• 01. Intro
    02. Black Wizard
    03. Swan Skies
    04. Magic Dolmen
    05. Great Golden Mornings
    06. Mystic Lady
    07. 3rd Eye
    08. It's All In Your Mind
    09. Coloured Trees
    10. Your Inside World
    11. Purple Flashes
    12. Dead Garden
    13. Reverse Symphony For The Living Dead
    14. Wonderman
    15. Jeremiah Johnson


    Holy Picnic

    EAN 8437005066342
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  • 01. Dream of The Rood
    02. Go
    03. Sky Song
    04. Runaway
    05. Mustard Seed
    06. London Psalm (1975)
    07. Death Knot (1975)
    08. God Is Love (1975)
    09. Born To Die (1975)
    10. Tears May Linger (1975)
    11. Now The Green Blade Riseth (1978)
    12. Rare
    13. Peace



    [engl] For their 40th anniversary, legendary psych–folk band CAEDMON wrote seven new songs and found unreleased archive material from the ’70s to make the album "RARE" 500 copies limited edition (parallel story to the ’78 album) in a full colour matt sleeve. Includes insert with lyrics. Side A consists of five new tracks. Highlights are the 8 minute prog–folk rock epic "Dream of the Rood", the folk–funk of "Go" the folk–rock of "Runaway" and more. The bonus 7" includes "Rare" (a new song about record collecting and searching for a Holy Grail) and "Peace" (another new song with a beautiful guitar solo at the start). Side B includes six previously unreleased songs from 1975/1978. Featuring the studio version of "London Psalm" from 1975 (a live version was included on the Kissing Spell live CD), the Pentangle inspired "Born To Die", a folk–rock rendition of traditional hymn "God Is Love" and more.
    LP + 7''
    EAN 5060366788597
  • 01. In a vision or none
    02. Tones and shapes
    03. Drop a pebble
    04. The flood
    05. We spend the days
    06. Full Moon Pilgrim
    07. Dear kiddo
    08. Crash over me
    09. The moss on you
    10. Sweet brittle


    Tones and shapes

    [engl] In Guissona’s town square in Lerida, where the sun doesn’t warm, but smothers, a shade calls at the door of a large XVII century home. As you enter, the sound of an acoustic guitar, that almost sounds like a double bass, approaches those visit- ing, and when your eyes, previously blinded by sunlight, adjust to the darkness and distinguish the many tones and forms, you finally find Anna Andreu and Eduard Page?s, with their guitars, stringing the first chords of the song that gives name to their second album and debut at BCore, ‘Tones and Shapes’. Lerida is something like a Catalan Far West, but it isn’t that that has taken the Catalan folk duet Ca?lido Home there, but Joan Pons, El Petit de Cal Eril. Pons has turned the families theatre –part of their family home also known as Cal Eril- in to a recording studio, where he has recorded he’s latest albums and those of Mates Mates and Germa? Aire. Now its Ca?lido Homes turn. Entering the theatre is to follow Pons’ rules, like for example not being able to record a song more than five times (just like you can’t make love properly after three times running). The Guissona born producer found it hard to convince Andreu and Page?s that ‘Tones and Shapes’ had to be recorded live. Aware that they do gain considerably when performing live, the duet understood that to record the album in separate stems was contradictory. But that didn’t scare them any less. Or the fact that they could only record five takes. But the confidence they saw in Pons’ eyes was contagious. And they made the best choice. Ca?lido Home would once call their music ‘motherfolker’, almost like an insult, and that was how robust the folk songs in their debut album ‘Vulpes Vulpes’ (Desert pearl Union, 2013) were, but Eril asked them to turn it down a bit, to play softer, and from this restraint flowed new details, fragility and subtleness. They have learnt that when the song is already going upwards, there’s no need to push it. They also discovered silence, inexistent in their songs until now. When Pons sug- gested they not play together at every moment they were first taken back and did- n’t understand. But they listened, and in ‘Tones and Shapes’ silence becomes an active element in the music, the songs breath. And if a small sound like the squeak of a chair should find its way into a moment of silence, it was welcomed: the fact that everything is not always in place can mean, if done well, a more lively and real sound. It has a soul. Eduard’s guitar is a round trip from the US West Coast to Africa; it search’s for plea- sure when playing; if he doesn’t feel that pleasure when performing a song he will never play it again. Anna’s voice, less imposed then before and quieter when the melody gets harder, reminds Joan Pons of Karen Dalton. The Cal Eril producer feels that with ‘Tones and Shapes’, Ca?lido Home have finally found themselves. And this time, it wasn’t hard to convince them that he was right.
    EAN 8435015518806
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    Folsom Prison Blues

  • 01. Ens Mira La Gent
    02. La Tercera Guerra Mundial


    El tennis del futur

    [engl] We insist: Joan Colomo is a star. Not happy with having injected a revitalizing dose of freshness into The Unfinished Sympathy, or with captaining La Célula Durmiente, the most free-thinking and free-playing band in the state, or even continuing to rehearse with the influential and classical band Zeidun, Colomo gets out of his sleeve a solo album which is one of the most interesting and refreshing surprises of the season. With his well known cultural ambidexterity between his familiar roots in Navarra and his settlement over the hills of Montnegre, Colomo gives a revolutionary twist to the Spanish and Catalan songwritting, with a lyricism unseen in him so far, we discover a master of the protest song, with a political nihilism and a love for human relations as an alternative to the mundane dirt. Colomo confronts aggressive content with a touching naivete. The musical eclecticism that has always characterized him is also present here, although away from the canons of rock to dig deep into acoustic instruments, orchestral arrangements, sometimes circus-cabaret winks, everything always combined with the good taste and the musical skills of a master of melodies, harmonies and arrangements. Allied with his partner from The Unfinshed Sympathy, Iban Puigfel, exercising the role of producer in his Estudios Nautilus at Arenys de Mar, and backed by old friends like Narcis Prat (drummer in La Célula Durmiente), Xavi García (Zeidun’s bass player and drummer in Els Surfin’ Sirles) and Inés Mtz. de Albornoz (musical partner in La Célula and also in the real life), Dani Navarrera (Luna Roja, Panorámica) and Marçal Calvet (Orquestra Sant Celoni, Mumusic Circus), Joan Colomo has found a new vehicle of expression, probably the most personal and intimate of many that has driven in his prolific musical career, certainly ranking him as one of the most authentic, brilliant and innovative singer-songwritters of our music scene.
  • 01. American Lullaby
    02. Live Our Life
    03. Sweet Sugar
    04. Talked About
    05. Keep An Eye
    06. Another Blue
    07. What Do You
    08. Kindly World On You
    09. Tell Me Now
    10. I've Been Wrong
    11. Laying By The Riverside


    Don & Stevie

    [engl] Lost love songs and self-pressed pop acetates by this previ- ously unheard Californian folk duo from beneath the shadows of the Hollywood Hills These recordings of unreleased and unknown American acidic folk and acoustic pop were made in the late 60s by husband and wife duo Don & Stevie Gere. For over 40 years they've sat untouched and unplayed in a box of unmarked studio tapes at their family home in Los Angeles. As original pop songs and guitar based arrangements from the man who made the stoner psych soundtrack for cult movie Werewolves On Wheels, these rescued one-off pressings were sung in harmo- ny with his teenage sweetheart and lifelong partner, Stevie Howard, recorded at LA based walk-in studio sessions. Sprouting a missing branch in the family tree of L.A. based artists like Curt Boetcher and Doug Rhodes (The Millennium), Waddy Wachtel (Buckingham Nicks) David Gates (Bread) and members of The Steve Miller Band, this LP includes original versions of tracks written for or featuring all of the above as well as destroyed and unreleased film music. What might have been considered “lost” treasure until now has remained previ- ously unshared outside of the duo's own private relationship, and presents fans of obscure folk and privately produced pop with a unique LP that defies collectability and paints a fuller picture of a lesser-spotted enigma in uninhabited unison with his closest musical confidant.
    EAN 5060099503665
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    Veröffentlicht im März 1962 kündete das Debütalbum von BOB DYLAN die Ankunft eines Singer/Songwriters an, der die Musik und die Popkultur des 20. Jahrhunderts nachhaltig verändern sollte. Obwohl es "Freewheelin'" von 1963 war, das ihn zum internationalen Star und zur Stimme einer Generation machte, ist dieses Debüt ein wichtiges Stück Geschichte der Folk Musik und ein atemberaubendes Beispiel seines Songwriting. Mit neuem Cover endlich wieder zu haben!
    EAN 8592735007192
  • 01. Mes Premières Vraies Vacances
    02. Jazz À Gogo
    03. Soyons Sages
    04. Les Rubans Et La Fleur
    05. Pense À Moi
    06. Ça Va Je T'Aime "Hip-Huggers"
    07. La Cloche
    08. N'Écoute Pas Les Idoles
    09. J'Entends Cette Musique
    10. Ne Dis Pas Aux Copains
    11. Ne Sois Pas Si Bête "Stand A Little Closer"
    12. Si J'Étais Garçon


    Debut Album

    [engl] She was the shooting star of French pop in the 60s with tunes like the very famous „Poupee de Cire, Poupee de Son“ and could score a comeback hit in the late 80s with „Ella elle l'a“. She was one helluva beautiful girl with brown eyes and blonde hair when she hit the scene aged 17 in 1964 and her rise to fame and stardom happened in an amazing pace. This is France Gall's debut album, released in '64 along with a couple of ROLLING STONES, HOLLIES and BEATLES albums and it could compete with all these heavy weights of their time. „France Gall“contains a nifty mix of songs that present elements of chanson, soul and heartache ballad, vocal jazz and contemporary pop. „Jazz á go-go“ for example is such a rather haunting vocal jazz track with a wicked saxophone solo and on the other hand „Les rubans et la fleur“ comes as a beautiful pop / beat song with melodies ranging between happy and thoughtfully folky, as if some chanson and classic English folksong have been mixed up with a playful beat background. „Pense à moi“owes much to cool jazz hero Dave Brubeck and his 5 / 4 rhythms and piano block chords of the „Take five“ anthem, one of the most popular jazz songs ever. Well, we are here to get a feeling for this beautiful French pop album and nothing more .All I can say is that even this song which has so obviously been inspired by another tune works well and lives from her oh so innocent vocal performance. She was 17 back then and you can hear it. The whole album emanates an angelic innocence that pop music had actually lost by that time. Still there is plenty of emotional depth to be found here. Her innocence just keeps it all together. Happy songs, dark songs, dramatic melodies, it is all here. On her early works her music was a bit more serious and cool than later in the 60s when she adopted a full but tame chanson pop sound. I have not heard many more melancholic songs than „J'entends cette musique“ from the early 60s. I do not understand what she sings about in this ballad but the melody is utterly sad but still hopeful. A masterpiece of French pop all in all. If you are into 60s female fronted pop music stuck in between the more adventurous mid 60s style and 1950s heartbreak songs you will love this new reissue of France Gall's debut. Listen and spend a joyful time.
    EAN 3891121305917
  • 01. Brotherhood
    02. Unspoken
    03. You must have been crying again
    04. Make a wish
    05. Deep diver
    06. It was a very good year
    07. Names to towns
    08. The rush and the wave
    09. Drop me a line
    10. Copper & gold


    Copper & gold

    [engl] A piano, a guitar, a voice. Nothing else. Evoking the minimalism of Steve Reich and the nightly darkness of Tom Waits, Bernat Sánchez (piano) practically turns into the main character of this recording. After a full campaign of concerts as Eric Fuentes & El Mal Menor, the pair formed by Bernat and Eric have covered the country from top to bottom performing songs from Eric’s last 3 albums (“Descarrilant”(1997), “Bahía Paraíso” (2008) and “Eric Fuentes & El Mal” (2011), and from he’s earlier 5 albums as The Unfinished Sympathy. The revision of theses songs bought them to the creation of new ones, and this is how Eric and Bernat came to closing themselves in the recording studio to record 10 new songs with a clear vocation, to limit themselves instrument wise: to make an album without percussion, restricted, from the melodic and harmonic possibilities, to the rhythmic possibilities of the piano, guitar and vocals, of this duet, that has so nicely formed between these two musical adventurers. This new collection of songs (including a cover version of “It was a good year” made popular by Frank Sinatra), surprises not only for its austere performance, but for it’s shuddering intensity, that different from so many other minimally orchestrated albums, this album provokes. The key? To use the left hand of the piano to create the rhythmic base, interacting with the harmonic right hand and the rhythmic of the electric guitar. This, together with their sinuous vocal melodies, creates a groovy, atmospheric and emotional ensemble, that drinks from the likes of John Cage, Prefab Sprout or Robert Wyatt. So, after the well accepted “Eric Fuentes & El Mal” (that completely wiped out fears that the ex - The Unfinished Sympathy’s energy would disappear with the dissolution of the band) Eric goes ahead and bets for a completely new musical speech, even though you can still recognize the strong personality from he’s growing discography. Turning into a mix between a crooner and a hard-core Singer, at the live performances Eric will count with Bernat at the piano and with the recently integrated Joan Thelorious (member of Tokyo Sex Destruction) at the guitar. The band will present the album all through 2013 with a warm and close staging, where craftsmanship mixes up with real passion.
    EAN 8435015513757
  • Home For Moss Valley
    Cwm Elan
    Bramley Moor
    Fortingall Yew
    Phoenix Works
    Banks Of Mulroy Bay
    Sloade Lane


    A Hymn For Ancient Land

    2015 veröffentlichte Jim Ghedi beim Label Cambrian sein Debüt "Home Is Where I Exist, Now To Live And Die". Dieses enthielt acht flotte, melodiöse und rhythmische Folksongs zwischen Tradition und Moderne, auf denen sich der gebürtige Sheffielder mit der akustischen sechs- oder zwölfsaitigen Gitarre technisch versiert begleitete. Seine Stücke hatte er zuvor in den Pubs in und um Sheffield sowie auf Reisen durch Europa geschmiedet und poliert. Ghedis zweites Album erscheint nicht nur bei einem neuen Label, es verfolgt auch andere Motive. "A Hymn For Ancient Land" kommt via Basin Rock in die Läden, einem kleinen Indie aus der Region von Yorkshire und Lancashire. Sicher nicht ohne Grund, da sich der 26-Jährige ebenfalls in dieser Gegend niedergelassen hat. Bei seinen neuen Songs wird Ghedi von zahlreichen Musikern an Kontrabass, Violone, Cello, Mundharmonika, Trompete, Piano, Akkordeon und diversen anderen Instrumenten auf ineinander fließende Art begleitet. Den Anlass dafür gaben Ghedis Reisen kreuz und quer durch Großbritannien. Daraus entstand der Plan, die vielfältigen Landschaften seiner Heimat mit einem Brückenschlag zwischen klassischem und zeitgenössischem Folk musikalisch einzufangen.
    EAN 5060168041326
  • 01. Man Of Marble (Baby Bump)
    02. The Port
    03. Saved From Oblivion
    04. Figures Of Marble
    05. A Witness
    06. In The Shipyard
    07. The Katowice Ironworks
    08. The Striptease (Kung Fu)
    09. Jane Wisniewski (Man Of Iron)
    10. Poem By Milosz (Man Of Iron)
    11. Truncheon Man (Man Of Iron)
    12. You Are My Hope (Man Of Iron)



    [engl] Some of the rarest records from The Eas’ts best kept secret songbird Googoosh. Lost songs from the forbidden discography of “Iran’s Daughter” comprising forgotten B-Sides and mythical LP tracks. Unrequited love songs and poetic premonitions of impeding cultural heartbreak meet radical Arabic takes on jazz, bossa, orch funk and early disco fuelled by generations of Persian poetic verse. The East’s best kept secret? Despite her reputation as one of the most well- known and beloved songbirds from the East, Faegheh Atashin AKA Googoosh is, ironically, also the performer of some of the rarest, heart-melting pop music in the world. Originally pressed on the diminishing vinyl format her 1970’s songs and performances were banned after the Iranian revolution of 1979 resulting in her records being forbidden, hidden and destroyed. Some of Googoosh’s most famous songs have since become anthemic amongst global Iranian communities, but in darker contrast dozens of 45 B-side’s and album tracks remain as distant and nonexistent memories in the mind of the most devout fans and fastidious vinyl librarians. Finders Keepers’ first Googoosh release focuses on a handful of these lesser- spotted tracks - the ones that didn’t get away. Googoosh’s voice conveys an urgency and yearning which is arguably unrivalled under the often disposable femme-pop umbrella. Mid-tempo pulsating pop peons awash with expertly orchestrated strings (akin to that of some of the most intense European film composers) provide the backdrop for unrequited love songs revealing poetic premonitions of impeding cultural heartbreak. Other tracks combine unlikely jazz, bossa and early disco influences unconsciously inducing political paranoia from the era’s brooding anti-pop regime. Boasting a deep-rooted history of Persian poetic verse and indelible Arabic songcraft these lost tracks, from the artist known amongst Farsi speaking fans as ‘Iran’s Daughter,’ have most certainly, finally earned a place in the hearts of “outernational” music lovers like yourself.
    EAN 5060099503047
  • 01. The Raven Is Calling (Air)
    02. I'll Be Reborn
    03. We Won't Wait Any Longer
    04. There's A Home Far In The Mountains
    05. A Mother's Love
    06. Sweet Mama Mine
    07. The Trees Of Annwfn
    08. The Ballad Of Richard III
    09. The Crone's Lullaby
    10. Farewell To Ye, Mary
    11. Gwrach A Gwraig
    12. There Will Always Be A Wales
    13. Sometimes I Wonder


    The Faerie Shaman

    [engl] Gwydion Pendderwen is one of the more chatoyant figures of the folk music underground and it is a shame actually that we have to label his works underground for what he laid down on both of his albums “Songs For The Old Religion” (1975) and “The Faerie Shaman” (1982). It was far above the average standard folk of his time, especially on this, his second album from 1982. The confessing neo paganist and environmentalist tried a different path seven years after his rather haunting debut album by mixing bluegrass, country, gospel and dixie into the classic folky singer / songwriter tunes of enchanting beauty. Most of the time the atmosphere on this album is rather friendly and lightweight in the sense of bright melodies and a cheerful mood on most tunes. Just take a walk in spirit through the garden of sound created by the delicate arrangements and rich, mostly acoustic instrumentation. Will you ever wish to return to what people consider as reality? I would doubt that. GWYDION for certain has the one and another moment of melancholy and musing but this is just a little shade of evening, the moment when the sky turns dark blue and the two worlds come as close as they could. This album breathes a flamy joy of life and you would not think it was shortly after that Gwydion Pendderwen lost his life in a car accident. The music presented on “The Faerie Shaman” literally swallows you like a river and you may ride like a Valkyrie upon the raging waters or dive deep inside and be enchanted by the magic world beyond the surface. This should have been a classic and it is a real gem for fans of PLANXTY, HAMISH IMLACH, DULCIMER, PENTANGLE and STEELEYE SPAN.
    EAN 5291103810954
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    Face your fear

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    Mutual Ties

    12 Songs allerfeinster Country-Folk aus Norddeutschland. Wundervolles Artwork auf Inside-Out Cover! 500 Stück auf schwarzem Vinyl wurden gemacht.
  • 01. Venezuela Version
    02. The Thing I Done
    03. Lament
    04. Interlude 1
    05. Paris Paris
    06. Bi-Pet
    07. El Bang Bang
    08. Comment Te Dire Adieu
    09. Venezuela
    10. El Bang Bang (Version)
    11. Exodus
    12. Wedding Song
    13. Trinidad
    14. Nobody's Business
    15. Blackboard Jungle
    16. Enlightment
    17. Interlude 2
    18. Pigmy Pig Version
    19. Pigmy Pig
    20. When It Rains In Texas (It Snows On The Rhine)


    The World Is Full Of Songs

    Hochzeitskapelle: Folkloristisch-elegischer Rumpeljazz… … so nennen die Mitglieder der Hochzeitskapelle ihre Musik. Anlässlich einer Eheschließung 2012 gegründet, kommen die fünf Musiker stilistisch teils aus sehr unterschiedlichen Ecken. Sie machen mit zwischen München, New Orleans und Trinidad gefundenen Lieblingsstücken das, wofür die Musik wohl ursprünglich geschaffen wurde: SPIELEN im besten Wortsinn, und das mit großer Intensität, Vertrautheit und Freude. Vor allem wenn man hört, mit welchen Orginalen sie da herumspielen: Sun Ra, Moondog, Francoise Hardy, Jackie Mitto, Lee Perry, C.W. Stoneking, Lali Puna, David Lowry … Eine obskure Mischung das, ebenso wie die Instrumentierung: Bratsche, Tuba, Trompete, Banjo, Schlagzeug und ein bisschen Harmonium. Gesungen wird nicht, es bleibt instrumental, die Melodien sprechen, ach singen für sich selbst. Wieder mal eine Platte zu der jemand einen Film drehen müsste, verdammt!
  • 01. Santa Muerte
    02. Funeral
    03. Requiem
    04. Chorus Mortis
    05. Procession
    06. Juggernaut
    07. In Memoriam
    08. Rotten
    09. Bold


    Ad Patres

  • 01. Whoa! How Different We All Are!
    02. Ishkode! Ishkode!
    03. Wait! Wait!
    04. O Sun!
    05. Without The Heart For Chaperone
    06. ‘A Nnammurata Mia
    07. Let Me Do This Right!
    08. But Then Ego Went Away
    09. Outside O’ Duffy’s
    10. Longtemps
    11. Mother I Give You My Soul Call


    Ishkode! Ishkode!

    [engl] “Ishkode! Ishkode!” (“ishkode” means “fire” in the Native American Ojibwe language) is Jonathan Richman’s first full length album in 5 years and roughly the artist’s 20th LP. It was originally released in the States on Cleveland’s Blue Arrow Records in 2016.Richman’s signature ingredients -acoustic guitar, minimal drums set-up, a few voices, his use of Romance languages…- combine once again across the album and subtle touches help him to strike a contemplative mood more than usual. Check ‘But Then Ego Went Away’, with lyrics about meditation, or the closing track ‘Mother I Give You My Soul Call’ introducing Indian instrumentation. As in previous works, Richman feels no shame in expressing his feelings openly in addition to continuing his very personal charming observations about the everyday life, as on ‘Wait! Wait!’.It is not difficult to imagine Richman performing some of the songs of the album, especially the almost hypnotic two first tracks, around a bonfire, surrounded by a bunch friends singing along, but we will always wonder if that is the fire to whom the album title refers...“Ishkode! Ishkode!” deserves to stand as a career highlight.
    EAN 8435008840211
  • 1.1Quema quema quema
    1.2Nunca me perdi
    1.4Quien se queda quien se va
    1.5Si te mueres manana
    1.710 ANOS
    1.8Hacerte venir
    1.9Burn Burn Burn


    Quema, Quema, Quema

    Kanaku y El Tigre nennt sich ein peruanisches Kollektiv, das mit seinem zweiten Album "Quema, Quema, Quema" sein internationales Debüt vorlegt. Zwei Jahre hat die Gruppe um das Kreativduo Nico Saba und Bruno Bellatin dafür gebraucht, der Titel - auf Deutsch: "Brenne, brenne, brenne" - wurde mir Bedacht gewählt, passt er doch zum fieberigen und intensiven Sound der Südamerikaner wie Deckel auf Topf. Grenzenlos euphorische Wohlfühl-Hooks, elektronisches Flimmern, gespenstische Delays, hawaiianische Slide-Gitarren und außerweltliche Gesangsharmonien erfüllen die zehn Songs, die in ihrer Gesamtheit von Jack Kerouacs Roman "On The Road" inspiriert wurden. Bei aller Multiinstrumentalität stehen diesmal die Melodien im Vordergrund. Die Schauspielerin Leonor Watling (bekannt aus Pedro Almodóvars Film "Sprich mit ihr") ist hier ebenso zu hören wie die peruanische Singer-Songwriterin Pamela Rodriguez und der Cecimonster-Frontmann Sergio Saba. Die LP erscheint mit CD.
    EAN 0730003313011
  • 01. Hitch
    02. Spring Cleaning in the Wintertime
    03. Riding on the Assembly Line
    04. Instrumental
    05. Spots
    06. Positively Grey
    07. A Woman's Passin' By
    08. No 92
    09. My Life's Thicket
    10. Limb
    11. Overboard
    12. Hollywood in Paris


    Phantom Pain Relieve

  • 01. Intro
    02. J'ai un problème avec les détails
    03. Sexe de brume
    04. Inutile
    05. La péniche secrète
    06. Crise d'angoisse à la foire aux synthés
    07. Le garçon froid
    08. Berçeuse de Michel
    09. Allô Papa
    10. Boule de seum
    11. La Gosse Bizarre


    Marie Klock

  • 01. Tu E Leu
    02. I A De Sers
    03. Me Demandes Pas
    04. Lo Baranguet
    05. La Targa
    06. Palunaia
    07. Les Colonies
    08. Lei Filairas
    09. De Bon Matin
    10. Magali
    11. Retorn


    I A Des Sers

    [engl] Weaving a fragile thread through collectible outsider genres such as acid folk, French jazz, Braziliana and world music it is virtually incomprehensible that this incredible one-off solo album by mononymous Occitan language singer, songwriter and activist Miquela has managed to evade notoriety and wider affection zover five decades. Captured via a humble makeshift studio set-up in a classroom in 1977, this startlingly crystalline recording is one of the best examples you are likely to hear, not shying from ambitious small string arrangements and intimate Gallic jazz infusions this LP represents the quiet storm erupting from the pride and protection of the ancient “romance” language known as Occitan, as spoken by less than 1.5 million people in Southern France (as well as parts of Italy and Spain). Naturally combining a wide range of influences, and fuelled by the same impassioned fervour found in privately pressed minority language records from Britanny, Catalonia and Wales, Miquela’s first and only solo record was recorded by request of poet Ives Roqueta for his exclusively Occitan language label Ventadorn. Including players from Miquela’s surrounding area of Toulon the album also enlisted arrangements from important musicians such as co-author Jean-Michel Mariou, jazz contrabass player Didier Capeille (later affiliate of Marseilles’ Etron Fou Leloublan), and guitarist Gilles Cardon, who would regularly play for Britanny based label Nevenoe (knotting the ties between both French language rehabilitation movements). Released and well-received by a supportive and emotional Occitan fan base, this would be Miquela’s only ever solo LP (preceded by a 7? picture sleeve EP, drawing similarities to Welsh label Sain) and laid the foundations for future releases with her folk rock girl group Lei Chapacans (The Vagabonds) which led to tours as far as Sardinia, Yemen and Moscow. As a vital forerunner of a maligned genre of Occitan femme-folk singers such as Estela, Nicòla, Jacmelina, Rosina De Peira E Martina and Claudia Galibert, this LP marks the start of a journey that would eventually find its beloved protagonist at the heart of the galvanised Occitan language media.
    EAN 5060099507298

  • 01. 1 2 3 4
    02. The Dirt
    03. Ellipsis
    04. Oak Tree
    05. In My Father's House
    06. Dreamt Of A Wave
    07. The Devil's Tongue
    08. What Love Looks Like
    09. Taller Than Tall Trees
    10. Goodnight


    When The Cellar Children See The Light Of Day

    EAN 0098787107517