Radio Silence

Australia's All India Radio is an Ambient Electronic/Post-Rock project helmed by songwriter/producer Martin Kennedy whose sound straddles the line between '60s psychedelia, '70s Krautrock, and contemporary styles from downtempo to chillgaze. All India Radio first gained attention issuing a series of evocative, often cinematic recordings in the 2000s, including The Inevitable, Permanent Evolutions, and The Silent Surf. All India Radio's music has been used on TV shows like CSI: Miami, One Tree Hill, The Lying Game, and Emmerdale, among others. Kennedy has also played with the Church's singer Steve Kilbey for a series albums, including 2014's sci-fi soundtrack The Rare Earth and 2017's Glow and Fade.

Australia's All India Radio is an Ambient Electronic/Post-Rock project helmed by songwriter/producer Martin Kennedy whose sound straddles the line between '60s psychedelia, '70s Krautrock, and contemporary styles from downtempo to chillgaze. All India Radio first gained attention issuing a series of evocative, often cinematic recordings in the 2000s, including The Inevitable, Permanent Evolutions, and The Silent Surf. All India Radio's music has been used on TV shows like CSI: Miami, One Tree Hill, The Lying Game, and Emmerdale, among others. Kennedy has also played with the Church's singer Steve Kilbey for a series albums, including 2014's sci-fi soundtrack The Rare Earth and 2017's Glow and Fade.

Zoé a trois papas. Trois hommes bien différents qui ont tous été fous de sa mère Mélanie. Il y a Lucas, l’animateur radio ; Maxime, l’artiste ; et Stan, le flic. Huit ans après le suicide de Mélanie, Zoé disparaît du jour au lendemain. C’est le choix pour le trio qui se met à sa recherche par tous les moyens. Chaque soir à l’antenne, Lucas envoie des messages à sa fille des morceaux de musique diffusés dans son émission Radio Silence, espérant un signe de vie…

The 150th anniversary of Charles Koechlin's birth in November 2017 is marked by the reissue of all the Koechlin recordings made by the Sudwestrundfunk. This release of Koechlin's orchestral works includes many world premiere recordings and gives a comprehensive overview of Koechlin's output- from the early orchestral songs to his orchestrations of works by other composers and to his huge later works. Koechlin's compositional style was very subtle, full of delicate, colorful combinations of instrumental sounds. Many of his colleagues allowed him to orchestrate their works, simply because Koechlin was a master of the art.

The protagonist of Saint-Saëns’ Proserpine, premiered at the Opéra-Comique on 14 March 1887, is no reincarnation of the ancient goddess, but a Renaissance courtesan well versed in culpable amours. According to the composer, she is ‘a damned soul for whom true love is a forbidden fruit; as soon as she approaches it, she experiences torture’. Yet for all the innocence of her rival Angiola, the unexpected happens: ‘It is the bloodthirsty beast that is admirable; the sweet creature is no more than pretty and likeable.’ Visibly enraptured by this delight in horror, Saint-Saëns indulges in unprecedented orchestral modernity, piling on the dissonances beneath his characters’ cries of rage or despair. He concluded thus: ‘Proserpine is, of all my stage works, the most advanced in the Wagnerian system.’ The least-known, too, and one which it was high time to reveal to the public, in its second version, revised in 1899.