Thee Diane Bonjour

Camille a décidé de tracer sa propre route afin d’être au plus proche de ses volontés artistiques. - - Pour la première fois aussi, elle ne réunit que les musiciens avec qui elle tourne depuis plusieurs années afin d’être au plus proche du son de groupe qu’ils ont obtenu à force de tourner ensemble. - - Cet album se différencie des autres en misant sur un son organique, un peu comme un ‘laboratoire’ qui deviendrait disque. La batterie, très présente sur ses anciens albums, est remplacée par les percussions. Tous les titres, textes, en français, et arrangements sont de sa composition et portent en eux la volonté d’affirmer, une fois de plus, l’alliance de deux mondes difficilement et rarement assemblables : Le jazz et la chanson, tout en gardant la danse, l’improvisation et la transe.

Oboists are not generally among the ranks of the most prominent instrumental soloists, but this delightful album featuring German player Albrecht Mayer, the principal oboist of the Berlin Philharmonic, makes a strong case for wider solo exposure for the instrument. Bonjour Paris is a survey of (mostly) French music of post-Romantic, Impressionist, and conservative contemporary vintage, and some pieces feature Mayer playing the English horn or the oboe d'amore. Some of the works were originally scored for oboe, such as Françaix's L'Horloge de Flore, d'Indy's Fantaisie sur des themes populaires français, and Swiss composer Gotthard Odermatt's "Été," written for Mayer and imagined as an oboe concerto that Ravel might have written.

Matana Roberts is one of the most acclaimed, socio-politically conscious and aesthetically intrepid avant-jazz practitioners of the 21st century. The critical accolades for her multi-chapter Coin Coin work place her at the vanguard of stylistic innovation and radicalization, while confirming the deep substance and soul that guides her compositional agenda. Roberts has long employed the phrase "panoramic sound quilting" to describe Coin Coin, and with this third chapter in the series she implements this metaphor most overtly, creating a sound art tapestry from field recordings, loop and effects pedals, and spoken word recitations, alongside her saxophone and singing voices. Coin Coin Chapter Three: river run thee unfolds as an uninterrupted album-length flow, in what Roberts calls "a fever dream" of sonic material, inspired by a solitary research-based road trip Roberts took through the American South in early 2014. Fragments of traditional song are the album's main touchstones, with Roberts' singing voice riding atop waves of radiophonic texture, layered spoken word, and an often dislocated, wandering horn.

Thee Headcoatees - Here Comes Cessation (1999) {Damaged Goods Records DAMGOOD293-CD rel 2008}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 230 Mb | MP3 @320 -> 81 Mb
Full Artwork @ 300 dpi (png) -> 10 Mb | 5% repair rar
© 1999, 2008 Vinyl Japan / Damaged Goods Records | DAMGOOD 293-CD
Rock / Garage Rock Revival / Indie Rock

Thee Headcoatees were stripped down to a three-piece for 1999's Here Comes Cessation, which proved to be the final album from the U.K. garage punk gals. If the group didn't seem to have progressed especially far from where they started on their sixth album, they hadn't lost touch with their virtues, either – with their friend and guiding light Billy Childish writing the songs (except for a cover of Bo Diddley's "Road Runner") and producing the sessions, it comes as no shock that Here Comes Cessation is proudly rough around the edges, and the guitar bashing leans more toward meat-and-potatoes chording than anything fancy.

Opia is a Gothic Doom Metal band that straddles the line between atmospheric beauty and crushing heaviness. Formed between the UK and Spain, the band combines the brooding weight of Death/Doom with haunting, ethereal melodies, creating a sound that is as introspective as it is powerful. Their debut album, “I Welcome Thee, Eternal Sleep”, is set for release in Spring 2025, marking the emergence of a new force within the Doom Metal scene. The band’s upcoming debut album, “I Welcome Thee, Eternal Sleep”, explores themes of mortality, despair, depression and grief. It is a deeply atmospheric record, where slow, crushing tempos intertwine with ethereal melodies to create an experience that lingers long after the music fades. Through its intricate songwriting and evocative mood, Opia’s debut offers a glimpse into the bleakest aspects of the mind, capturing the melancholic beauty in the acceptance of the inevitable.