esque bassline at its core, the King Britt remix elegantly walks the tightrope between Pop and Kitsch while never losing sight of the dancefloor.
Eris Drew takes „Bodyline“in another direction entirely – testament to the versatility of these Bach versions – and creates an excellent 90’s Trip-Hop version called the “Jeep Beets Lullaby”, a nod to ex-Public Enemy member Terminator X, who’s first solo album was titled “Terminator X & the Valley of the Jeep Beets”.
The last two remixes takes us back to France, the origin of the InBach project, where Arandel first started this extraordinary project. La Foudre and Bumby take on “Crab Canon“ and “Hysope“ respectively – one becoming a dark, overdriven high tempo 909-Techno roller, the other a bittersweet, arpeggio-driven House track with melodies swarming like bees and a final ecstatic release. All the more proof that Arandel’s „InBach“ is a record so multifaceted that every interpretation of it can go in another direction – every reading of it’s themes will come up with different interpretation of what lies at its core.
The follow-up to Bottler’s first EP on InFiné, ‘Clementine‘, packs a meta-punch. We are witnessing the two New-Yorkers growing into their shape, solidifying what Bottler is, sounds like, feels like. Growth of course, is a term radically current in 2020, where lockdown has produced many more personal-growth experts than the world could ever hire — but on ‘Grow’ we can hear the beautiful results of an artistic relationship between to people and friends growing over time.
Like an idea hitting us right in the middle of a daydream, ‘To Grow” suddenly explodes — out of complacency, into a state of flow and creativity. This explosiveness is a common thread throughout the EP: Bottler are audibly having fun, bouncing between ideas, moods and even genres at times. While ”Grow” is decidedly electronic, it has many elements of a more classic ‘rockband’ record, creating a musical amalgamation akin to LCD Soundystem or Cut Copy.
‘Phases”, accompanied by a gorgeous animated music video, is where that synergy really shines: a track that immediately triggers almost-forgotten memories of big festival stages and bright lights, hundreds of hands in the air reaching for the stars. That used to be a thing, right?
The second of the two vocal tracks on “Grow” is “Soft Winds”, a collaboration with Bottler’s long time friends Samurai Velvet. Switching tempo, mood and vibe effortlessly, we suddenly dive into R’n’B from outer space. Gorgeous vocals are layered over a warm, analogue half-time beat, complete with tongue-in-cheek trap snare rolls and pitch-modulated backing vocals. Again, we hear Bottler not only growing, experimenting, but having a ton of fun in the process.
Basile3: first EP ‘Ciel Rouge’ on InFiné
Photo: Pauline Gouablin
Artwork: Camille Soulat
Graphic design: Yeeooss
In 2018 we were drawn into ‘Malaise En Apparence’, a production all in relief, almost baroque, with huge spaces that open the sound and make the listener take off into the unknown. Since then, without ceasing the dialogue around the music, the desire for a common musical project was born. 2 years later we are very proud of this first piece which already projects us far away: Ciel Rouge.
Basile3 is an ingenious jack-of-all-trades, and we share a passion for synthesizer music as well as a desire to break musical borders. We entrusted him with the stems of “Tawa” by Deena Abdelwahed, which he transformed into a remix of vintage and dystopian slowtrance. This summer, he offered us the cosmic modulations of “Flow with Grace” for our compilation Music Activists. It was time to take the plunge and release a first EP that reveals a certain infatuation with Hip Hop and R’n’B. Ciel Rouge serves as a first introductory chapter that calls for many further explorations.
The Chameleonic French artist draws from a broad palette of influences spanning Southern US hip-hop, UK post-dubstep, RnB, house and more abstract forms of electronic music. He achieves this heady mix of genres through offbeat sound design, bait and switch beat changes and unpredictable structures.
After the cold, deserted soundscapes of No Extra Territory, the artist’s previous release on Paradoxe Club, Ciel Rouge represents a return to a more human world. Basile3 envisions his music as the soundtrack to unwritten stories: ‘I like to imagine my music as fictions: with imaginary characters and places.’ On Ciel Rouge, rich textures and complex, angular melodies set a scene of contrasts, as the artist’s imaginary characters ‘take refuge in a surreal forest with a red sky.’
Spiralling synths, neon ambience and thumping bass on the title track complement the work of vocalist Simili Gum, resulting in an outsider RnB jam that’s somehow both coldly surreal and hopelessly romantic. “Rayon” is a luminous, absurdist house track full of colourful melody and thumping beats. “Temps du Rêve” is a piece of signature Basile3 hip-hop beat science, and the final track Contra featuring spoken vocals from Vica Pacheco is a haunting, vandalised poem. It’s a varied offering from a producer who is fast becoming known for his imaginative productions and unexpected hybrids.
Toh Imago returns with ‘Opalis FM’ EP
“Opalis FM is named after the radio station that soundtracked all of my backseat car trips on the Opal Coast. This radio station no longer exists but I’m glad to bring it back to life through my EP.
Apart from that the main subject is the : Opal Coast well known as the meeting spot for the minors during holidays. This seaside was not far from where the minors used to work in the factories, and Berck Plage was the easiest point on the map to enjoy the seaside.
This EP is full of heartwarming memories from the Opal Coast and our family trips during summer and also a journey to the summer places enjoyed by the locals there.” Toh Imago