Troy Dumoulin

Keiji Haino just can’t stop pouring music out of himself: on this occasion the sonic flow erupted in the presence of Jozef Dumoulin and Teun Verbruggen, two Belgian musicians on a tour of Japan. The Miracles Of Only One Thing is a strong meeting of minds, with the trio working themselves into some deep and tasty territory.

Dejan Terzic, one of the few truly European musicians, started Melanoia in 2012 and earned the German Grammy, Echo- Award with Melanoia's debut album as Best German Drummer in 2014. On the present album Terzic relies on the rapport of 7-string guitarist Ronny Graupe and alto saxophonist Christian Weidner. He also joins forces for the first time with totally wired keyboard wizard Jozef Dumoulin as trailblazer in the sonic wilderness.

Une enquête consacrée aux dessous stratégiques et financiers du déploiement de la technologie 5G dans le monde. Le journaliste évoque une guerre d'influence, technologique et commerciale entre la Chine et l'Occident qui se disputent l'hégémonie des communications numériques. …

Orca Noise Unit is based on an anagram of —oneironautics—, which refers to the ability to travel within a dream on a conscious basis. Those who have already kept a dream journal know what it feels like to go back and read over older parts. Some dream accounts have a lot of details, others evoke not much more than just a vibe. Some can be read like a full story, whereas others have no beginning, or no end, or neither. Sometimes we were genuinely lucid at the moment of the dream - or at least had a clear perception of things - whereas at other moments we were totally immersed in the projected reality.

Ce manuel de cours permet de (re)découvrir le droit de la famille grâce à une approche visuelle de la matière. 41 cartes mentales illustrent ainsi des notions juridiques parfois complexes à appréhender afin d'en faciliter leur compréhension.

“These are performances in which tempos, phrasing, articulation and the execution of ornaments are convincing,” wrote Gramophone of Jarrett’s first recorded account of The Well-Tempered Clavier. “Both instrument and performer serve as unobtrusive media through which the music emerges without enhancement.” In this live recording from Troy, New York, made in March 1987, just one month after his studio recording of the work, Keith Jarrett addresses the challenges of Bach’s great set of preludes and fugues once more. Part of the goal is transparency, to bring the listener closer to the composer. As Jarrett explained at the time: “The very direction of the lines, the moving lines of notes, are inherently expressive…When I play Bach, I hear almost the process of thought. Any colouration has nothing to do with this process.“