2024 Repress

UPC: 827170460461

A1. Hands On Hips A2. Tout Doux A3. Blue Curtain A4. Sleeper Train A5. Quietude A6. Qui Sait
B1. Matin B2. Up To The Sky B3. Under The Lake B4. Furioso B5. La Ligne B6. Piano Box B7. Divine


Divine : The immobile odyssey.
For a long time before the success of Nôze led him to discover the rest of the world, Ezechiel Pailhès remained a prophet in: his country. For a long time as well, he worked on creating what became his first solo album, waiting for the right moment when he could no longer contain all the melodies that populate this 14-leg epic. A voyage in a free world, where creation knows no formal constraints, where everything mutates according to the determined inspiration of the moment. Transforming the original pieces without knowing in advance how they will end up, disguising the instruments so that they are mistaken for others, nothing frightens this intrepid sailor whose ship is nevertheless securely moored at home, Ezechiel composes and plays at home in Paris. Sole master on board, the tinkerer illusionist prepares his piano with mechanic's tools (scotch tape, rubber, percussion, wooden claves adrift over the strings), obtaining instruments that do not sound where we expect them. This adventure is, he says, a fiction he wants to believe in.The result is equal to the creator and his character.14 captivating melodies like siren songs, sometimes dressed in a simple lala or lyrics by David Lafore, 14 ports of call offering a sweetness that is at times extremely melancholy, 14 pieces whose implacable refrains take root the first time you listen to them. This is indeed a divine crossing people with wide-ranging references (Serge Regianni, D Angelo, Bernard Hermann, Timber Timbre, Stevie Wonder but also Henri Duparc, Moondog, Keith Jarett or Tony Benett ) that we are invited to share with Ezechiel whose career as a pianist has evolved on the stages where he has been performing for years as a duo with Nicolas Sfintescu (Nôze).
A succession of landscapes, of cinematographic images, some of the pieces were composed for movies and remained at the dock when others made their way to the silver screen (Bancs Publics co-written with David Lafore for Denis Podalydès )… A voyage that successively makes you want to dance, to dream, simply to listen the way you gaze at the horizon seated on the deck of a sailboat. There is the heady sailors' nostalgic longing (Quiétude, inspired by a sonnet of W. Shakespeare ) but also their cheerfulness, their lightness, the festive nature of the ports where things swing and the emotion of the infinite contemplated, the heart stirred by the swell. Divine is the companion for all trips, the disk you take to the deserted island and to the loft in Berlin, the disk that you play constantly without tiring of it because each listening reveals places you were unaware of, sounds that had not yet been discovered, because it thrills music lovers. Divine is the road songs that you want to share with your pals, but whose story you keep to yourself, this song reminds me of this, another takes me there. With the top up or down.
And you embark without resistance, Ezechiel is at the helm, you can travel calmly.


Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Genre: Alternative, Electronic, Piano Solo

Tracklist CD:
01. Unless - 02. Piccolo - 03. Sway - 04. Almost There (Piano Version) - 05. Ventas Rumba - 06.
Pianovado - 07. La ligne (Modular Version) - 08. Opus 53 - 09. Eclair - 10. Flat Feet - 11. La valse
des singes - 12. Louanges - 13. Fly Finger - 14. Ferveur

Short Info:
With his new instrumental album Ventas Rumba, the French composer (and singer) returns to his signature instrument, the piano, blending it with warm synth tones. This album represents a "return to his roots ", allowing Ezéchiel Pailhès to reinvent himself in a seamless way while still exploring ballads and ritornellos, halfway between light-heartedness and melancholy. Ezéchiel Pailhès has been meaning to write a solo piano album for as long as he can remember. Hardly surprising, of course, for this academically-trained pianist, brought up on classical music and then studied jazz. Yet, since his 2001 debut with the electro-pop duo Nôze, and his subsequent four albums, the artist had constantly postponed this project that was so close to his heart. Then in 2022, just as he was getting ready to start producing an album of new songs, this long-standing aim finally materialized.
The melodies he wrote seemed to stand on their own naturally, spurring him on to compose this series of fourteen tracks, recorded in sessions split between France and Latvia.
A new piano: the Una Corda
Ezéchiel wanted this project dedicated to the piano to begin a new narrative, to explore new instrumental terrain and new tones, something far removed from the familiar piano he has been playing all his life. He opted for the Una Corda piano, designed by David Klavins, a groundbreaking instrument builder renowned for his distinctive pianos with vertical shapes and frames.

The Una Corda, created in 2014, is an upright piano with a single string per note (unlike three strings on traditional pianos). Enticed by the "crystalline and unique" tones of this instrument, which is hard to find in France, Ezéchiel travelled to Kuldiga, Latvia (where David Klavins set up his workshops and studios), to record the first part of the album. Although the title of the album may initially conjure up images of a distant, sensual dance, the reality is quite different. Ventas Rumba indeed refers to the waterfall and rapids (in Latvian: rumba) of the river Ventas, which runs near this small village in the western part of the country. Ezéchiel chose to blur the lines, as the sound and musicality of the title likely evoke both his short stay in the Baltic country, and also a form of distant exotic imagery perfectly in tune with his own mischievous wit. Tracks as short stories

Back in France, Ezéchiel enhanced the first tracks recorded in Kuldiga with subtle synth tone layers, and added other tracks composed and recorded at his Montreuil studio. The album reflects a deliberate and sensitive orchestration of piano, synth keyboards and digital effects, as he puts it: "playing to erase the differences between the tones of the various instruments", as if each instrument's texture echoed the others. According to Ezéchiel, you can listen to Ventas Rumba as you would leaf through "a collection of short stories", through compositions that rarely exceed three minutes and evoke figures of movement, lightness, curves or modulation, such as "La ligne", "La valse des singes" or "Fly Finger". Others more seriously relate to a kind of spirituality, which quietly infuses such different tracks as "Ferveur", "Éclair" and "Louanges". Ezéchiel adds: “I’m by no means religious, but I like what God has managed to get musicians to achieve (laughs)". "Louanges", for instance, despite its electronic edge, "refers to Olivier Messiaen, a very devout composer who I greatly admire". Other tracks are directly inspired by the classical music he listens to on a daily basis. For example, Chopin's “8th Nocturne” formed the backdrop of “Pianovado”. Likewise, the harmonic structure of Beethoven's “Waldstein Sonata No. 21” inspired “Opus 53”. Aside from these multiple references and inspirations, which quickly recede behind a style that is uniquely his, Ezéchiel Pailhès keeps exploring ideas already found on his first solo albums, this time in an instrumental format, undoubtedly purer, fostering an imaginary world that evokes the shapes and themes of ballads, ritornellos, light-heartedness, passing time, reverie or a universal subdued melancholy.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Special remarks : CD Digipack

Tracklist CD:
01. Dors-tu ? - 02. Regard en arrière - 03. Mélopée - 04. L’attente - 05. Elégie - 06. Prélude - 07.
La fille de la nuit - 08. Ni toi, ni moi - 09. Le beau jour - 10. Opaline - 11. Tant que mes yeux

Short Info:
On his fourth solo album, much as in Oh! (2020), the French composer, pianist and vocalist follows his
ongoing exploration of the crossroads between poetry and songs, piano and synth, old-time verses
and contemporary sounds. Inspired by the rhythms, effects and speech patterns of urban music, he
also delivers, with a warm and moving voice, the texts of three poetesses from the past.
Since 2013, Ezéchiel Pailhès has been crafting a unique French synth pop. On his first three albums,
he switched between songs inspired by poetry, instrumental ballads and electronica with hummed
choruses. This latest record is a collection of eleven new songs, two of which he wrote: "Opaline" and
"Ni toi, ni moi" (neither you nor me). The others are adaptations of poems written in the 16th, 18th and
19th centuries by French poetesses Louise Labé (1524-1566), Marceline Desbordes-Valmore (1786-
1859) and Renée Vivien (1877-1909).
Poetesses from the past...
From classical music to songs, poetry adaptation is an old French tradition. "My universe has always
embraced the musicality of this literary genre," the artist recalls. He actually started this project in 2017
with poems and sonnets by William Shakespeare, Pablo Neruda, Victor Hugo and above all Marceline
Desbordes-Valmore, who can be heard again on songs such as "Dors-tu?" (Are you sleeping?),
"Élégie" or "L'attente" (The wait). A figure of romanticism, the author left her mark on the early 19th
century through the quality of her texts and her formal inventions, particularly praised by Balzac, and
apparently a decisive influence on Verlaine and Baudelaire. "Marceline's poetry is very musical," says
Ezéchiel admiringly. "Her use of rhythm and repetition sounds great and takes on a new perspective
when set to music. In fact, she wrote some of her texts with singing in mind.”
“Ces longs secrets dont l'amour nous accuse,
Viens-tu les rompre en songe à mes genoux ?
Dors-tu, ma vie ! ou rêves-tu de moi ?”
“These long secrets for which love accuses us,
Do you come to my knees to break them in a dream?
Are you sleeping, my life! or do you dream of me”
(“Dors-tu ?”, after “Les pleurs” (the tears), 1833)
Besides her, we find the more famous, and rebellious, Renée Vivien, whose texts inspired three
songs, "Regard en arrière" (Looking backwards), "Mélopée" (Melopoeia) and "La fille de la nuit" (The
night girl). Sometimes nicknamed "Sapho 1900", this figure of lesbian culture and, more broadly, of
female genius, combined in her work the themes of desire, dreams, melancholy and the relationship
with nature.
“Ta forme est un éclair
Ton sourire est l’instant
Tu fuis, lorsque l’appel
T’implore, ô mon Désir !”
"Your shape is a spark of lightning
Your smile, the very moment
You flee, when the calling
Begs you, O my Desire!"
(After “Parle-moi, de ta voix pareille à l’eau courante” (Speak to me, with a voice like flowing waters)
and “Ta forme est un éclair” (Your shape is a spark of lightning), Renée Vivien, 1901)
Lastly, with "Tant que mes yeux" (As long as my eyes), Ezéchiel was inspired by a 1555 poem by
Renaissance poet Louise Labé, whose main topic explored female love, physical and spiritual desire,
and the torments and pains they generate.
" At the start of the project ", Ezéchiel continues, " I was interested in many poets, men and women,
past and present, before my selection was narrowed down to these three female authors. Their works,
often written in difficult or secret conditions, express a raging romanticism, a passionate soul, fuelled
by desperate and tormented love. I found it interesting, as a man coming from another world and time,
to face this otherness, to trade viewpoints. Obviously, I could loudly claim that the album was the
result of a concept, that it reflects today's world, and that it allows me to explore the notion of gender,
giving visibility to the work of a few women, while at the same time pairing these ancient texts with a
more modern and rhythmic music, and obviously, there is some truth in that. But more than anything, I
wanted to serve the text itself, to express the emotion and connection I felt with these works.”
Today's rhythms and prosody...
Ezéchiel Pailhès combines texts from French literature with electronic music, its effects and rhythms,
as well as a form of scansion that echoes rap, R&B or the current fusion between hip hop and pop,
which is part of our musical background and that of younger generations. "I wanted to cross-reference
texts from the beginning of the century with this type of music. I wanted to use today’s techniques to
tell the tale of different daily lives and experiences.
The album is thus marked by contemporary electronic orchestrations, in which he drops his favourite
instrument, the piano, and his digital collage technique to use more extensive synth melodies,
enhanced by drum machines, bringing a gentle and bright vibe to the romantic texts. Lastly, we can
hear slight digital tones of Auto-Tune, which Ezéchiel uses sparingly and inventively.

Beyond its sophistication, the term "melopoeia" means a "sung declamation", a "recitative song",
sometimes interpreted in a monotonous way. On this album, it could also refer to a sense of phrasing,
which does not come from rap, but rather from jazz, Ezéchiel's first love. " In the past, I tried to hide
my jazz culture, but it naturally came back on this new album, as can be heard, for instance, in Regard
en arrière.” With its verses anchored in our literary memory, the following track "Mélopée", perfectly
illustrates the album's vision. It manages to transcend eras, mixing past romanticism with a modern
prosody, fuelled by the nonchalance of hip hop and the warm chords of jazz.
“Qu’un hasard guide enfin mon désespoir tranquille
Vers l’eau d’une oasis ou les berges d’une île,
Où je puisse dormir, mon voyage accompli,
Dans la sécurité profonde de l’oubli”
"May chance guide my quiet sorrow, at last
To the water of an oasis, the shores of an island,
Where I may sleep, having traveled my way,
In the safe depths of oblivion".
(After “Sillages” (Trails), René Vivien, 1908)

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Special remarks : LP Vinyl incl. printed inner sleeve

Tracklist LP:
A1. Dors-tu ? - A2. Regard en arrière - A3. Mélopée - A4. L’attente - A5. Elégie - B1. Prélude -
B2. La fille de la nuit - B3. Ni toi, ni moi - B4. Le beau jour - B5. Opaline - B6. Tant que mes yeux

Short Info:
On his fourth solo album, much as in Oh! (2020), the French composer, pianist and vocalist follows his
ongoing exploration of the crossroads between poetry and songs, piano and synth, old-time verses
and contemporary sounds. Inspired by the rhythms, effects and speech patterns of urban music, he
also delivers, with a warm and moving voice, the texts of three poetesses from the past.
Since 2013, Ezéchiel Pailhès has been crafting a unique French synth pop. On his first three albums,
he switched between songs inspired by poetry, instrumental ballads and electronica with hummed
choruses. This latest record is a collection of eleven new songs, two of which he wrote: "Opaline" and
"Ni toi, ni moi" (neither you nor me). The others are adaptations of poems written in the 16th, 18th and
19th centuries by French poetesses Louise Labé (1524-1566), Marceline Desbordes-Valmore (1786-
1859) and Renée Vivien (1877-1909).
Poetesses from the past...
From classical music to songs, poetry adaptation is an old French tradition. "My universe has always
embraced the musicality of this literary genre," the artist recalls. He actually started this project in 2017
with poems and sonnets by William Shakespeare, Pablo Neruda, Victor Hugo and above all Marceline
Desbordes-Valmore, who can be heard again on songs such as "Dors-tu?" (Are you sleeping?),
"Élégie" or "L'attente" (The wait). A figure of romanticism, the author left her mark on the early 19th
century through the quality of her texts and her formal inventions, particularly praised by Balzac, and
apparently a decisive influence on Verlaine and Baudelaire. "Marceline's poetry is very musical," says
Ezéchiel admiringly. "Her use of rhythm and repetition sounds great and takes on a new perspective
when set to music. In fact, she wrote some of her texts with singing in mind.”
“Ces longs secrets dont l'amour nous accuse,
Viens-tu les rompre en songe à mes genoux ?
Dors-tu, ma vie ! ou rêves-tu de moi ?”
“These long secrets for which love accuses us,
Do you come to my knees to break them in a dream?
Are you sleeping, my life! or do you dream of me”
(“Dors-tu ?”, after “Les pleurs” (the tears), 1833)
Besides her, we find the more famous, and rebellious, Renée Vivien, whose texts inspired three
songs, "Regard en arrière" (Looking backwards), "Mélopée" (Melopoeia) and "La fille de la nuit" (The
night girl). Sometimes nicknamed "Sapho 1900", this figure of lesbian culture and, more broadly, of
female genius, combined in her work the themes of desire, dreams, melancholy and the relationship
with nature.
“Ta forme est un éclair
Ton sourire est l’instant
Tu fuis, lorsque l’appel
T’implore, ô mon Désir !”
"Your shape is a spark of lightning
Your smile, the very moment
You flee, when the calling
Begs you, O my Desire!"
(After “Parle-moi, de ta voix pareille à l’eau courante” (Speak to me, with a voice like flowing waters)
and “Ta forme est un éclair” (Your shape is a spark of lightning), Renée Vivien, 1901)
Lastly, with "Tant que mes yeux" (As long as my eyes), Ezéchiel was inspired by a 1555 poem by
Renaissance poet Louise Labé, whose main topic explored female love, physical and spiritual desire,
and the torments and pains they generate.
" At the start of the project ", Ezéchiel continues, " I was interested in many poets, men and women,
past and present, before my selection was narrowed down to these three female authors. Their works,
often written in difficult or secret conditions, express a raging romanticism, a passionate soul, fuelled
by desperate and tormented love. I found it interesting, as a man coming from another world and time,
to face this otherness, to trade viewpoints. Obviously, I could loudly claim that the album was the
result of a concept, that it reflects today's world, and that it allows me to explore the notion of gender,
giving visibility to the work of a few women, while at the same time pairing these ancient texts with a
more modern and rhythmic music, and obviously, there is some truth in that. But more than anything, I
wanted to serve the text itself, to express the emotion and connection I felt with these works.”
Today's rhythms and prosody...
Ezéchiel Pailhès combines texts from French literature with electronic music, its effects and rhythms,
as well as a form of scansion that echoes rap, R&B or the current fusion between hip hop and pop,
which is part of our musical background and that of younger generations. "I wanted to cross-reference
texts from the beginning of the century with this type of music. I wanted to use today’s techniques to
tell the tale of different daily lives and experiences.
The album is thus marked by contemporary electronic orchestrations, in which he drops his favourite
instrument, the piano, and his digital collage technique to use more extensive synth melodies,
enhanced by drum machines, bringing a gentle and bright vibe to the romantic texts. Lastly, we can
hear slight digital tones of Auto-Tune, which Ezéchiel uses sparingly and inventively.

Beyond its sophistication, the term "melopoeia" means a "sung declamation", a "recitative song",
sometimes interpreted in a monotonous way. On this album, it could also refer to a sense of phrasing,
which does not come from rap, but rather from jazz, Ezéchiel's first love. " In the past, I tried to hide
my jazz culture, but it naturally came back on this new album, as can be heard, for instance, in Regard
en arrière.” With its verses anchored in our literary memory, the following track "Mélopée", perfectly
illustrates the album's vision. It manages to transcend eras, mixing past romanticism with a modern
prosody, fuelled by the nonchalance of hip hop and the warm chords of jazz.
“Qu’un hasard guide enfin mon désespoir tranquille
Vers l’eau d’une oasis ou les berges d’une île,
Où je puisse dormir, mon voyage accompli,
Dans la sécurité profonde de l’oubli”
"May chance guide my quiet sorrow, at last
To the water of an oasis, the shores of an island,
Where I may sleep, having traveled my way,
In the safe depths of oblivion".
(After “Sillages” (Trails), René Vivien, 1908)

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

CD Digipack - - The new 3rd Solo Album by Ezechiel Pailhes !

Genre: Alternative, French Song

Tracklist CD:

01. J'aimerais tant - 02. Bien certain - 03. Oh! Pourquoi te cacher? - 04. Constellation - 05. Sans l'oublier - 06. Wolf 359 - 07. La sincère - 08. Almost there - 09. Tu te rappelleras - 10. Cakewalk - 11. J'avais froid

On his third solo album, following the success of "Éternel été", the founder of the electro duo Nôze is exploring, through piano and synths, the encounter between poetry and song. In this new work he has set to music verses by William Shakespeare, Victor Hugo, Pablo Neruda and on three songs, those of the poet Marceline Desbordes-Valmore, a pioneer of romanticism who notably influenced Verlaine and Baudelaire.

But what does this Oh !, giving its title to Ezéchiel Pailhès' third solo album, stand for? Is it an Oh ! of surprise, admiration or pain? "It is rather the Oh ! found in romantic poetry" says the French composer and singer with his deep and sweet voice. "An interjection that refers to a form of lament", even though it can convey other emotions such as complaint, nostalgia, a sad delight or a longed-for solace.

In Tout va bien, his previous album released in 2017, Ezéchiel Pailhès had set two Shakespeare sonnets to music. One of them, "Eternal été" has become a great success, thanks to its lines tinged with spleen and bliss. "Poetry, and its musicality, have always been part of my universe. For this new album, I therefore wanted to explore further the adaptation of poems into songs. "Bien Certain" is, once again, taken from William Shakespeare. "Tu te rappelleras" comes from Pablo Neruda's collection La centaine d'amour. "Oh ! Pourquoi te cacher ?" is from Victor Hugo. As for "Sans l'oublier", "La sincère" and "J'avais froid", they were all written by Marceline Desbordes-Valmore, a 19th century French poetess, still fairly unknown".

With Oh !, Ezechiel Pailhès has become more of a singer than ever before, through seven songs and four instrumental compositions, with intimate and warm modulations, carried by hypnotic piano melodies, instruments with unusual timbre and a subtle electronic production that recalls his past productions with his former duo Nôze.

"I wanted to expand my music further into songs" Ezéchiel adds, "to work more with my voice as a solo instrument and to limit the overlapping of voices and choirs found in my previous records". Produced in his Montreuil home studio, Oh ! is nevertheless imbued with an emotion found in his previous albums, close to 'saudade' or a slight melancholy, sometimes enhanced by chosen texts that evoke the disappointment of love, the longing, the distance between two people, or even men's weakness. "These poems evoke themes that may seem far from the concerns of our times. Yet, they are timeless and eternal; they manage to convey emotions that can often be difficult to say or write."

Among the texts chosen for this new album, the verses of the poet Marceline Desbordes-Valmore (1786-1859) are on a par with William Shakespeare's sonnets or Pablo Neruda's poem found on the same record:

Although less known today than her male counterparts, Marceline Desbordes-Valmore marked her times and the Romantic movement through the quality of her texts and her formal inventions, which Balzac admired, and whose influence seems to have been decisive on Verlaine and Baudelaire.

"Marceline Desbordes-Valmore's poetry is highly musical," says Ezéchiel with admiration. "Her artistry with rhythm and repetition sounds very good and takes on a new dimension when set to music. She even meant for some of her texts to become songs"

From classical to pop music, the adaptation of poetry is part of a long tradition in France. "Great classical composers of the early 20th century such as Fauré, Poulenc or Duparc, who influenced me, had already tackled poets. On the album, songs like "La sincère" or "Tu te rappelleras" are probably closer to the way Serge Gainsbourg or Serge Reggiani approached poetry than Léo Ferré who is usually referred to in this regard".

Lastly, "Constellation", "Wolf 359", "Almost there" and "Cakewalk", the four instrumental tracks on the album on which a sung or whispered voice sometimes appears, explore an inspiration close to previous albums, mixing piano, prepared piano (various objects are placed between the strings to transform its timbre), synthesiser, clavietta (a kind of melodica), not to forget a few collages and digital processes.
Ballads with a cinematographic mood that respond in an abstract and dreamlike way to the texts of great poets...


Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Special remarks : LP Vinyl incl. Downloadcode

Genre: Alternative, French Song

Tracklist LP:

A1. J'aimerais tant - A2. Bien certain - A3. Oh! Pourquoi te cacher? - A4. Constellation - A5. Sans l'oublier - B1. Wolf 359 - B2. La sincère - B3. Almost there - B4. Tu te rappelleras - B5. Cakewalk - B6. J'avais froid

Short Info:

On his third solo album, following the success of "Éternel été", the founder of the electro duo Nôze is exploring, through piano and synths, the encounter between poetry and song. In this new work he has set to music verses by William Shakespeare, Victor Hugo, Pablo Neruda and on three songs, those of the poet Marceline Desbordes-Valmore, a pioneer of romanticism who notably influenced Verlaine and Baudelaire.

But what does this Oh !, giving its title to Ezéchiel Pailhès' third solo album, stand for? Is it an Oh ! of surprise, admiration or pain? "It is rather the Oh ! found in romantic poetry" says the French composer and singer with his deep and sweet voice. "An interjection that refers to a form of lament", even though it can convey other emotions such as complaint, nostalgia, a sad delight or a longed-for solace.

In Tout va bien, his previous album released in 2017, Ezéchiel Pailhès had set two Shakespeare sonnets to music. One of them, "Eternal été" has become a great success, thanks to its lines tinged with spleen and bliss. "Poetry, and its musicality, have always been part of my universe. For this new album, I therefore wanted to explore further the adaptation of poems into songs. "Bien Certain" is, once again, taken from William Shakespeare. "Tu te rappelleras" comes from Pablo Neruda's collection La centaine d'amour. "Oh ! Pourquoi te cacher ?" is from Victor Hugo. As for "Sans l'oublier", "La sincère" and "J'avais froid", they were all written by Marceline Desbordes-Valmore, a 19th century French poetess, still fairly unknown".

With Oh !, Ezechiel Pailhès has become more of a singer than ever before, through seven songs and four instrumental compositions, with intimate and warm modulations, carried by hypnotic piano melodies, instruments with unusual timbre and a subtle electronic production that recalls his past productions with his former duo Nôze.

"I wanted to expand my music further into songs" Ezéchiel adds, "to work more with my voice as a solo instrument and to limit the overlapping of voices and choirs found in my previous records". Produced in his Montreuil home studio, Oh ! is nevertheless imbued with an emotion found in his previous albums, close to 'saudade' or a slight melancholy, sometimes enhanced by chosen texts that evoke the disappointment of love, the longing, the distance between two people, or even men's weakness. "These poems evoke themes that may seem far from the concerns of our times. Yet, they are timeless and eternal; they manage to convey emotions that can often be difficult to say or write."

Among the texts chosen for this new album, the verses of the poet Marceline Desbordes-Valmore (1786-1859) are on a par with William Shakespeare's sonnets or Pablo Neruda's poem found on the same record:

" Sans l'oublier, on peut fuir ce qu'on aime.
On peut bannir son nom de ses discours,
Et, de l'absence implorant le secours,
Se dérober à ce maître suprême,
Sans l'oublier ! "
(…)
" Sans oublier une voix triste et tendre,
Oh ! que de jours j'ai vus naître et finir !
Je la redoute encore dans l'avenir :
C'est une voix que l'on cesse d'entendre,
Sans l'oublier ! "
"Without forgetting, we can run away from what we love.
Banish their name from our conversations,
And, begging the absence for consolation,
Escape the grip of this supreme master,
Without forgetting! "
(…)
"Without forgetting a sad and gentle voice,
Oh, how many days have I seen rise and fall!
And still I fear from the future:
A voice that can no longer be heard,
Without forgetting! "

Although less known today than her male counterparts, Marceline Desbordes-Valmore marked her times and the Romantic movement through the quality of her texts and her formal inventions, which Balzac admired, and whose influence seems to have been decisive on Verlaine and Baudelaire.

"Marceline Desbordes-Valmore's poetry is highly musical," says Ezéchiel with admiration. "Her artistry with rhythm and repetition sounds very good and takes on a new dimension when set to music. She even meant for some of her texts to become songs"

From classical to pop music, the adaptation of poetry is part of a long tradition in France. "Great classical composers of the early 20th century such as Fauré, Poulenc or Duparc, who influenced me, had already tackled poets. On the album, songs like "La sincère" or "Tu te rappelleras" are probably closer to the way Serge Gainsbourg or Serge Reggiani approached poetry than Léo Ferré who is usually referred to in this regard".

Lastly, "Constellation", "Wolf 359", "Almost there" and "Cakewalk", the four instrumental tracks on the album on which a sung or whispered voice sometimes appears, explore an inspiration close to previous albums, mixing piano, prepared piano (various objects are placed between the strings to transform its timbre), synthesiser, clavietta (a kind of melodica), not to forget a few collages and digital processes.
Ballads with a cinematographic mood that respond in an abstract and dreamlike way to the texts of great poets...


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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Full Cover Art 1LP Print - The new 2nd Solo Album by Ezechiel Pailhes !

Tracklist LP:
A1. River Day - A2. Little Museum - A3. Eternel Été - A4. How Long - A5. Body Woogie - B1. Tout Va Bien - B2. Bit Hip - B3. Boyd London - B4. Le Fou Du Phare - B5. Promesse - B6. Octobre

Beautiful piano melodies, ballads drawing their inspiration from jazz, classical music and cinematic
imagery, hummed choruses, a mood at the crossroad of nostalgia and reverie, instruments with
uncanny timbre and charm, chiseled percussions, added to a subtle electronic production, this is the
recipe for Tout Va Bien, the second solo album by French composer Ezechiel Pailhès.
All this is reflected in the opening track, River Day, which begins with “prepared piano” sounds (a
technique mastered by Ezechiel, which consists in placing different objects on the strings of the piano,
to create singular percussive notes). This deliberately mysterious and poetic introduction, supported
by light electronic effects, is soon combined with a light beat, organ chords and vocalisations by the
artist, which gradually transform the track into a ritornello, with both nostalgic and lighthearted tones.
As the artist states it: “We could describe this type of emotion as a kind of endearing nostalgia, close
to saudade,” i.e. the Portuguese term expressing the idea of a light melancholy stripped of its sickly
aspect, or a “haunted craving” as the singer and composer Pierre Barouh nicely put it. “This feeling
comes naturally to me when I write. Generally, in my music, I seek a form of soothing, of eternity even,
(without meaning to sound pretentious). This is something I encounter in classical music, which is
what I listen to most.”

Even if he defines himself as a “jolly fellow” (which is confirmed by the music and reputation of his
electro-pop duo Nôze), when chatting to him, he comes across as quite gentle and stellar, just like this
collection of eleven tracks that he composed “in autarky”, entirely alone, in his Montreuil home studio.
Following the footpath of Divine, his first solo release from 2013, this album is however more intimate,
marking Pailhès' taste for finely crafted moods and drifts. Songs like Tout Va Bien, but also Éternel Été
and Promesse, whose lines have been borrowed from Shakespeare's sonnets, seem to shift between
carelessness, bliss, bitterness and anxiety.
“Why didst thou promise such a beauteous day
And make me travel forth without my cloak,
To let base clouds o'ertake me in my way,
Hiding they bravery in their rotten smoke?”
(Taken from William Shakespeare's Sonnets that inspired Promesse)
As for titles such as Octobre, Boyd London or Le Fou Du Phare, they illustrate Ezechiel’s gift for
composing instrumental ballads, with equally versatile emotions though drawing from cinema,
supported by whispered or sung vocalisations. Ezechiel explains: “No word can quite describe this
type of singing, it's a kind of ritornello, these are songs without lyrics, which is all down to the fact that I
always think of my melodies as songs. The absence of words is not a form of laziness. My songs
simply say enough for people to imagine their own story. It is more about suggesting or evoking a
feeling, an emotion. "
Even though he composed on the piano, in this album Ezechiel plays and toys with numerous other
instruments, such as the Clavietta (a type of Melodica), a Moog Little Phatty synth, an analog Korg
Lambda organ, rare virtual instruments, and a whole array of exotic percussions, gleaned along his
tours. He insists, however, on the sculptural dimension of his compositional work. For him, it is about
“revealing or masking the sound of the original melody” through various processes, including
percussive ones, whether using a prepared piano (which he even calls "transformist”) or several digital
cuts and superimpositions enabling him to generate what he calls “sound illusions”, through unusual
associations between the timbres of various instruments.
Even if parallels can be drawn with the work of other composers, such as Moondog's piano melodies,
Matthew Herbert's sonorous and rhythmic tinkering and techno 'fringe', or even the graceful fantasy of
Nino Rota, the music of Ezechiel definitely sounds like no other. His songs conveying delicate
emotions, his obvious melodic mastery, draw from classical influences. His instrumental ease acquired
from jazz, his conciseness and sounds processing skills derived from electro, this all makes him one of
the most singular and endearing personalities in today's musical scene.


Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

CD Digipack - - The new 2nd Solo Album by Ezechiel Pailhes !

Tracklist CD:
01. River Day - 02. Little Museum - 03. Eternel Été - 04. How Long - 05. Body Woogie - 06. Tout Va Bien - 07. Bit Hip - 08. Boyd London - 09. Le Fou Du Phare - 10. Promesse - 11. Octobre

Beautiful piano melodies, ballads drawing their inspiration from jazz, classical music and cinematic
imagery, hummed choruses, a mood at the crossroad of nostalgia and reverie, instruments with
uncanny timbre and charm, chiseled percussions, added to a subtle electronic production, this is the
recipe for Tout Va Bien, the second solo album by French composer Ezechiel Pailhès.
All this is reflected in the opening track, River Day, which begins with “prepared piano” sounds (a
technique mastered by Ezechiel, which consists in placing different objects on the strings of the piano,
to create singular percussive notes). This deliberately mysterious and poetic introduction, supported
by light electronic effects, is soon combined with a light beat, organ chords and vocalisations by the
artist, which gradually transform the track into a ritornello, with both nostalgic and lighthearted tones.
As the artist states it: “We could describe this type of emotion as a kind of endearing nostalgia, close
to saudade,” i.e. the Portuguese term expressing the idea of a light melancholy stripped of its sickly
aspect, or a “haunted craving” as the singer and composer Pierre Barouh nicely put it. “This feeling
comes naturally to me when I write. Generally, in my music, I seek a form of soothing, of eternity even,
(without meaning to sound pretentious). This is something I encounter in classical music, which is
what I listen to most.”
Even if he defines himself as a “jolly fellow” (which is confirmed by the music and reputation of his
electro-pop duo Nôze), when chatting to him, he comes across as quite gentle and stellar, just like this
collection of eleven tracks that he composed “in autarky”, entirely alone, in his Montreuil home studio.
Following the footpath of Divine, his first solo release from 2013, this album is however more intimate,
marking Pailhès' taste for finely crafted moods and drifts. Songs like Tout Va Bien, but also Éternel Été
and Promesse, whose lines have been borrowed from Shakespeare's sonnets, seem to shift between
carelessness, bliss, bitterness and anxiety.
“Why didst thou promise such a beauteous day
And make me travel forth without my cloak,
To let base clouds o'ertake me in my way,
Hiding they bravery in their rotten smoke?”
(Taken from William Shakespeare's Sonnets that inspired Promesse)
As for titles such as Octobre, Boyd London or Le Fou Du Phare, they illustrate Ezechiel’s gift for
composing instrumental ballads, with equally versatile emotions though drawing from cinema,
supported by whispered or sung vocalisations. Ezechiel explains: “No word can quite describe this
type of singing, it's a kind of ritornello, these are songs without lyrics, which is all down to the fact that I
always think of my melodies as songs. The absence of words is not a form of laziness. My songs
simply say enough for people to imagine their own story. It is more about suggesting or evoking a
feeling, an emotion. "
Even though he composed on the piano, in this album Ezechiel plays and toys with numerous other
instruments, such as the Clavietta (a type of Melodica), a Moog Little Phatty synth, an analog Korg
Lambda organ, rare virtual instruments, and a whole array of exotic percussions, gleaned along his
tours. He insists, however, on the sculptural dimension of his compositional work. For him, it is about
“revealing or masking the sound of the original melody” through various processes, including
percussive ones, whether using a prepared piano (which he even calls "transformist”) or several digital
cuts and superimpositions enabling him to generate what he calls “sound illusions”, through unusual
associations between the timbres of various instruments.
Even if parallels can be drawn with the work of other composers, such as Moondog's piano melodies,
Matthew Herbert's sonorous and rhythmic tinkering and techno 'fringe', or even the graceful fantasy of
Nino Rota, the music of Ezechiel definitely sounds like no other. His songs conveying delicate
emotions, his obvious melodic mastery, draw from classical influences. His instrumental ease acquired
from jazz, his conciseness and sounds processing skills derived from electro, this all makes him one of
the most singular and endearing personalities in today's musical scene.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

UPC: 827170125223 Release : 03.06.2012
Tracklist CD: 1. Hands On Hips 2. Tout Doux 3. Blue Curtain 4. Sleeper Train 5. Quietude 6. Qui Sait 7. Cornetto 8. Matin 9. Up To The Sky 10. Under The Lake 11. Furioso 12. La Ligne 13. Piano Box 14. Divine
Divine : The immobile odyssey.
For a long time before the success of Nôze led him to discover the rest of the world, Ezechiel Pailhès remained a prophet in: his country. For a long time as well, he worked on creating what became his first solo album, waiting for the right moment when he could no longer contain all the melodies that populate this 14-leg epic. A voyage in a free world, where creation knows no formal constraints, where everything mutates according to the determined inspiration of the moment. Transforming the original pieces without knowing in advance how they will end up, disguising the instruments so that they are mistaken for others, nothing frightens this intrepid sailor whose ship is nevertheless securely moored at home, Ezechiel composes and plays at home in Paris. Sole master on board, the tinkerer illusionist prepares his piano with mechanic's tools (scotch tape, rubber, percussion, wooden claves adrift over the strings), obtaining instruments that do not sound where we expect them. This adventure is, he says, a fiction he wants to believe in.The result is equal to the creator and his character.14 captivating melodies like siren songs, sometimes dressed in a simple lala or lyrics by David Lafore, 14 ports of call offering a sweetness that is at times extremely melancholy, 14 pieces whose implacable refrains take root the first time you listen to them. This is indeed a divine crossing people with wide-ranging references (Serge Regianni, D Angelo, Bernard Hermann, Timber Timbre, Stevie Wonder but also Henri Duparc, Moondog, Keith Jarett or Tony Benett ) that we are invited to share with Ezechiel whose career as a pianist has evolved on the stages where he has been performing for years as a duo with Nicolas Sfintescu (Nôze).
A succession of landscapes, of cinematographic images, some of the pieces were composed for movies and remained at the dock when others made their way to the silver screen (Bancs Publics co-written with David Lafore for Denis Podalydès )… A voyage that successively makes you want to dance, to dream, simply to listen the way you gaze at the horizon seated on the deck of a sailboat. There is the heady sailors' nostalgic longing (Quiétude, inspired by a sonnet of W. Shakespeare ) but also their cheerfulness, their lightness, the festive nature of the ports where things swing and the emotion of the infinite contemplated, the heart stirred by the swell. Divine is the companion for all trips, the disk you take to the deserted island and to the loft in Berlin, the disk that you play constantly without tiring of it because each listening reveals places you were unaware of, sounds that had not yet been discovered, because it thrills music lovers. Divine is the road songs that you want to share with your pals, but whose story you keep to yourself, this song reminds me of this, another takes me there. With the top up or down.
And you embark without resistance, Ezechiel is at the helm, you can travel calmly.


Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Genre: Alternative, Pop

Tracklist LP:
A1. Préliminaires - A2. La montée - A3. Le cri - A4. Le plaisir des sources - A5. Ronde génitale - B1. Grand frisson - B2. Branle [Censuré] - B3. La petite mort - B4. Simulation Blues - B5. Le calme après l'œuvrette


Bonnie Banane and Joseph Schiano di Lombo present L'Orguasme, an album of bawdy and devotional songs accompanied by the organ of the Cité de la Musique / Philharmonie de Paris. Literally composed and written for pleasure, this work (of the flesh, naturally) pays tribute to the most spectacular expression of ecstasy - a paradise so near and yet so misunderstood. From the most restrained sighs to the most dazzling vocal outbursts, from the foreplay to the eruption, not to mention the bliss that follows the incandescence, Bonnie and Joseph sing about the art of reaching seventh heaven, of genuflection and "la petite mort" ("little death" a French expression for "climax") without shying away from the darker areas: those of guilty, forbidden, feigned, or selfish pleasures, for instance.
By turns light, explosive, mystical, burlesque, and poetic, this music diverts the organ from its centuries-old habits, achieving a union of the profane and the sacred, the crass and the beautiful, the body and the spirit, early music and pop - reminding us of the essential truth: it's better to come than to cry.
While the minimalism of the arrangements initially strikes the ear - no instruments other than the organ accompany these musical escapades - the album is infused with numerous unexpected influences: R&B (La petite mort), swing (Le cri), gospel (Simulation blues), jazz (Le calme après l'œuvrette), medieval ballads (Ronde génitale, Au plaisir), and even a famous 16th-century folk dance called the branle (Branle [Censored]).
A sexy, lush, stripped-down, and unabashed opus, glorifying what remains glorious: love, music, and the boundless joy of creation.


Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Genre: Electronic, Jazz, Ambient

Tracklist LP:
A1. Of Florals - A2. The Garden's Humble - A3. Five Folk - A4. Polka Gigue - A5. For the Faint of Heart - A6. Moonlit - A7. Gnome Worthy - A8. Dance of the Petals - B1. Brook - B2. Hidden Glow - B3. Of Giving - B4. Waltz of the Clocks - B5. Locust Tale - B6. Travelers Gift - B7. More Clocks

Short Info:
Acclaimed musicians Nitai Hershkovits and Daniel Dor will release their highly anticipated album, “The Garden Suite”, on Circus Company. Following their previous collaboration on Daniel Dor’s debut album, “Four Petals”, this new project sees the duo exploring uncharted musical territory with an innovative, Moog-based sound.
Inspired by the groundbreaking work of synth pioneer Malcolm Cecil, “The Garden Suite” marries electronic textures with the richness of orchestral sound. Drawing from a vast range of influences, including the works of Benjamin Britten and Fredrick Delius, Hershkovits and Dor meticulously composed each track, layering Moog synthesizer melodies to emulate various instruments from the orchestra - from French horn to percussion, guitar, brass, and woodwinds. The result is a sound that is lush yet light, deeply textured yet not dense.
“The Garden Suite” marks a significant evolution in the partnership between Hershkovits and Dor, with their new compositions shifting from the rhythmic focus of “Four Petals” to a more texture-driven approach. The album showcases their ability to create genre-defying soundscapes, blending Daniel’s rhythmic system, “The Flower,” with lush, ambient layers of sound created on the Moog.
Nitai Hershkovits, known for his extensive work in jazz and classical music, began his musical journey as a clarinetist before transitioning to piano at the age of 15. His early passion for improvisation and jazz earned him several jazz competition awards in Tel Aviv. Nitai’s career highlights include his fiveyear tenure with the Avishai Cohen Trio, and his numerous projects as a solo artist, including work with ECM and his band Apifera.
Daniel Dor, a drummer and multi-instrumentalist, was born into a family of musicians in Tel Aviv. He began exploring rhythm at the age of 10, building his first drum set out of household objects. His innovative rhythmic method, “The Flower”, gained attention with his debut solo piano album, “Four Petals”, which led to his collaboration with Hershkovits. Daniel has performed with notable artists such as NOA, Avishai Cohen, and Chano Dominguez, and regularly lectures on rhythmic symmetry and music.
With “The Garden Suite”, Hershkovits and Dor offer a unique listening experience that challenges traditional genre boundaries. Their seamless fusion of rhythm, melody, and texture creates a soundscape that is as experimental as it is captivating.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Genre: Beats, Ambient, Electronica
Tracklist LP:
A1. Sing a Storm - A2. Que Rico - A3. Heart of a Canary - A4. Deeper Filth - A5. Just Another Kid - A6. Arp on a Table -
B1. Boulevard - B2. Vessel Plans - B3. JP Ate Culture - B4. Mountain Range - B5. nEw fAme - B6. That Old Fuck - B7. Burger Time - B8. Umpah Band - B9. Don’t Wake Me Up Bro - B10. Not Lost - B11. GoinF4er

Short Info:
High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the
beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to
Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples
chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original
collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie.
Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His collages marry the corporeal world with an updated, digitalized age of
reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz
(Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with
the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle
can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Genre: Beats, Ambient, Electronica

Tracklist Cassette:
SIDE A
01. Sing a Storm - 02. Que Rico - 03. Heart of a Canary - 04. Deeper Filth - 05. Just Another Kid -06. Arp on a Table - 07. Time Changes (Bonus Track)
SIDE B
01. Boulevard - 02. Vessel Plans - 03. JP Ate Culture - 04. Mountain Range - 05. nEw fAme - 06.That Old Fuck - 07. Burger Time - 08. Umpah Band - 09. Don’t Wake Me Up Bro - 10. Not Lost -
11. GoinF4er

Short Info:
High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the
beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to
Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples
chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original
collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie.
Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His collages marry the corporeal world with an updated, digitalized age of
reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle
can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

2024 Repress

UPC: 827170460461

A1. Hands On Hips A2. Tout Doux A3. Blue Curtain A4. Sleeper Train A5. Quietude A6. Qui Sait
B1. Matin B2. Up To The Sky B3. Under The Lake B4. Furioso B5. La Ligne B6. Piano Box B7. Divine


Divine : The immobile odyssey.
For a long time before the success of Nôze led him to discover the rest of the world, Ezechiel Pailhès remained a prophet in: his country. For a long time as well, he worked on creating what became his first solo album, waiting for the right moment when he could no longer contain all the melodies that populate this 14-leg epic. A voyage in a free world, where creation knows no formal constraints, where everything mutates according to the determined inspiration of the moment. Transforming the original pieces without knowing in advance how they will end up, disguising the instruments so that they are mistaken for others, nothing frightens this intrepid sailor whose ship is nevertheless securely moored at home, Ezechiel composes and plays at home in Paris. Sole master on board, the tinkerer illusionist prepares his piano with mechanic's tools (scotch tape, rubber, percussion, wooden claves adrift over the strings), obtaining instruments that do not sound where we expect them. This adventure is, he says, a fiction he wants to believe in.The result is equal to the creator and his character.14 captivating melodies like siren songs, sometimes dressed in a simple lala or lyrics by David Lafore, 14 ports of call offering a sweetness that is at times extremely melancholy, 14 pieces whose implacable refrains take root the first time you listen to them. This is indeed a divine crossing people with wide-ranging references (Serge Regianni, D Angelo, Bernard Hermann, Timber Timbre, Stevie Wonder but also Henri Duparc, Moondog, Keith Jarett or Tony Benett ) that we are invited to share with Ezechiel whose career as a pianist has evolved on the stages where he has been performing for years as a duo with Nicolas Sfintescu (Nôze).
A succession of landscapes, of cinematographic images, some of the pieces were composed for movies and remained at the dock when others made their way to the silver screen (Bancs Publics co-written with David Lafore for Denis Podalydès )… A voyage that successively makes you want to dance, to dream, simply to listen the way you gaze at the horizon seated on the deck of a sailboat. There is the heady sailors' nostalgic longing (Quiétude, inspired by a sonnet of W. Shakespeare ) but also their cheerfulness, their lightness, the festive nature of the ports where things swing and the emotion of the infinite contemplated, the heart stirred by the swell. Divine is the companion for all trips, the disk you take to the deserted island and to the loft in Berlin, the disk that you play constantly without tiring of it because each listening reveals places you were unaware of, sounds that had not yet been discovered, because it thrills music lovers. Divine is the road songs that you want to share with your pals, but whose story you keep to yourself, this song reminds me of this, another takes me there. With the top up or down.
And you embark without resistance, Ezechiel is at the helm, you can travel calmly.


Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Genre: House

Tracklist:
A1. Losing Track
A2. Climbers Pit (Feat. Joli B & Danuel Tate)
B1. Losing Track (Dave Aju Remix)
B2. Youandthekitten

Short Info:
New music by The Mole. High Dreams contains four tracks, three originals and one remix from Circus Company favourite Dave Aju. The Mole savours dreaming and welcomes the mystical landscapes of
the mind with High Dreams, a collection of uptempo dance pieces inhabited by ghosts and welcoming creatures from the deeps. This unpretentious collection cuts straight with the rhythms, and carries long
with the arrangements. Dancefloor sizzle. Subsonic rumble. Ghosts! Your body moving requisites lie within this simple plate of wax. Turn up your amps and bathe in it.
The Mole is known for his “hits” (Baby You’re The One, Hippy Speedball, In My Song, Lockdown Party) and his “work” with many Top labels (Perlon, Kompakt, Wagon Repair, Maybe Tomorrow, Ostgut Ton)
is played by many Top DJs. Only his third release with Circus Company (Little Sunshine, The River Widens), this Ep is a reminder that the Mole is still at it, and a warning. There’s a new album upcoming.
And it sounds nothing like this…
With his 19th release with the label since 2003, Dave Aju is one of the pillars of modern Circus Company. Aju amplifies Losing Track, adding percussion and fresh, modern programming, giving the remix a whole
new purpose while maintaining the erie cries, calling out, desperate - don’t leave me hang ’n … of the original. A certain go to for the Deep Heads.



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Genre: Alternative, Electronic, Piano Solo

Tracklist CD:
01. Unless - 02. Piccolo - 03. Sway - 04. Almost There (Piano Version) - 05. Ventas Rumba - 06.
Pianovado - 07. La ligne (Modular Version) - 08. Opus 53 - 09. Eclair - 10. Flat Feet - 11. La valse
des singes - 12. Louanges - 13. Fly Finger - 14. Ferveur

Short Info:
With his new instrumental album Ventas Rumba, the French composer (and singer) returns to his signature instrument, the piano, blending it with warm synth tones. This album represents a "return to his roots ", allowing Ezéchiel Pailhès to reinvent himself in a seamless way while still exploring ballads and ritornellos, halfway between light-heartedness and melancholy. Ezéchiel Pailhès has been meaning to write a solo piano album for as long as he can remember. Hardly surprising, of course, for this academically-trained pianist, brought up on classical music and then studied jazz. Yet, since his 2001 debut with the electro-pop duo Nôze, and his subsequent four albums, the artist had constantly postponed this project that was so close to his heart. Then in 2022, just as he was getting ready to start producing an album of new songs, this long-standing aim finally materialized.
The melodies he wrote seemed to stand on their own naturally, spurring him on to compose this series of fourteen tracks, recorded in sessions split between France and Latvia.
A new piano: the Una Corda
Ezéchiel wanted this project dedicated to the piano to begin a new narrative, to explore new instrumental terrain and new tones, something far removed from the familiar piano he has been playing all his life. He opted for the Una Corda piano, designed by David Klavins, a groundbreaking instrument builder renowned for his distinctive pianos with vertical shapes and frames.

The Una Corda, created in 2014, is an upright piano with a single string per note (unlike three strings on traditional pianos). Enticed by the "crystalline and unique" tones of this instrument, which is hard to find in France, Ezéchiel travelled to Kuldiga, Latvia (where David Klavins set up his workshops and studios), to record the first part of the album. Although the title of the album may initially conjure up images of a distant, sensual dance, the reality is quite different. Ventas Rumba indeed refers to the waterfall and rapids (in Latvian: rumba) of the river Ventas, which runs near this small village in the western part of the country. Ezéchiel chose to blur the lines, as the sound and musicality of the title likely evoke both his short stay in the Baltic country, and also a form of distant exotic imagery perfectly in tune with his own mischievous wit. Tracks as short stories

Back in France, Ezéchiel enhanced the first tracks recorded in Kuldiga with subtle synth tone layers, and added other tracks composed and recorded at his Montreuil studio. The album reflects a deliberate and sensitive orchestration of piano, synth keyboards and digital effects, as he puts it: "playing to erase the differences between the tones of the various instruments", as if each instrument's texture echoed the others. According to Ezéchiel, you can listen to Ventas Rumba as you would leaf through "a collection of short stories", through compositions that rarely exceed three minutes and evoke figures of movement, lightness, curves or modulation, such as "La ligne", "La valse des singes" or "Fly Finger". Others more seriously relate to a kind of spirituality, which quietly infuses such different tracks as "Ferveur", "Éclair" and "Louanges". Ezéchiel adds: “I’m by no means religious, but I like what God has managed to get musicians to achieve (laughs)". "Louanges", for instance, despite its electronic edge, "refers to Olivier Messiaen, a very devout composer who I greatly admire". Other tracks are directly inspired by the classical music he listens to on a daily basis. For example, Chopin's “8th Nocturne” formed the backdrop of “Pianovado”. Likewise, the harmonic structure of Beethoven's “Waldstein Sonata No. 21” inspired “Opus 53”. Aside from these multiple references and inspirations, which quickly recede behind a style that is uniquely his, Ezéchiel Pailhès keeps exploring ideas already found on his first solo albums, this time in an instrumental format, undoubtedly purer, fostering an imaginary world that evokes the shapes and themes of ballads, ritornellos, light-heartedness, passing time, reverie or a universal subdued melancholy.

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Genre : Electronic - Downtempo

Tracklist :

A1. Jail Time with Mr. Murd (Feat. Yonatan Albalak) - A2. Graveyard Party - A3. Your Tissue SVP - A4. SNG PLSTN - A5. - I Think This Is Reasonable - A6. HRTSPC - B1. NOZPLZ - B2. Dada’s Bone - B3. OCNC XTR - B4. EZ PPL 4 TRTH - B5. Don’t Forget to Not Remember Who

Yuval Havkin, also known as Rejoicer, is one of the foremost exponents of downtempo music, inspired by the fusion of jazz and hip-hop. His new album thus draws on his early influences while exploring the world of calm, melodic electronic music that borders on ambient.

This Is Reasonable has a chill-out feel to it, a record filled with melodies and atmospheres that, throughout its eleven tracks, conveys a sense of calm and floating, akin to ambient music. Stripped of the clichés of the genre, the album is built around subtle melodies and rich harmonies from keyboards and synths, which borrow as much from the spirit of jazz as from the inventions of electronica, whilst being supported by a gentle groove. This equilibrium is perfectly captured by Rejoicer's moniker, a term that evokes both the idleness of artificial paradises and a soft, caring form of spirituality.

Musical path
Yuval Havkin was born in Israel in 1985, and grew up in England before returning to his homeland. He began studying classical piano as a child, but was put off by such conservative teaching and turned to hip-hop and beatmaking in his teens. Throughout the 2000s, he learned his skills "on the job", working with musicians he met in Tel Aviv, a local scene that nurtured a sense of community and emulation. Back then, he was particularly impressed by the grooves and electronic inventions of Detroit producer Dabrye, who had a revelatory effect on him, before he discovered legendary musicians Madlib and Jay Dee aka J Dilla, who led him down the path of beatmaking.

Yuval Havkin's music career got off to a more serious start in the late 2000s with the creation of his own label, Raw Tapes, both based in Tel Aviv. Blending jazz, funk and hip hop, whilst still embracing pop influences, the label's productions showcased the richness of the new Israeli scene combining cool, elegance, playfulness, and a degree of research and inventiveness, thanks to the talent of artists and bands such as Duo Brothers, Maya Dunietz, iogi, Nitai Hershkovits, the Buttering Trio and Rejoicer, the artist's most personal project.

In 2018, Rejoicer's warm and engaging sounds caught the attention of the prestigious Los Angeles label Stones Throw, renowned for having signed his idols Madlib and J Dilla, not to mention Aloe Blacc and Peanut Butter Wolf (its founder). Two albums followed, Energy Dreams (2018) and Spiritual Sleaze (2020), both of which demonstrate his instrumental mastery, jazz culture and lush orchestrations. Both albums are on a par with more renown sampling prodigies of the beat scene, and gave him his first international recognition.

Now based between Los Angeles and Savyon, near Tel Aviv, this hyperactive and instinctive artist simultaneously pursues a career as a composer, musician and label owner, member of numerous bands and collective projects (Apifera, PlayDead, collaborations with Jimi Prasad and Avishai Cohen) while also offering his studios and production skills to other artists. “Fela Kuti meets Aphex Twin”

This new Rejoicer album, which follows three earlier jazz-tinged records, marks a new and more personal musical direction for an artist who previously favored group work and collaborations. Yuval chose here to delve into a more electronic and sequenced style of music, playing Prophet 6 and 8 synths, a Juno 60, a Minimoog and his Fender Rhodes keyboard, in contrast with the more organic sounds of his previous albums. While a few tracks on this new album may sound like a laid-back version of some of the Warp label's early electronic classics by Aphex Twin or Boards of Canada, Yuval Havkin claims to have also been inspired by the great Fela Kuti, particularly in his search for harmonies between bass, keyboards and
percussion, and by his elder trumpet-playing friend Avishai Cohen, a musician he particularly admires.

Beyond these various influences, This Is Reasonable is an album of compelling and bewitching melodies. The moods, peacefulness and sheer beauty of This Is Reasonable are, indeed, quite paradoxical, in stark contrast to the country's tragedies (the title explicitly refers to recent political disputes in Israel) and the war currently raging less than a hundred miles from his studio. A paradox fully embraced by the artist, who views his music as a response to the violence of our times.


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Double Vinyl LP (incl. printed inner sleeve)

Tracklist 2LP:
A1. The Pull of Time - A2. Parallax - B1. The Color of Static - B2. Begin Again - C1. I Need You -
C2. Beacon - D1. Are We Not Above It? (Feat. NiQ E & L_cio) - D2. The Mycorrhizal Network -
D3. Augmented Dreams

Short Info:
Alan Abrahams aka Portable returns to the label in fine form with his latest full-length LP, Augmented
Dreams. The title refers to the use of everyday technological advancements to achieve what were once
only dreams or visions of past generations, making this an explorative concept album that is equal parts
not-too-distant science fiction, and about as topical as it gets.
From the gorgeous opening string layers of “The Pull of Time” to the classy 4/4 grooves of “Begin Again”
or lead single “Guiding Me”, into the apropos and angular sci-fi broken beat feels of “Parallax” and “The
Color of Static”, fitting Detroit-influenced love taps like “Beacon” and “The Mycorrhizal Network”, the
politically-inspired “Are We Not Above It?” referencing the lingering effects of colonization featuring NiQ
E from South Africa on vocals and L_cio from Brazil on flute, through to the futurist pop elegance of the
dreamy duet recorded with Alexey Kochetkov “I Need You” and the conclusive titular track, it is clear
that both the in-depth concept and immaculately-crafted musical content in Portable’s inimitable style
are balanced in significance and expressive effect. This also functions as a timely statement in itself, as
today’s iceberg-tip evolution of AI technology is currently impending over the arts and many of our
existing realities.
This ten-song album serves as an imaginative yet hyperrealist narrative on how humanity’s fascination
with and reliance on ever-advancing technology defines the times we find ourselves in, while the skillful
sonic displays and present-era production techniques along with Abraham’s knack for timeless emotive
songwriting offer up this solid soundtrack for the ages.

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Genre: House, Minimal

Tracklist:

A1. Guiding Me (Original Mix) FR2T02300025
B1. Guiding Me (Lawrence remix) FR2T02300026
B2. Vigor FR2T02300027

Short Info:

The ever-prolific and established artist Alan Abrahams aka Portable makes a swift and very welcome return to Circus Company with the impressive lead single "Guiding Me", giving us an early taste of his forthcoming album Augmented Dreams to be released in the fall.

Conceptually the direction of this new project refers to the use of technology to alter our dreams, inadvertently or not, as so much tech advancement becomes available and ingrained in our daily lives. The timely lead single here inspired by Abraham's South African ancestors the Khoi San people and the guidance they provide, appropriately exuding both futurist formed sonics and dream-like tenderness in content, led by his dulcet-toned vocals and delivered with the super solid production we've come to expect. Wonderful multi-purpose electronic music which will find itself right at home on late-night discerning dance floors, or indeed guiding the listener through their respective travels, solo meditations or get-downs in headphones.

Along with the excellent "Guiding Me" original mix, we are graced with a masterful remix by Hamburg's Lawrence of Smallville and Dial fame, who takes the track into an even more floor-focussed realm with his patented rolling sub-bass lines which will guarantee plenty of summertime sound system finessing, as well as the EP-exclusive B2 track "Vigor" in which Portable goes even deeper in tone with classic styled vocal cut-ups and repurposed shards of tasty sound design added to keep the dancers endlessly entranced when and wherever they may be.



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Genre: Ambient, Electronica, Experimental

Tracklist CD:
01. Venus - 02. Marché - 03. Foule - 04. Saloperie - 05. So Dad… - 06. Fluids - 07. Bonnes nouvelles des étoiles -
08. Flirty - 09. Audio Sexual Part 1 - 10. Science imbécile - 11. Maternaliste - 12. Gravos - 13. Wesh Finn Zerb -
14. Comput - 15. Aliens - 16. Fruit Cakes - 17. Vol plané


Short Info:
Deepening the comic tones using cosmic relief, and lively vibes, La Science des Imbéciles
(Ludicrous System), Brigitte Barbu’s sophomore sonic adventure, manifest a blurry creation
intersecting orbital audio paths and damaged smoking instruments. Could have easily been
called Birdless Science but it wouldn’t be funny…
Reverberating estranged arrangements, bizarre sounds, electronic fantasies, « hallucinationalism »,
and crypto poppy stratums all party together in Barbu's second explicit sensual album. Recorded and
digested during a gastro-reclusive residency in an Un-Orthodox Union Spacy Workstation, under the
benign diffraction of "Californian psychedelia» and medieval Cyrillic capharnaüm. Due to historic
geographical confusions and incorrect spellings, any specific detail will stay confidential. Using a
powerful branded calculator, digital converters, boutique preamps and various synthetic substitutions,
this extra album is blooming for spring cleaning. The guitar was accidentally ravaged, propelling
supervision into a strange but dope alt verse, still somewhere between an impromtu voyage through
scattered chronology and a poetic analytical research.
A cheerful memento escaping from pressure and weight like one of those fancy diets.
"I wanted to compose an intangible Pop LP" says Brigitte, « with guitar as an alibi, blending arrogant
synthesizers and humble plug-ins.… ». With a genuine thoughtful dimension, this record freaks as out
audiences with its neat mischievous mood. Jazzing the Mushing Rooms while testing the Acid Tweaks,
initially, the Artist had ambiguously vague rules for composing: but slowly, offending beardless
academics became the motto.
Ingrédients: orgasmic pads, sublime beaches, distorted nostalgia, frustrated markets, perfect
crowds, shady brews, body fluids, magnificent news, fried stars, hairy spouses, loud flirts, cosmicNew Release Information
crumbs, healed sons, dumb technology, rare games,underground motherships, Turkish tarot, fat bits
and heavy cream, fresh herbs, exotic invectives, a stuttering abacus, lamb’s bread, silent farts,
croissants chauds, extended outsiders, incongruous «patisseries», condescending muffs, violent
eardrums, hijacked bytes, macho bakers, epic fails, viennese bass, very large ears, hilarious gliding,
what else ??

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Genre: Ambient, Electronica, Experimental

Tracklist LP:
A1. Venus - A2. Marché - A3. - Foule - A4. - Saloperie - A5. So Dad… - A6. Fluids - A7. Bonnes
nouvelles des étoiles - A8. - Flirty - A9. Audio Sexual Part 1 - A10. Science imbécile - B1.
Maternaliste - B2. Gravos - B3. Wesh Finn Zerb - B4. Comput - B5. Aliens - B6. Fruit Cakes - B7.
Vol plané

Short Info:
Deepening the comic tones using cosmic relief, and lively vibes, La Science des Imbéciles
(Ludicrous System), Brigitte Barbu’s sophomore sonic adventure, manifest a blurry creation
intersecting orbital audio paths and damaged smoking instruments. Could have easily been
called Birdless Science but it wouldn’t be funny…
Reverberating estranged arrangements, bizarre sounds, electronic fantasies, « hallucinationalism »,
and crypto poppy stratums all party together in Barbu's second explicit sensual album. Recorded and
digested during a gastro-reclusive residency in an Un-Orthodox Union Spacy Workstation, under the
benign diffraction of "Californian psychedelia» and medieval Cyrillic capharnaüm. Due to historic
geographical confusions and incorrect spellings, any specific detail will stay confidential. Using a
powerful branded calculator, digital converters, boutique preamps and various synthetic substitutions,
this extra album is blooming for spring cleaning. The guitar was accidentally ravaged, propelling
supervision into a strange but dope alt verse, still somewhere between an impromtu voyage through
scattered chronology and a poetic analytical research.
A cheerful memento escaping from pressure and weight like one of those fancy diets.
"I wanted to compose an intangible Pop LP" says Brigitte, « with guitar as an alibi, blending arrogant
synthesizers and humble plug-ins.… ». With a genuine thoughtful dimension, this record freaks as out
audiences with its neat mischievous mood. Jazzing the Mushing Rooms while testing the Acid Tweaks,
initially, the Artist had ambiguously vague rules for composing: but slowly, offending beardless
academics became the motto.
Ingrédients: orgasmic pads, sublime beaches, distorted nostalgia, frustrated markets, perfect
crowds, shady brews, body fluids, magnificent news, fried stars, hairy spouses, loud flirts, cosmicNew Release Information
crumbs, healed sons, dumb technology, rare games,underground motherships, Turkish tarot, fat bits
and heavy cream, fresh herbs, exotic invectives, a stuttering abacus, lamb’s bread, silent farts,
croissants chauds, extended outsiders, incongruous «patisseries», condescending muffs, violent
eardrums, hijacked bytes, macho bakers, epic fails, viennese bass, very large ears, hilarious gliding,
what else ??

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Genre: Electro, House

Tracklist:
A1. Firesound - B1. Lost Sonar - B2. Light Blooming

Short Info:
Following well-received collaborative outings for us as 1/2 of the SF dynamo duo Moniker whose classic
“Billy D” anthem and respective Patrice Scott remix graced the early catalog, followed by the galactic
flex Straylight EP with Cali brethren Dave Aju on velvet vocoder vox b/w a stellar Kai Alcé remix on the
Another offshoot imprint, and of course his indelible contributions to the arrangements/derangement of
the wondrous KAMM LP Cookie Policies, Kenneth Scott is essentially an extended family household
name for our camp and so we’re beyond proud to present his initial solo release for the Circus Company
label proper. Schooled as always in the deepest of electronic music roots and classiest of track
traditions, the three pieces that form the Light Blooming EP puzzle display all the prized synth wizardry
and production ingenuity we’ve come to expect from the Berlin-based veteran.
“Firesound” kicks us off in fine form, with a glistening array of pads and tight arpeggios that give way to
a soulful funk strut that any fan of Detroit-style electro flavors will enjoy to the fullest. We then move to
the stylized 4/4 pulse of the aptly-titled “Lost Sonar”, an extended live set for Lost Sonar Collective
skillfully condensed and finessed into a smooth-as-silk true deep house cut, where warm synth tones
set the sound bed while shards of sharper percussion and angular textures flash and fizz throughout,
creating an ultra-fresh contrasting feel while a rock-solid groove grinds us along faithfully. Scott then
finally closes out the set with the powerful and titular “Light Blooming” which begins with a similar rising
pad intro before unleashing fierce and raw overdriven drum programming, teasing us out to the two
minute mark when the mighty sub bass line and multi-layered arps drop in to devastating effect, bubbling
and building to a bold harmonic apex, before eventually bringing us down softly and somehow with ease
after such a glorious rise.
Filled with early-Warp feels and futurist sci-fi hopes in equal measure, the Light Blooming EP is three
tracks of pure funk precision and expressive musical class from the man Kenneth Scott

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Double LP (incl. download code)

Genre: Beats, Ambient, Electronica

Tracklist LP:
A1. X-pert Profat - A2. Break for Ma - A3. Drums 2002 - A4. Ducklings 2 - A5. #ew_horseplay -
A6. Jo Barker - A7. AR Day - B1. New Family - B2. Repepepater (feat. Joli B) - B3. Clean Father -
B4. Ambient Jams 3 - C1. July 11 Creepy (feat. Ted Pilsner) - C2. Brain Bed - C3. Roxy Dancer -
C4. Summer Storm - C5. They Work for Mr. O - C6. Tricky Dees Dumm Dumm -
C7. Ufos Over Egypt (feat. Cristobal) - D1. Weak Stranger - D2. XMods in the Living Room - D3. Being a Total Warm Up

Short Info:
One of our all-time favourite artists and extended Circus Company member The Mole returns to the
label for a proper presentation of his album The River Widens. Originally a limited, cassette-only
release via fellow Canadian Eddie C’s Red Motorbike, we are proud to offer this album in its full glory
for the first time on all formats.
Never one to shy away from synth deep dives, or raw sample flip collaging, this collection of 21 works
checks all the boxes. Ambient trippers to straight up neck-snapping instrumental beats. Not forgetting
tastes of the more uptempo, highly-assured and hypnotic dance floor feels the world has come to love
The Mole for. Moments of casual chillin are interspersed with effortless, emotive angles, some evoking
the charm of his Little Sunshine release for us in 2017.

X-pert Profat opens the set with sly statements that give way to relaxed and subtle keys over gentle,
midtempo rhythms. Things switch up nicely into easy, Northwest Coast boogie-meets-beatdown feels
inBreak For Ma, followed by a solid array of almost Jaylib-schooled boom bap twists, like the aptly-titled
Drums 2002 and Jo Barker. Ambient cuts like AR Dayand New Family offer a refreshing tap of the
brakes, setting the scene for the gorgeous, Jarre-esque Weak Stranger. We also get treated
to Repepepater’s nod to Detroit house, urban-mode Balearic feels on They Work For Mr. O, and sneak
attack lo-fi future funk in the form of UFOs Over Egypt, with Montreal co-pilot Cristobal on a wild
shisha-lit vox narrative, earlier versions of which have blessed many of our label comrades’ DJ sets,
from Dave Aju to Vincent Lemieux.
The River Widens expands beautifully on the breadth of unique musical directions The Mole is capable
of taking us in, now spread across fresh 2x12” vinyl and available digitally for the first time, along with
another limited edition cassette run - we hope you enjoy the ride as much as we do!

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
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Contact: gpsr@wordandsound.netMore

cassette

Genre: Beats, Ambient, Electronica

Tracklist Cassette:
A1. X-pert Profat - A2. Break for Ma - A3. Drums 2002 - A4. Ducklings 2 - A5. #ew_horseplay -
A6. Jo Barker - A7. AR Day - A8. New Family - A9. Repepepater (feat. Joli B) - A10. Clean Father -
A11. Ambient Jams 3 - B1. July 11 Creepy (feat. Ted Pilsner) - B2. Brain Bed - B3. Roxy Dancer -
B4. Summer Storm - B5. They Work for Mr. O - B6. Tricky Dees Dumm Dumm -
B7. Ufos Over Egypt (feat. Cristobal) - B8. Weak Stranger - B9. XMods in the Living Room - B10. Being a Total Warm Up

Short Info:
One of our all-time favourite artists and extended Circus Company member The Mole returns to the
label for a proper presentation of his album The River Widens. Originally a limited, cassette-only
release via fellow Canadian Eddie C’s Red Motorbike, we are proud to offer this album in its full glory
for the first time on all formats.
Never one to shy away from synth deep dives, or raw sample flip collaging, this collection of 21 works
checks all the boxes. Ambient trippers to straight up neck-snapping instrumental beats. Not forgetting
tastes of the more uptempo, highly-assured and hypnotic dance floor feels the world has come to love
The Mole for. Moments of casual chillin are interspersed with effortless, emotive angles, some evoking
the charm of his Little Sunshine release for us in 2017.

X-pert Profat opens the set with sly statements that give way to relaxed and subtle keys over gentle,
midtempo rhythms. Things switch up nicely into easy, Northwest Coast boogie-meets-beatdown feels
inBreak For Ma, followed by a solid array of almost Jaylib-schooled boom bap twists, like the aptly-titled
Drums 2002 and Jo Barker. Ambient cuts like AR Dayand New Family offer a refreshing tap of the
brakes, setting the scene for the gorgeous, Jarre-esque Weak Stranger. We also get treated
to Repepepater’s nod to Detroit house, urban-mode Balearic feels on They Work For Mr. O, and sneak
attack lo-fi future funk in the form of UFOs Over Egypt, with Montreal co-pilot Cristobal on a wild
shisha-lit vox narrative, earlier versions of which have blessed many of our label comrades’ DJ sets,
from Dave Aju to Vincent Lemieux.
The River Widens expands beautifully on the breadth of unique musical directions The Mole is capable
of taking us in, now spread across fresh 2x12” vinyl and available digitally for the first time, along with
another limited edition cassette run - we hope you enjoy the ride as much as we do!

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Special remarks : LP Vinyl incl. printed inner sleeve

Tracklist LP:
A1. Dors-tu ? - A2. Regard en arrière - A3. Mélopée - A4. L’attente - A5. Elégie - B1. Prélude -
B2. La fille de la nuit - B3. Ni toi, ni moi - B4. Le beau jour - B5. Opaline - B6. Tant que mes yeux

Short Info:
On his fourth solo album, much as in Oh! (2020), the French composer, pianist and vocalist follows his
ongoing exploration of the crossroads between poetry and songs, piano and synth, old-time verses
and contemporary sounds. Inspired by the rhythms, effects and speech patterns of urban music, he
also delivers, with a warm and moving voice, the texts of three poetesses from the past.
Since 2013, Ezéchiel Pailhès has been crafting a unique French synth pop. On his first three albums,
he switched between songs inspired by poetry, instrumental ballads and electronica with hummed
choruses. This latest record is a collection of eleven new songs, two of which he wrote: "Opaline" and
"Ni toi, ni moi" (neither you nor me). The others are adaptations of poems written in the 16th, 18th and
19th centuries by French poetesses Louise Labé (1524-1566), Marceline Desbordes-Valmore (1786-
1859) and Renée Vivien (1877-1909).
Poetesses from the past...
From classical music to songs, poetry adaptation is an old French tradition. "My universe has always
embraced the musicality of this literary genre," the artist recalls. He actually started this project in 2017
with poems and sonnets by William Shakespeare, Pablo Neruda, Victor Hugo and above all Marceline
Desbordes-Valmore, who can be heard again on songs such as "Dors-tu?" (Are you sleeping?),
"Élégie" or "L'attente" (The wait). A figure of romanticism, the author left her mark on the early 19th
century through the quality of her texts and her formal inventions, particularly praised by Balzac, and
apparently a decisive influence on Verlaine and Baudelaire. "Marceline's poetry is very musical," says
Ezéchiel admiringly. "Her use of rhythm and repetition sounds great and takes on a new perspective
when set to music. In fact, she wrote some of her texts with singing in mind.”
“Ces longs secrets dont l'amour nous accuse,
Viens-tu les rompre en songe à mes genoux ?
Dors-tu, ma vie ! ou rêves-tu de moi ?”
“These long secrets for which love accuses us,
Do you come to my knees to break them in a dream?
Are you sleeping, my life! or do you dream of me”
(“Dors-tu ?”, after “Les pleurs” (the tears), 1833)
Besides her, we find the more famous, and rebellious, Renée Vivien, whose texts inspired three
songs, "Regard en arrière" (Looking backwards), "Mélopée" (Melopoeia) and "La fille de la nuit" (The
night girl). Sometimes nicknamed "Sapho 1900", this figure of lesbian culture and, more broadly, of
female genius, combined in her work the themes of desire, dreams, melancholy and the relationship
with nature.
“Ta forme est un éclair
Ton sourire est l’instant
Tu fuis, lorsque l’appel
T’implore, ô mon Désir !”
"Your shape is a spark of lightning
Your smile, the very moment
You flee, when the calling
Begs you, O my Desire!"
(After “Parle-moi, de ta voix pareille à l’eau courante” (Speak to me, with a voice like flowing waters)
and “Ta forme est un éclair” (Your shape is a spark of lightning), Renée Vivien, 1901)
Lastly, with "Tant que mes yeux" (As long as my eyes), Ezéchiel was inspired by a 1555 poem by
Renaissance poet Louise Labé, whose main topic explored female love, physical and spiritual desire,
and the torments and pains they generate.
" At the start of the project ", Ezéchiel continues, " I was interested in many poets, men and women,
past and present, before my selection was narrowed down to these three female authors. Their works,
often written in difficult or secret conditions, express a raging romanticism, a passionate soul, fuelled
by desperate and tormented love. I found it interesting, as a man coming from another world and time,
to face this otherness, to trade viewpoints. Obviously, I could loudly claim that the album was the
result of a concept, that it reflects today's world, and that it allows me to explore the notion of gender,
giving visibility to the work of a few women, while at the same time pairing these ancient texts with a
more modern and rhythmic music, and obviously, there is some truth in that. But more than anything, I
wanted to serve the text itself, to express the emotion and connection I felt with these works.”
Today's rhythms and prosody...
Ezéchiel Pailhès combines texts from French literature with electronic music, its effects and rhythms,
as well as a form of scansion that echoes rap, R&B or the current fusion between hip hop and pop,
which is part of our musical background and that of younger generations. "I wanted to cross-reference
texts from the beginning of the century with this type of music. I wanted to use today’s techniques to
tell the tale of different daily lives and experiences.
The album is thus marked by contemporary electronic orchestrations, in which he drops his favourite
instrument, the piano, and his digital collage technique to use more extensive synth melodies,
enhanced by drum machines, bringing a gentle and bright vibe to the romantic texts. Lastly, we can
hear slight digital tones of Auto-Tune, which Ezéchiel uses sparingly and inventively.

Beyond its sophistication, the term "melopoeia" means a "sung declamation", a "recitative song",
sometimes interpreted in a monotonous way. On this album, it could also refer to a sense of phrasing,
which does not come from rap, but rather from jazz, Ezéchiel's first love. " In the past, I tried to hide
my jazz culture, but it naturally came back on this new album, as can be heard, for instance, in Regard
en arrière.” With its verses anchored in our literary memory, the following track "Mélopée", perfectly
illustrates the album's vision. It manages to transcend eras, mixing past romanticism with a modern
prosody, fuelled by the nonchalance of hip hop and the warm chords of jazz.
“Qu’un hasard guide enfin mon désespoir tranquille
Vers l’eau d’une oasis ou les berges d’une île,
Où je puisse dormir, mon voyage accompli,
Dans la sécurité profonde de l’oubli”
"May chance guide my quiet sorrow, at last
To the water of an oasis, the shores of an island,
Where I may sleep, having traveled my way,
In the safe depths of oblivion".
(After “Sillages” (Trails), René Vivien, 1908)

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Special remarks : CD Digipack

Tracklist CD:
01. Dors-tu ? - 02. Regard en arrière - 03. Mélopée - 04. L’attente - 05. Elégie - 06. Prélude - 07.
La fille de la nuit - 08. Ni toi, ni moi - 09. Le beau jour - 10. Opaline - 11. Tant que mes yeux

Short Info:
On his fourth solo album, much as in Oh! (2020), the French composer, pianist and vocalist follows his
ongoing exploration of the crossroads between poetry and songs, piano and synth, old-time verses
and contemporary sounds. Inspired by the rhythms, effects and speech patterns of urban music, he
also delivers, with a warm and moving voice, the texts of three poetesses from the past.
Since 2013, Ezéchiel Pailhès has been crafting a unique French synth pop. On his first three albums,
he switched between songs inspired by poetry, instrumental ballads and electronica with hummed
choruses. This latest record is a collection of eleven new songs, two of which he wrote: "Opaline" and
"Ni toi, ni moi" (neither you nor me). The others are adaptations of poems written in the 16th, 18th and
19th centuries by French poetesses Louise Labé (1524-1566), Marceline Desbordes-Valmore (1786-
1859) and Renée Vivien (1877-1909).
Poetesses from the past...
From classical music to songs, poetry adaptation is an old French tradition. "My universe has always
embraced the musicality of this literary genre," the artist recalls. He actually started this project in 2017
with poems and sonnets by William Shakespeare, Pablo Neruda, Victor Hugo and above all Marceline
Desbordes-Valmore, who can be heard again on songs such as "Dors-tu?" (Are you sleeping?),
"Élégie" or "L'attente" (The wait). A figure of romanticism, the author left her mark on the early 19th
century through the quality of her texts and her formal inventions, particularly praised by Balzac, and
apparently a decisive influence on Verlaine and Baudelaire. "Marceline's poetry is very musical," says
Ezéchiel admiringly. "Her use of rhythm and repetition sounds great and takes on a new perspective
when set to music. In fact, she wrote some of her texts with singing in mind.”
“Ces longs secrets dont l'amour nous accuse,
Viens-tu les rompre en songe à mes genoux ?
Dors-tu, ma vie ! ou rêves-tu de moi ?”
“These long secrets for which love accuses us,
Do you come to my knees to break them in a dream?
Are you sleeping, my life! or do you dream of me”
(“Dors-tu ?”, after “Les pleurs” (the tears), 1833)
Besides her, we find the more famous, and rebellious, Renée Vivien, whose texts inspired three
songs, "Regard en arrière" (Looking backwards), "Mélopée" (Melopoeia) and "La fille de la nuit" (The
night girl). Sometimes nicknamed "Sapho 1900", this figure of lesbian culture and, more broadly, of
female genius, combined in her work the themes of desire, dreams, melancholy and the relationship
with nature.
“Ta forme est un éclair
Ton sourire est l’instant
Tu fuis, lorsque l’appel
T’implore, ô mon Désir !”
"Your shape is a spark of lightning
Your smile, the very moment
You flee, when the calling
Begs you, O my Desire!"
(After “Parle-moi, de ta voix pareille à l’eau courante” (Speak to me, with a voice like flowing waters)
and “Ta forme est un éclair” (Your shape is a spark of lightning), Renée Vivien, 1901)
Lastly, with "Tant que mes yeux" (As long as my eyes), Ezéchiel was inspired by a 1555 poem by
Renaissance poet Louise Labé, whose main topic explored female love, physical and spiritual desire,
and the torments and pains they generate.
" At the start of the project ", Ezéchiel continues, " I was interested in many poets, men and women,
past and present, before my selection was narrowed down to these three female authors. Their works,
often written in difficult or secret conditions, express a raging romanticism, a passionate soul, fuelled
by desperate and tormented love. I found it interesting, as a man coming from another world and time,
to face this otherness, to trade viewpoints. Obviously, I could loudly claim that the album was the
result of a concept, that it reflects today's world, and that it allows me to explore the notion of gender,
giving visibility to the work of a few women, while at the same time pairing these ancient texts with a
more modern and rhythmic music, and obviously, there is some truth in that. But more than anything, I
wanted to serve the text itself, to express the emotion and connection I felt with these works.”
Today's rhythms and prosody...
Ezéchiel Pailhès combines texts from French literature with electronic music, its effects and rhythms,
as well as a form of scansion that echoes rap, R&B or the current fusion between hip hop and pop,
which is part of our musical background and that of younger generations. "I wanted to cross-reference
texts from the beginning of the century with this type of music. I wanted to use today’s techniques to
tell the tale of different daily lives and experiences.
The album is thus marked by contemporary electronic orchestrations, in which he drops his favourite
instrument, the piano, and his digital collage technique to use more extensive synth melodies,
enhanced by drum machines, bringing a gentle and bright vibe to the romantic texts. Lastly, we can
hear slight digital tones of Auto-Tune, which Ezéchiel uses sparingly and inventively.

Beyond its sophistication, the term "melopoeia" means a "sung declamation", a "recitative song",
sometimes interpreted in a monotonous way. On this album, it could also refer to a sense of phrasing,
which does not come from rap, but rather from jazz, Ezéchiel's first love. " In the past, I tried to hide
my jazz culture, but it naturally came back on this new album, as can be heard, for instance, in Regard
en arrière.” With its verses anchored in our literary memory, the following track "Mélopée", perfectly
illustrates the album's vision. It manages to transcend eras, mixing past romanticism with a modern
prosody, fuelled by the nonchalance of hip hop and the warm chords of jazz.
“Qu’un hasard guide enfin mon désespoir tranquille
Vers l’eau d’une oasis ou les berges d’une île,
Où je puisse dormir, mon voyage accompli,
Dans la sécurité profonde de l’oubli”
"May chance guide my quiet sorrow, at last
To the water of an oasis, the shores of an island,
Where I may sleep, having traveled my way,
In the safe depths of oblivion".
(After “Sillages” (Trails), René Vivien, 1908)

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Collecting Orders for Repress!

In an unprecedented international collaboration, Energy Exchange Records presents 'The Napoli Exchange' - the brainchild of Energy Exchange Records co-founders, Lewis and Ziggy, joining forces with producer and label boss Federico Gallotti (Tartelet / La Scimmia), the project was inspired by numerous visits to Naples, allured by the mediterranean breeze and of course the underground disco and funk forged by labels such as Early Sounds and Periodica Records. This meeting of minds created an opportunity to build bridges from the historic Italian city to the broader european scene of club crossover music.

A1. Juno, Minerva, Venus e Fortuna
A2. Napoli Fresca
A3. A Pusteggia
A4. Holding Your Heart
B1. Seratina
B2.Cavalluccio Rosso
B3. Hurting Lies
B4. Girovago
B5. Controra


Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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DE - 22113 Hamburg
Germany
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Special remarks :

- Limited Ten Year Edition
- Crystal Clear Vinyl
- Gatefold Sleeve
- Double Vinyl 45rpm recut
- Download Code

- RA's Album Of The Year in 2011
- Pitchfork's Top 20 in 2011
- Pitchfork's Best 200 Best Albums of the 2010's


It has been 10 years since Nicolas Jaar released his celebrated debut album, Space Is Only Noise here on Circus Company. With countless accolades, forays, and dips into other waters both preceding its arrival one decade ago and since with many musical ventures this LP still stands as not only a unique and verified-classic release in the artist's own expansive catalog as well as ours, but also amongst the general pantheon of electronic music of the 21st Century on the whole.

What better way to celebrate this milestone than with an immaculate must-have re-release package, with the music now spread out over double discs and cut at 45rpm on crystal clear vinyl to let the glacial top-end soar as originally intended, and the air of the general proceedings expand, once again, into the ears and consciousness of electronic music lovers the world over. Along with this technical upgrade recut, the distinct artwork has also received a facelift fit for the occasion, and will now be found adorning a full gatefold cover, inked lovingly in reverse on inside-out heavyweight paper including printed inner sleeves for a total collector's gem front-to-back.

While Nicolas Jaar's own recent online musings of the origin of the album title and lead track has us imagining playful plexiglass-letterings and a fresh sense of abstract calm before soon-to-be career storms, the music itself feels to have not aged a day past its prime of creation. From the unanimous crowdpleaser "Colomb" to "Keep Me There" indeed doing just that, with Jaar keeping us right where he left us last go-round, to the luminous titular track "Space Is Only Noise If You Can See" and omni-prophesy of "Specters Of The Future" - please join us in a warm welcoming return to this universally acclaimed classic LP, which garnered coveted spots in both RA's Album Of The Year and Pitchfork's Top 20 in 2011, now in its unmissable pristine new vinyl form, sounding as fresh as ever, a solid 10 years later.


Tracklist LP:

A1. Être
A2. Colomb
A3. Sunflower
B1. Too Many Kids Finding Rain In The Dust
B2. Keep Me There
B3. Problem With The Sun

C1. Space Is Only Noise If You Can See
C2. Almost Fell
C3. Balance Her In Between Your Eyes
D1. Specters Of The Future
D2. Trace
D3. Variations
D4. ^tre




Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Special remarks : 1LP + printed inner sleeve + download code

Genre: Jazz / Pop


Tracklist :

A1 - The Big Sun (Introïde)
A2 - Birds (pt.2)
A3 - Pipornithology (pt.2)
A4 - Mario (pt.1 & 2)
A5 - Organe Phonatoire
A6 - Dominos (pt.3)
A7 - Samak
B1 - La route de la trace
B2 - Bwa Brillé (Alix et Lisa)
B3 - Carnaval (pt.3 - Percussions harmoniques)
B4 - Carnaval (pt.4 - Keupons)
B5 - The Big Sun (Outroïde)
B6 - Reich & Darwin
B7 - Générique Big Sun


Short Info :


Christophe Chassol's brilliantly-dazzling third album, crowns his trilogy of ultrascores (a method he elaborated for harmonizing, symphonizing real life, the 'here and now'), which started out in Creole-speaking New Orleans (Nola Che?rie, 2011) before pursuing its route through India (Indiamore, 2013).
In March 2014, Christophe Chassol took off for Martinique, his family's birthplace; these West Indies that epitomize everything he dreamt of expressing, from the purely personal to the perfectly panoptic. Hand-in-hand with the production sound mixer Marie-France Barrier and the sound engineer Johann Levasseur, the trio filmed and recorded a myriad of extraordinary encounters, scenes of everyday life, the carnival... a highly-evocative documentary that was to become the matrix of Big Sun.
Back in France, he composed, edited, rehearsed and created the 27 tracks of a 70- minute West Indian space odyssey. Big Sun is a weaveworld of birds' songs and Pipo Gertrude's whistling, Joby Bernabe?s poetry and a te?te-a?-te?te with a lady mountain-dweller, Sissido and Samak's rap, Mario Masse's flute, the Fort de France carnival, conch shell echoes, the ocean's music and the hullabaloo of a game of dominos. And sumptuous pieces of music like La Route de la Trace or Reich & Darwin, which suddenly spring up at a bend in the road and take our breath away.



Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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NO VINYLE OF ANY MANU CHAO ALBUM HAS BEEN AVAILABLE ON SALE FOR AGES. ALL STUDIO & LIVE ALBUMS ARE BACK ON DOUBLE VINYL GATEFOLD FEAT. THE CD
TRACKLIST
A1. LE P’TIT JARDIN - A2. PETITE BLONDE DU BLD BRUNE - A3. LA VALSE À SALE TEMPS - A4. LES MILLE PAILLETTES - A5. IL FAUT MANGER - B1. HELNO EST MORT - B2. J’AI BESOIN DE LA LUNE - B3. L’AUTOMNE EST LÀS - B4. SI LOIN DE TOI… JE TE JOUE - B5. 100.000 REMORDS - B6. TROP TÔT, TROP TARD - C1. TE TROMPER - C2. MADAME BANQUISE - C3. LES RUES DE L’HIVER - C4. SIBÉRIE FLEUVE AMOUR - C5. LES PETITES PLANÈTES - C6. TE SOUVIENS TU - D1. J’AI BESOIN DE LA LUNE (REMIX) - D2. DANS MON JARDIN - D3. MERCI BONSOIR - D4. FOU DE TOI - D5. LES YEUX TURQUOISE - D6. SIBÉRIE

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Special remarks : LP Vinyl incl. printed inner sleeve

Tracklist LP:
A1. Dors-tu ? - A2. Regard en arrière - A3. Mélopée - A4. L’attente - A5. Elégie - B1. Prélude -
B2. La fille de la nuit - B3. Ni toi, ni moi - B4. Le beau jour - B5. Opaline - B6. Tant que mes yeux

Short Info:
On his fourth solo album, much as in Oh! (2020), the French composer, pianist and vocalist follows his
ongoing exploration of the crossroads between poetry and songs, piano and synth, old-time verses
and contemporary sounds. Inspired by the rhythms, effects and speech patterns of urban music, he
also delivers, with a warm and moving voice, the texts of three poetesses from the past.
Since 2013, Ezéchiel Pailhès has been crafting a unique French synth pop. On his first three albums,
he switched between songs inspired by poetry, instrumental ballads and electronica with hummed
choruses. This latest record is a collection of eleven new songs, two of which he wrote: "Opaline" and
"Ni toi, ni moi" (neither you nor me). The others are adaptations of poems written in the 16th, 18th and
19th centuries by French poetesses Louise Labé (1524-1566), Marceline Desbordes-Valmore (1786-
1859) and Renée Vivien (1877-1909).
Poetesses from the past...
From classical music to songs, poetry adaptation is an old French tradition. "My universe has always
embraced the musicality of this literary genre," the artist recalls. He actually started this project in 2017
with poems and sonnets by William Shakespeare, Pablo Neruda, Victor Hugo and above all Marceline
Desbordes-Valmore, who can be heard again on songs such as "Dors-tu?" (Are you sleeping?),
"Élégie" or "L'attente" (The wait). A figure of romanticism, the author left her mark on the early 19th
century through the quality of her texts and her formal inventions, particularly praised by Balzac, and
apparently a decisive influence on Verlaine and Baudelaire. "Marceline's poetry is very musical," says
Ezéchiel admiringly. "Her use of rhythm and repetition sounds great and takes on a new perspective
when set to music. In fact, she wrote some of her texts with singing in mind.”
“Ces longs secrets dont l'amour nous accuse,
Viens-tu les rompre en songe à mes genoux ?
Dors-tu, ma vie ! ou rêves-tu de moi ?”
“These long secrets for which love accuses us,
Do you come to my knees to break them in a dream?
Are you sleeping, my life! or do you dream of me”
(“Dors-tu ?”, after “Les pleurs” (the tears), 1833)
Besides her, we find the more famous, and rebellious, Renée Vivien, whose texts inspired three
songs, "Regard en arrière" (Looking backwards), "Mélopée" (Melopoeia) and "La fille de la nuit" (The
night girl). Sometimes nicknamed "Sapho 1900", this figure of lesbian culture and, more broadly, of
female genius, combined in her work the themes of desire, dreams, melancholy and the relationship
with nature.
“Ta forme est un éclair
Ton sourire est l’instant
Tu fuis, lorsque l’appel
T’implore, ô mon Désir !”
"Your shape is a spark of lightning
Your smile, the very moment
You flee, when the calling
Begs you, O my Desire!"
(After “Parle-moi, de ta voix pareille à l’eau courante” (Speak to me, with a voice like flowing waters)
and “Ta forme est un éclair” (Your shape is a spark of lightning), Renée Vivien, 1901)
Lastly, with "Tant que mes yeux" (As long as my eyes), Ezéchiel was inspired by a 1555 poem by
Renaissance poet Louise Labé, whose main topic explored female love, physical and spiritual desire,
and the torments and pains they generate.
" At the start of the project ", Ezéchiel continues, " I was interested in many poets, men and women,
past and present, before my selection was narrowed down to these three female authors. Their works,
often written in difficult or secret conditions, express a raging romanticism, a passionate soul, fuelled
by desperate and tormented love. I found it interesting, as a man coming from another world and time,
to face this otherness, to trade viewpoints. Obviously, I could loudly claim that the album was the
result of a concept, that it reflects today's world, and that it allows me to explore the notion of gender,
giving visibility to the work of a few women, while at the same time pairing these ancient texts with a
more modern and rhythmic music, and obviously, there is some truth in that. But more than anything, I
wanted to serve the text itself, to express the emotion and connection I felt with these works.”
Today's rhythms and prosody...
Ezéchiel Pailhès combines texts from French literature with electronic music, its effects and rhythms,
as well as a form of scansion that echoes rap, R&B or the current fusion between hip hop and pop,
which is part of our musical background and that of younger generations. "I wanted to cross-reference
texts from the beginning of the century with this type of music. I wanted to use today’s techniques to
tell the tale of different daily lives and experiences.
The album is thus marked by contemporary electronic orchestrations, in which he drops his favourite
instrument, the piano, and his digital collage technique to use more extensive synth melodies,
enhanced by drum machines, bringing a gentle and bright vibe to the romantic texts. Lastly, we can
hear slight digital tones of Auto-Tune, which Ezéchiel uses sparingly and inventively.

Beyond its sophistication, the term "melopoeia" means a "sung declamation", a "recitative song",
sometimes interpreted in a monotonous way. On this album, it could also refer to a sense of phrasing,
which does not come from rap, but rather from jazz, Ezéchiel's first love. " In the past, I tried to hide
my jazz culture, but it naturally came back on this new album, as can be heard, for instance, in Regard
en arrière.” With its verses anchored in our literary memory, the following track "Mélopée", perfectly
illustrates the album's vision. It manages to transcend eras, mixing past romanticism with a modern
prosody, fuelled by the nonchalance of hip hop and the warm chords of jazz.
“Qu’un hasard guide enfin mon désespoir tranquille
Vers l’eau d’une oasis ou les berges d’une île,
Où je puisse dormir, mon voyage accompli,
Dans la sécurité profonde de l’oubli”
"May chance guide my quiet sorrow, at last
To the water of an oasis, the shores of an island,
Where I may sleep, having traveled my way,
In the safe depths of oblivion".
(After “Sillages” (Trails), René Vivien, 1908)

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Genre: Electronica Romantica / Nu Disco

System Olympia drops her album debut and, in turn, initiates her Okay Nature label. 'Delta Of Venus' takes elements of minimal synth/wave, pop, contemporary R&B, and fashions them into this steely, icy cool and highly original new form whilst keeping loyal to the DIY tradition. Stunning release that you really don't want to miss.

A Side:
The Only Way To Do It
Sirius Desire
So True
Look With Your Eyes
Possible Worlds


B Side:
Erotic Line
Tommib
You’re Not Talking
6AM Romance
Not Us (U)

Vital Sales Point:

First album from System Olympia
Sold out on presale twice when previously released
Currently selling for £ 100 average on Discogs.




Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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DE - 22113 Hamburg
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Following the success of the "Out Of Luck" single, we're wrapping up the Ghia reworks chapter with "The Other Side" - a dynamic 12" vinyl loaded with three contemporary funk tracks and three instrumental cuts.

The release starts off with the title track on which we can hear another collaboration with vocalist Adriano Prestel. The song is built on the foundation of "Message From The Other Side," a synth-funk instrumental from last year's "Don't Stop" LP. Jim Dunloop has skillfully rebuilt the infectious grooves from scratch, and guitarist Lucy Liebe has contributed to the guitar elements. Interestingly, the 1985 original version contained vocals that were preserved on a demo tape. These original lyrics conveyed the idea that everyone should learn to listen to the other side. Adriano picked up this idea and wrote new verses and a new chorus, beautifully transforming the song into a soulful bliss. In today's world, the message remains relevant: without listening, understanding, and compromise, solutions are elusive.
Next up, DJ Friction takes "Out Of Luck" to new heights with a remix infused with electro-funk. The synth bass replaces the original, a punchier kick and a clap snare give it a classic boogie feel. Additional strings on the chorus and an extended build-up complete the transformation, making it a fantastic tune for any DJ set.

Marian Tone returns to remix "The Other Side" in the '85 rework, blending parts of the original song with replayed instruments from the studio sessions. He adds clav sounds and retains the original marimba keys by Ghia's Lutz Boberg. If you are into the 80s vibes, this rework will be your choice.
The flip side features instrumental versions that, even without vocals, are a special treat for all boogie and funk enthusiasts. Last but not least, the release includes the original mixdown of "Out Of Luck" from when the recording was finalized at Ed Longo's Soundrays studio - offering a different take from the instrumental version on the previously issued 45 single.

The 12" is presented in a full-picture sleeve designed by The Raincoatman, also known as label owner DJ Scientist.

Side A
The Other Side feat. Adriano Prestel
Out Of Luck feat. Adriano Prestel (DJ Friction Remix)
The Other Side feat. Adriano Prestel (Marian Tone '85 Rework)

Side B
The Other Side (Instrumental)
Out Of Luck (DJ Friction Remix) (Instrumental)
Out Of Luck (Instrumental) (Soundrays Mix)


Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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SSpecial remarks : 1LP + printed inner sleeve + download code

Genre: Jazz / Pop


Tracklist :

A1 - Overture
A2 - Reich & Darwin (Keren Ann, Yuksek & Chassol rework)
A3 - Happy Feeling
A4 - La route de la trace (Pieuvre remix)
A5 - The troup (from Nola Chérie)
B1 - Soft Feeling - Samak
B2 - Magical Moutain (from Lamb)
B3 - Les Oiseaux (Aquaserge)
B4 - Funny or Serious Song ?
B5 - Reich & Darwin (The Dashaa-Able Prep)
B6 - Friday Morning L.A


Short Info :


Pianist, composer, arranger and musical director for the likes of Phoenix and Sebastien Tellier, the charismatic and talented Christophe Chassol gave birth to an unclassifiable artistic piece. His compositions articulate voices, music, sounds, images onto new audiovisual objects. The result has a name : "ultrascore".
The second volume of Ultrascores is a selection of unreleased musics composed by Chassol : ?Lamb, his last original soundtrack, Nola Chérie, and remixes of friends : ?Yuksek, Keren Ann,


Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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DE - 22113 Hamburg
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At the heart of this double album, and amid the intense internal struggle between creative instinct an artistic reasoning, Ziggy has identified two key themes: Inspire and Radicalise. It is within this duality that the 15 tracks of this new work, recorded between Berlin and London throughout January 2024, take shape. Throughout its creation, the crew enlisted a familiar pallet of materials, seeking those obscure and vintage music-making machines, meeting a myriad of percussion and drums with the new addition of electric guitar as the band ventures into disco / highlife inspired territories. bring this ambitious project to life, Ziggy enlisted a team of forward thinking musicians across Europe and the UK alongside old friends and collaborators from the grassroots in Melbourne, Australia: Lewis Moody (Energy Exchange Records), Szabolcs Bognar (Abase), Eric Owusu (Jemba Groove), and Tom Varrall (Jamie Cullum) form the core rhythm section alongside a hefty list of guest appearances (from the likes of Oscar Jerome & Tom Driessler) making this truly the most ambitious and diverse incarnation of ZFEX to date.

Please add VSPs as key points.
-ZFEX 5th album studio and 18 tracks, most ambitious project to date for the band
-ZFEX, in the past received support from Gilles Peterson, Aly Giliani, Moxie, Zakia, Macca
-Featuring Oscar Jerome, Eric Owusu (Jemba Groove), Desney Bailey, Szabolcs Bognar (Abase), Lewis Moody (Nubyian Twist)

SIDE A
A1. Astras Theme
A2. Clearly Packing
A3. Inspire (draft)
A4. Celebrate Some Time

SIDE B
B1. Just one Bump
B2. Inspire (afterthought)
B3. Whos the Kid ?
B4. Radicalise
B5. Living in the Future

SIDE C
C1. Shine Your Light
C2. Cyberfunk
C3. Inspire (deluxe)
C4. Lifestyles of the Hip and the Crazy
C5. Radicalise (urself)

SIDE D
D1. Wavy
D2. Baby Its U
D3. Sylvester
D4. Midas Touch



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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

GENRE/S: HOUSE

TRACKLISTS:
A1. Smokey And The Fundance Kid ft. Nikolai
A2. Mixdemos ft. San Proper
B1. Mind The Gap ft. Testa Rosa
B2. Droidt ft. San Proper
B3. Grappa ft. Nikolai

SHORT INFO:

Time to freshen up













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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

2LP

A1. Xerrox Topia
A2. Xerrox Sans Nom I
A3. Xerrox Sans Nom II

B1. Xerrox Ascent I
B2. Xerrox Ascent II
B3. Xerrox Sans Repit

C1. Xerrox Nausicaa
C2. Xerrox Xenonym
C3. Xerrox Ada

D1. Xerrox Arc
D2. Xerrox Kryogen
D3. Xerrox Isotope



NOTON is pleased to announce the release of Xerrox Vol. 5, the final installment of Alva Noto’s Xerrox series.

For anyone who has been following the series since its inception in 2007, the concept of Xerrox no longer requires introduction. Originally, it aimed to create copies of images—both visual and acoustic—that are more memorable than the originals. The exploration of the relationship between the original and the copy, along with the invention of the copier, not only inspired the series name but also informed its underlying concept. In 2024, this series comes to an end, marking the culmination of a journey that began with the first recording in 2005/2006. Over nearly two decades, the five albums in this series have accompanied the artist's evolving perspective and conceptual approach.

Initially characterized by rawness and a conceptual focus on seeking resolution in white noise, the later works engage with themes of dissolution while shifting their emphasis toward acoustic particles. The copying process is now less visible through software manipulation; rather, it unfolds as the artist describes melodic and acoustic images that are then manipulated, copied, and transformed into new patterns during composition.

Nicolai describes this evolution as a journey encompassing buildup, exploration, and resolution, drawing parallels to the Odyssey and the stories of Jules Verne, particularly those featuring Captain Nemo.

The conclusion of this album holds a sense of finality for the artist. “I aimed to create a whole cycle of tracks that frame both the beginning and the end,” Nicolai explains. “The motif of the journey continues, but this time, the story reaches a dissolution through a conceptual object that embarks on its own journey into infinity. The word “dissolution” (“Auflösung” in German) is a wonderful concept. On one hand, you can solve a riddle, on the other hand, a pill can completely dissolve in water. Here, I am deliberately describing the process of dissolution.”
In crafting Volume 5, Nicolai has evolved his compositional process, eschewing samples in favor of original melodies. “This album probably took the longest to complete,” he reveals. “I first created melodic sketches, which became the foundation for the pieces. These recordings are created entirely from scratch. Based on these sketches, I constructed the process of copying, manipulating, and reshaping.”

Drawing from his recent experiences working with film and larger ensembles, Nicolai's approach to composition reflects a growing influence of classical instrumentation. “This experience of working with acoustic classical instruments has flowed into the compositional process for Xerrox Vol. 5. Certain instruments are designed with potential orchestral translation in mind.”

The sonic atmosphere of Xerrox Vol. 5 is one of profound dissolution. “I wasn’t initially interested in strong, emotional melodic aspects,” Nicolai shares, “but I realized that the fragment plays a central role.” This shift leads to an emotionally charged experience, imbued with melancholy and the bittersweet essence of farewell. The passing of Ryuichi Sakamoto, an admirer of the series, has further deepened the album’s emotional resonance.

“Xerrox Vol. 5 has a lot to do with farewell,” the artist explains. "Not only the farewell to the series itself, which I’ve nurtured for almost two decades, but also there have been many farewells to people who were close to me. I believe these people are recognizable in the music. It’s a very emotional, personal album.”

Listeners can expect a visual dimension to the music, though Nicolai intentionally leaves this open to interpretation. “I prefer to allow the music to evoke personal experiences and images rather than dictate a specific narrative,” he states. The result is a layered listening experience that invites tenderness and introspection.

Xerrox Vol. 5 will be released as a limited edition vinyl, digitally, and on CD by NOTON on November 29, 2024.

Album art designed by Carsten Nicolai & Nibo.
Mastering by Bo at Calyx.






















Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore