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IDA 163LP
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"Matt Elliott, who had already made a name for himself in the indie electronic scene under The Third Eye Foundation moniker, ventured into folk territory in the early 2000s. Born in 2004, Drinking Songs is the Englishman's second album under his own name, following The Mess We Made, released in 2003 on Domino. What sets Matt Elliott apart is his ability to fuse different styles, blending chamber folk with Eastern European cabaret music, while simultaneously drawing on his electronic music background, particularly his mastery of sampling and effects, to serve the song. Several hundred concerts across Europe and seven albums later, Matt Elliott now presents Drinking Songs Live 20 Years On, revisiting this landmark album. Recorded at L'Autre Canal in Nancy, where the Englishman has been living for several years now, this album features previously unreleased trio versions. Anyone who has seen him perform solo or with this trio knows how much Matt Elliott has enjoyed drawing on the tracks of Drinking Songs, such as the emblematic and poignant 'The Kursk.' The presence of double bass, piano, and saxophone (which Matt Elliott seems to have fully embraced since his last album The End of Days) adds new dimensions and textures to the compositions. The trio's virtuosity and sensitivity enhance each note, each silence, bringing an even more intimate and compelling force to each track. This collaboration transcends the studio version, capturing the raw emotion of a Matt Elliott who, at 50, seems to be at the peak of his art. Drinking Songs Live 20 Years On is not just a celebration of two decades of internationally recognized work; it is above all an edifying work in exploration and reinterpretation. By breathing new life into his Drinking Songs twenty years later, Matt Elliott has given a precious gift: the opportunity to listen to Drinking Songs again for the first time."
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2LP BOX
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IDA 163BOX
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2LP box version. "Matt Elliott, who had already made a name for himself in the indie electronic scene under The Third Eye Foundation moniker, ventured into folk territory in the early 2000s. Born in 2004, Drinking Songs is the Englishman's second album under his own name, following The Mess We Made, released in 2003 on Domino. What sets Matt Elliott apart is his ability to fuse different styles, blending chamber folk with Eastern European cabaret music, while simultaneously drawing on his electronic music background, particularly his mastery of sampling and effects, to serve the song. Several hundred concerts across Europe and seven albums later, Matt Elliott now presents Drinking Songs Live 20 Years On, revisiting this landmark album. Recorded at L'Autre Canal in Nancy, where the Englishman has been living for several years now, this album features previously unreleased trio versions. Anyone who has seen him perform solo or with this trio knows how much Matt Elliott has enjoyed drawing on the tracks of Drinking Songs, such as the emblematic and poignant 'The Kursk.' The presence of double bass, piano, and saxophone (which Matt Elliott seems to have fully embraced since his last album The End of Days) adds new dimensions and textures to the compositions. The trio's virtuosity and sensitivity enhance each note, each silence, bringing an even more intimate and compelling force to each track. This collaboration transcends the studio version, capturing the raw emotion of a Matt Elliott who, at 50, seems to be at the peak of his art. Drinking Songs Live 20 Years On is not just a celebration of two decades of internationally recognized work; it is above all an edifying work in exploration and reinterpretation. By breathing new life into his Drinking Songs twenty years later, Matt Elliott has given a precious gift: the opportunity to listen to Drinking Songs again for the first time."
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LP
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IDA 144LP
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LP version. Includes download. An overall map... Ici D'Ailleurs used to enjoy presenting Chapelier Fou's work using the idea of music in the form of a treasure hunt. However, while the phrase in itself it still just as relevant today, the label would never have imagined that it would become such an integral part of one of his albums. Or two of his albums to be perfectly exact -- Méridiens and Parallèles (IDA 145CD/LP). Two records with twelve songs each which answer each other back in the form of anagrams. The starting point is a sombre night in Uqbar... Chapelier Fou's opening reference to Borgès was obviously not made by chance. He subsequently confides in the listener the objective of his diptych, namely to combine reality with fiction to question certainties and our relationships with the imaginary sphere, using his traditional classical-contemporary electronic approach. Throughout Méridiens, each composition can be seen as a universe in itself or a specific landscape with its own temporality. Proof of this is the introduction to the chamber music format composed for and performed by only strings which can only be given the date we want to give it. This is "État Nain" in which violins are played like guitars. In some parts you find the spirit of the Penguin Cafe Orchestra and the idea of cheering up classical instruments and not taking everything too seriously. In other parts, you find something close to a mischievous and childish unplugged grunge anthem that could be from the French series Les Shadoks. This mischievous view of things is shown to full effect in "Am Scharchtensee". The introduction shows Chapelier Fou's whole classical universe and mastery of orchestration in which "modular" electronics provide a subtle and discreet backdrop. Then, the record suddenly switches to a surrealist dialogue between these classical sounds and modular synthesizers with the flavor of the German pioneers Kluster/Harmonia, to provide an example. "La vie de cocagne confirms" this choice of total freedom. It's traditional music with old sounds, a kind of forgotten bourrée (old French dance) in which electronic sounds disturb the established order and thus reach another musical dimension. "Le méridien du Péricarde" followed by "Désert de Sonora" push this idea of a trompe l'oreille and a hall of mirrors even further. The latter track ends almost like a catchy '80s melody and we can no longer find any logical meaning.
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IDA 145CD
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An overall map... Ici D'Ailleurs used to enjoy presenting Chapelier Fou's work using the idea of music in the form of a treasure hunt. However, while the phrase in itself it still just as relevant today, the label would never have imagined that it would become such an integral part of one of his albums. Or two of his albums to be perfectly exact -- Méridiens (IDA 144CD/LP) and Parallèles. Two records with twelve songs each which answer each other back in the form of anagrams. They are like the two sides of the same planet --- similar but simultaneously so different. They need to be discovered one after the other taking the time necessary to travel through the sound territories produced by his imagination. CD version includes booklet.
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IDA 145LP
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LP version. Includes download and booklet. An overall map... Ici D'Ailleurs used to enjoy presenting Chapelier Fou's work using the idea of music in the form of a treasure hunt. However, while the phrase in itself it still just as relevant today, the label would never have imagined that it would become such an integral part of one of his albums. Or two of his albums to be perfectly exact -- Méridiens (IDA 144CD/LP) and Parallèles. Two records with twelve songs each which answer each other back in the form of anagrams. They are like the two sides of the same planet --- similar but simultaneously so different. They need to be discovered one after the other taking the time necessary to travel through the sound territories produced by his imagination.
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2CD
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IDA 146CD
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Diabologum is one of the most important French band of the '90s. Founded by Michel Cloup (Peter) and Arnaud Michniak (Tadz) in Toulouse (Occitania), they combine elements of noisy rock, sophisticated pop, and collage techniques. They were the first band of their generation to introduce a new form of realistic or nihilistic speaking phrasing. A French Sonic Youth.
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CD
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MTS 012CD
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Five years after the release of Je Vous Dis in 2018 (MTS 001CD/LP), Geins't Naït and L.Petitgand's second album from the Mind Travel series (MTS 005CD/LP) and Make Dogs Sing collection on the German label Offen (OFFEN 009LP), the duo are now writing a new chapter in their story with this fascinating poetic tale. The same mysterious and heady atmosphere which characterizes the two musicians is present in this new work, but clearly, they have never ceased refining and polishing their sounds to give their compositions even more power and depth. Geins't Naït and L.Petitgand here offer twelve new tracks with names as enigmatic as the title Like This Maybe Or This itself and the record's whole universe. In reality, these mysterious names lead you to let yourself be taken to the deep meaning of their creation. The subject matter is certainly difficult to grasp and invites you on an inner journey while leading you to doubt and question ourselves incessantly. There is a perfect alchemy between these two artists though this was far from self-evident as they come from two very different schools. Thierry Merigout, who is now the only representative left from the late '80s experimental project Geins't Naït in Nancy, comes from the post-industrial scene. As for Laurent Petitgand, he is a pure melodist who is best known for his work as a composer of music for films and live shows and has collaborated with Wim Wenders and Paul Auster, in particular. Like This Maybe Or This is a fully accomplished symbiosis between Geinst Nait's industrial and experimental tonalities and the celestial melodies of Laurent Petitgand. "Shape Of The Storie" starts the album with a bewildering atmosphere which mixes a sample of a guttural voice with cavernous resonances thus prefiguring the album's general atmosphere. However, while some tracks like "HAC" you're your existential anguish, other tracks have a poetic and melancholic tonality which touches your deepest humanity. This is the case of "Dustil" whose subtle piano notes combined with the melancholy violin show us a sublimated world. This fascinating blend of violence and gentleness makes this record an atypical work which enables listeners to lose themselves in an emotional nebula where they can perceive the turbulence and also the intensity of inner life. LP version includes download.
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MTS 012LP
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LP version. Includes download. Five years after the release of Je Vous Dis in 2018 (MTS 001CD/LP), Geins't Naït and L.Petitgand's second album from the Mind Travel series (MTS 005CD/LP) and Make Dogs Sing collection on the German label Offen (OFFEN 009LP), the duo are now writing a new chapter in their story with this fascinating poetic tale. The same mysterious and heady atmosphere which characterizes the two musicians is present in this new work, but clearly, they have never ceased refining and polishing their sounds to give their compositions even more power and depth. Geins't Naït and L.Petitgand here offer twelve new tracks with names as enigmatic as the title Like This Maybe Or This itself and the record's whole universe. In reality, these mysterious names lead you to let yourself be taken to the deep meaning of their creation. The subject matter is certainly difficult to grasp and invites you on an inner journey while leading you to doubt and question ourselves incessantly. There is a perfect alchemy between these two artists though this was far from self-evident as they come from two very different schools. Thierry Merigout, who is now the only representative left from the late '80s experimental project Geins't Naït in Nancy, comes from the post-industrial scene. As for Laurent Petitgand, he is a pure melodist who is best known for his work as a composer of music for films and live shows and has collaborated with Wim Wenders and Paul Auster, in particular. Like This Maybe Or This is a fully accomplished symbiosis between Geinst Nait's industrial and experimental tonalities and the celestial melodies of Laurent Petitgand. "Shape Of The Storie" starts the album with a bewildering atmosphere which mixes a sample of a guttural voice with cavernous resonances thus prefiguring the album's general atmosphere. However, while some tracks like "HAC" you're your existential anguish, other tracks have a poetic and melancholic tonality which touches your deepest humanity. This is the case of "Dustil" whose subtle piano notes combined with the melancholy violin show us a sublimated world. This fascinating blend of violence and gentleness makes this record an atypical work which enables listeners to lose themselves in an emotional nebula where they can perceive the turbulence and also the intensity of inner life.
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2LP
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IDA 147LP
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The French popular feminist and "punk" novelist, Viriginie Despentes, with the French band Zëro for a reading of one of the most particular French novelist Louis Calaferte. Zëro is a French rock band from Lyon, composed of Éric Aldéa (guitar, bass, vocals), Franck Laurino (drums), and Ivan Chiossone (keyboards, guitar), formed in 2006 from the ashes of Bästard and Deity Guns.
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IDA 141CD
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Despite, or rather thanks to, his cynical despair, Matt Elliott's music never holds up a moralizing mirror to us -- on the contrary, it creates a compassionate dialogue with listeners like the rhythm of two steps that synchronize to become as one. On Farewell To All We Know, Matt began working with the producer, arranger, and multi-instrumentalist David Chalmin (La Terre Invisible) who has continued collaborating with the Bristol-born singer. Farewell To All We Know is an instant classic based on the sensitive piano and superb arrangements of David Chalmin, the sensitive cello of Gaspar Claus, the subtle bass of Jeff Hallam (who has also played with Dominique A and John Parish). There is a clear form of alchemy in all of this and still we find Matt Elliott's usual atmospheres and scenery, the same Eastern European folk music, long songs that take time to settle over time. "What Once Was Hope" seems torn between the fear of what tomorrow may bring, inevitability and hope for the future in a permanent and progressive dramatic tension. There are touches of Leonard Cohen from Songs From A Room (1969) or Thanks For The Dance (2019) in The Day After That with Gaspar Claus's counterpoint cello. The haunted instrumental "Guidance Is Internal" harks back to the atmospheres of Howling Songs (2008) with its guitar parts full of scansions and muted threats. The music is transcendental but never seems afraid of the risk of falling. This is also what "Bye Now" tells you with its quasi-obsolete simplicity and sunburst melancholy reminiscent of the work of Luiz Bonfá, Bill Evans, on "Peace Piece" or laidback crooners of the '50s. In Farewell To All We Know, Matt Elliott incessantly alternates between the dual desires to face up to the world or to protect himself from it. "Hating The Player, Hating The Game" is a lucid statement about the dullness of our daily lives sometimes, our right to get out of the game and no longer want to be part of it. "Aboulia" speaks of the tiredness of living and of looming death while "Crisis Apparition" says that there is always a time for reconstruction after chaos. This is like initially wearying wandering in the ruins of Aleppo with the slow dilution of the melody into a hallucinated drone. However, the smell of great fires always fades and the earth always regenerates.
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IDA 141LP
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LP version. Includes download. Despite, or rather thanks to, his cynical despair, Matt Elliott's music never holds up a moralizing mirror to us -- on the contrary, it creates a compassionate dialogue with listeners like the rhythm of two steps that synchronize to become as one. On Farewell To All We Know, Matt began working with the producer, arranger, and multi-instrumentalist David Chalmin (La Terre Invisible) who has continued collaborating with the Bristol-born singer. Farewell To All We Know is an instant classic based on the sensitive piano and superb arrangements of David Chalmin, the sensitive cello of Gaspar Claus, the subtle bass of Jeff Hallam (who has also played with Dominique A and John Parish). There is a clear form of alchemy in all of this and still we find Matt Elliott's usual atmospheres and scenery, the same Eastern European folk music, long songs that take time to settle over time. "What Once Was Hope" seems torn between the fear of what tomorrow may bring, inevitability and hope for the future in a permanent and progressive dramatic tension. There are touches of Leonard Cohen from Songs From A Room (1969) or Thanks For The Dance (2019) in The Day After That with Gaspar Claus's counterpoint cello. The haunted instrumental "Guidance Is Internal" harks back to the atmospheres of Howling Songs (2008) with its guitar parts full of scansions and muted threats. The music is transcendental but never seems afraid of the risk of falling. This is also what "Bye Now" tells you with its quasi-obsolete simplicity and sunburst melancholy reminiscent of the work of Luiz Bonfá, Bill Evans, on "Peace Piece" or laidback crooners of the '50s. In Farewell To All We Know, Matt Elliott incessantly alternates between the dual desires to face up to the world or to protect himself from it. "Hating The Player, Hating The Game" is a lucid statement about the dullness of our daily lives sometimes, our right to get out of the game and no longer want to be part of it. "Aboulia" speaks of the tiredness of living and of looming death while "Crisis Apparition" says that there is always a time for reconstruction after chaos. This is like initially wearying wandering in the ruins of Aleppo with the slow dilution of the melody into a hallucinated drone. However, the smell of great fires always fades and the earth always regenerates.
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CD
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IDA 137CD
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In 1991, aged 75, Moondog was about to embrace his singular identity, somewhere between druid, mad scientist, and young child. Having left the beaten track well before, and broken down barriers between musical genres, the ancient moderne Moondog was about to push paradox and anachronism even further and create the cult concept-album Elpmas. Elpmas is at once a satire of technology, music that takes its pulse from Native American pow-wows and cleverly composed pop music. Made with state-of-the-art computers, it is a manifesto against the atrocities inflicted on indigenous people. It is also an ode to Nature and an invitation to travel, themes that are still as immensely popular today. In order to perform and revisit Elpmas, Ensemble 0 and their guests have had to explore the 247 pages of the record's score. The original was mostly recorded note by note, but here the musicians play their parts simultaneously, as one would any classical score. Every sound has been meticulously re-recorded and some of the parts have been rearranged so that they could be played by instruments, and avoid digital treatment, other than the final summing of the tracks. The cold digital feel of the original has been counterbalanced by the analog warmth we have wanted to breathe into it.
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2LP
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IDA 134LP
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Double LP version. The Lyon band's recent collaborations with Virginie Despentes and Béatrice Dalle put them in the spotlight they deserved but this is just the latest chapter of a story started when they were young more than 25 years ago by Eric Aldéa and the drummer Franck Laurino. In the Deity Guns (89-93) and Bästard (93-98) and in a handful of albums (including productions by Lee Ranaldo of Sonic Youth or Andy Briant of Tortoise), they were simply the pioneers of post-rock in France. And yet the chapter that arrives today almost resembles the "debut album" of a young band shot through with a fiery and insatiable desire to take on the world. A complex, distressing and oppressive world which is nonetheless rich in its very confusion. "Isn't it all a bit of a mess?" seems to be suggested by the title of this new album Ain't That Mayhem and its striking post-apocalyptic graphic art. There are no limits and who cares what tools, sounds, and instruments are used... There is trombone on the insistent instrumental "We Blew It" and even a kind of liturgical organ at the end of "Five Vs Six". The whole album catches hold of you with its hypnotic layering ("Deranged", "Myself As A Fool"), a chorus in unstable equilibrium ("Fake From The Start"), an unstoppable rhythm ("Marathon Woman", "Walking Force"), a singular tone of voice (the almost blues-like "Alligator Wine" borrowed from Screamin' Jay Hawkins), a guitar riff as simple as a tree that hides the forest of variations, advancing from behind to play with neurons and sensations ("Recife, 1974"). Just like the old manor that serves as a backdrop to this record, you might wonder how it all remains standing.
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IDA 134CD
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The Lyon band's recent collaborations with Virginie Despentes and Béatrice Dalle put them in the spotlight they deserved but this is just the latest chapter of a story started when they were young more than 25 years ago by Eric Aldéa and the drummer Franck Laurino. In the Deity Guns (89-93) and Bästard (93-98) and in a handful of albums (including productions by Lee Ranaldo of Sonic Youth or Andy Briant of Tortoise), they were simply the pioneers of post-rock in France. And yet the chapter that arrives today almost resembles the "debut album" of a young band shot through with a fiery and insatiable desire to take on the world. A complex, distressing and oppressive world which is nonetheless rich in its very confusion. "Isn't it all a bit of a mess?" seems to be suggested by the title of this new album Ain't That Mayhem and its striking post-apocalyptic graphic art. There are no limits and who cares what tools, sounds, and instruments are used... There is trombone on the insistent instrumental "We Blew It" and even a kind of liturgical organ at the end of "Five Vs Six". The whole album catches hold of you with its hypnotic layering ("Deranged", "Myself As A Fool"), a chorus in unstable equilibrium ("Fake From The Start"), an unstoppable rhythm ("Marathon Woman", "Walking Force"), a singular tone of voice (the almost blues-like "Alligator Wine" borrowed from Screamin' Jay Hawkins), a guitar riff as simple as a tree that hides the forest of variations, advancing from behind to play with neurons and sensations ("Recife, 1974"). Just like the old manor that serves as a backdrop to this record, you might wonder how it all remains standing.
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IDA 100CD
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Showcasing versatile and highly productive talents David Chalmin has quite an impressive repertoire as a producer and recording engineer. Stretching from classical music to avant-garde, Chalmin has worked with Shannon Wright, The National, Katia & Marielle Labèque, Matt Elliott, The Third Eye Foundation, Zu, Angélique Ionatos, Gaspar Claus, Richard Reed Parry, or Efterklang. If the genres intelligent dance music (IDM) and Berlin school seem to be the most obvious way to present his compositions, they're not sufficient to describe the variety of this album La Terre Invisible as it also contains industrial or classical inspirations. One thing is certain though, David Chalmin can proudly place his first solo album next to the likes of Jon Hopkins, Pantha du Prince, or Andy Stott, for his contemporary approach of dancefloor music.
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IDA 100LP
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LP version. Showcasing versatile and highly productive talents David Chalmin has quite an impressive repertoire as a producer and recording engineer. Stretching from classical music to avant-garde, Chalmin has worked with Shannon Wright, The National, Katia & Marielle Labèque, Matt Elliott, The Third Eye Foundation, Zu, Angélique Ionatos, Gaspar Claus, Richard Reed Parry, or Efterklang. If the genres intelligent dance music (IDM) and Berlin school seem to be the most obvious way to present his compositions, they're not sufficient to describe the variety of this album La Terre Invisible as it also contains industrial or classical inspirations. One thing is certain though, David Chalmin can proudly place his first solo album next to the likes of Jon Hopkins, Pantha du Prince, or Andy Stott, for his contemporary approach of dancefloor music.
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MTS 011CD
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URUK comes from the meeting in 2016 of two totally unclassifiable musicians: Thighpaulsandra and Massimo Pupillo. Thighpaulsandra has an impressive track record particularly playing on many Coil albums. Traces of this influence can be found in the keyboards used on Mysterium Coniunctionis. You could randomly pick such masterpieces as the two volumes of Musick To Play In The Dark (1999) and Astral Disaster (1999), records that were and still are among the best ambient albums ever made. He has also made several records in his own name (including the unpredictable Double Vulgar) and was a member of the UUUU project, which also featured a particularly creative Graham Lewis (Wire). Massimo Pupillo is well-known for having slammed a lot of ears as the bassist with the highly imposing Italian jazzcore trio Zu (those who saw them on stage will understand). 2009's Carboniferous or the more recent 2014 collaboration with Eugene Robinson (Oxbow) still resonate for a lot of listeners. In 2016, Massimo was in Triple Sun (no doubt a reference to the splendid song by Coil, again) alongside two well-known musicians at Ici D'ailleurs: Raphaël Séguinier and David Chalmin (The Third Eye Foundation). URUK also and especially brought out their first album in 2017: I Leave A Silver Trail Through Blackness. This is an imposing piece of dark ambient music in which the two musicians proved that they are more than just the sum their respective experiences. They are sound explorers obsessed by grasping the detail that shifts listeners from one world to another. Their second album, Mysterium Coniunctionis makes direct reference to the eponymous and testamentary work of the psychiatrist Carl Jung, subtitled An Inquiry Into The Separation And Synthesis Of Psychic Opposites In Alchemy. It clearly reflects the duo's intention to create particularly immersive and meaningful music from supposedly opposing materials -- in this case the meeting of electronic and organic sounds. The record is released as part of Ici D'ailleurs's Mind Travels collection.
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MTS 011LP
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LP version. Includes download card. URUK comes from the meeting in 2016 of two totally unclassifiable musicians: Thighpaulsandra and Massimo Pupillo. Thighpaulsandra has an impressive track record particularly playing on many Coil albums. Traces of this influence can be found in the keyboards used on Mysterium Coniunctionis. You could randomly pick such masterpieces as the two volumes of Musick To Play In The Dark (1999) and Astral Disaster (1999), records that were and still are among the best ambient albums ever made. He has also made several records in his own name (including the unpredictable Double Vulgar) and was a member of the UUUU project, which also featured a particularly creative Graham Lewis (Wire). Massimo Pupillo is well-known for having slammed a lot of ears as the bassist with the highly imposing Italian jazzcore trio Zu (those who saw them on stage will understand). 2009's Carboniferous or the more recent 2014 collaboration with Eugene Robinson (Oxbow) still resonate for a lot of listeners. In 2016, Massimo was in Triple Sun (no doubt a reference to the splendid song by Coil, again) alongside two well-known musicians at Ici D'ailleurs: Raphaël Séguinier and David Chalmin (The Third Eye Foundation). URUK also and especially brought out their first album in 2017: I Leave A Silver Trail Through Blackness. This is an imposing piece of dark ambient music in which the two musicians proved that they are more than just the sum their respective experiences. They are sound explorers obsessed by grasping the detail that shifts listeners from one world to another. Their second album, Mysterium Coniunctionis makes direct reference to the eponymous and testamentary work of the psychiatrist Carl Jung, subtitled An Inquiry Into The Separation And Synthesis Of Psychic Opposites In Alchemy. It clearly reflects the duo's intention to create particularly immersive and meaningful music from supposedly opposing materials -- in this case the meeting of electronic and organic sounds. The record is released as part of Ici D'ailleurs's Mind Travels collection.
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IDA 119CD
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There was a time when The Third Eye Foundation was the mirror of the world from which the group drew its substance. But the reflection faded and dirt accumulated so it only provided deformed images and gradually became the world's shadow. This willingness to look at and express images and words about humans and their environment has since been embodied in the completely open face of its founder, Matt Elliott. Thus, The Third Eye Foundation is a discrete entity, the opposite of what Matt Elliott may otherwise represent. In 2010, The Dark (IDA 071CD) already portrayed this state of affairs. Today, Wake The Dead is banging the last nails into the boards that make up the barricades. Wake The Dead is like a key which attempts to open the doors of memory. Waking the dead is not a question of meaning but rather of sensations. Free will and free thought have no place here -- in the universe of The Third Eye Foundation, humans are no more than a simple product of their environment. This may seem extremely violent and dehumanizing but it is not the case at all. You need to get rid of your certainties, empty yourself, and put yourself on the same level as those considered to be "the other". And that's probably the greatest quality of an album like Wake The Dead. Its abstract compositions are without a format and thus implicitly participate in the deconstruction of the imaginary, of all logical forms which we sometimes cling to without even knowing why. It offers something essential in its unpredictable approach: the possibility of letting go without this ever being judged as an admission of weakness. In a way, Wake The Dead is an album without a beginning or an end. Its melodic variations instill themselves without the listener realizing, and then progressively changes the listener's perception of the work. The 40 minutes of throbbing, hypersensitive dubstep that make up the record are not aimed at sending a message to the mind; The intention is to make souls dance and to unite them. Personnel: Matt Elliott - all instruments, vocals; David Chalmin - additional keyboards, vocals, drum machine, manipulations, effects; Raphaël Séguinier - drums; Gaspar Claus - cello. CD version comes in a digisleeve.
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IDA 119LP
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LP version. Includes download card. There was a time when The Third Eye Foundation was the mirror of the world from which the group drew its substance. But the reflection faded and dirt accumulated so it only provided deformed images and gradually became the world's shadow. This willingness to look at and express images and words about humans and their environment has since been embodied in the completely open face of its founder, Matt Elliott. Thus, The Third Eye Foundation is a discrete entity, the opposite of what Matt Elliott may otherwise represent. In 2010, The Dark (IDA 071CD) already portrayed this state of affairs. Today, Wake The Dead is banging the last nails into the boards that make up the barricades. Wake The Dead is like a key which attempts to open the doors of memory. Waking the dead is not a question of meaning but rather of sensations. Free will and free thought have no place here -- in the universe of The Third Eye Foundation, humans are no more than a simple product of their environment. This may seem extremely violent and dehumanizing but it is not the case at all. You need to get rid of your certainties, empty yourself, and put yourself on the same level as those considered to be "the other". And that's probably the greatest quality of an album like Wake The Dead. Its abstract compositions are without a format and thus implicitly participate in the deconstruction of the imaginary, of all logical forms which we sometimes cling to without even knowing why. It offers something essential in its unpredictable approach: the possibility of letting go without this ever being judged as an admission of weakness. In a way, Wake The Dead is an album without a beginning or an end. Its melodic variations instill themselves without the listener realizing, and then progressively changes the listener's perception of the work. The 40 minutes of throbbing, hypersensitive dubstep that make up the record are not aimed at sending a message to the mind; The intention is to make souls dance and to unite them. Personnel: Matt Elliott - all instruments, vocals; David Chalmin - additional keyboards, vocals, drum machine, manipulations, effects; Raphaël Séguinier - drums; Gaspar Claus - cello.
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LP
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IDA 004LP
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Ici D'ailleurs present a reissue of Bästard's Radiant, Discharged, Crossed-Off, originally released in 1996 on Semantic. First Deity Guns, then Bästard, and currently Zëro -- the name doesn't really matter, all of Eric Aldéa's projects had an important role among the French no-wave, avant-rock, underground music. Ici D'Ailleurs go back to the '90s with two Aldéa related reissues with Deity Guns' 1993 album Trans Lines Appointment (IDA 124LP) and Radiant, Discharged, Crossed-Off, presented here. Two essential pieces of music that can be considered as pioneer albums of the "post", "indie", "noise", "math" rock scene. Includes download card.
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2LP
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IDA 130LP
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Double LP version. Includes download card. All the tracks on ! were released by Ici d'ailleurs between 2009 and 2012 on the three EPs: Darling, Darling, Darling... (2009), Scandale ! (2009), and Al Abama (2011). They make up what was originally the first album by Chapelier Fou, which was self-produced and self-distributed before he joined Ici d'ailleurs in 2009. All the compositions on this record except "Al Abama" and "Hahahahaha" were written and recorded in 2007. Since then, Chapelier Fou has come a long way with the release of several albums (613 -- 2010), Invisible (2012), Deltas (2014) -- tours all over the world (Europe, Canada, China, Russia, etc.), and increasingly frequent incursions into the audiovisual field ("Les Contes du Paris Perché") or interactive art ("Les Métamorphoses de Mr. Kalia"). However, it becomes quickly obvious that ! is much more than a simple introductory work. It is a remarkably accomplished record which conveys all the richness of all of Chapelier Fou's work and suggests the riches to come. The record includes some of his most emblematic tracks such as the hypnotic "Darling, Darling, Darling..." along with his unstoppable violin gimmick which testifies to the relevance of his approach from his beginnings. Chapelier Fou is putting the finishing touches to a forthcoming album. Here he presents his very first songs in a version which is more in line with his original vision, in terms of artwork and track listing. For the occasion, the tracks were slightly remixed and remastered.
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CD
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IDA 130CD
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All the tracks on ! were released by Ici d'ailleurs between 2009 and 2012 on the three EPs: Darling, Darling, Darling... (2009), Scandale ! (2009), and Al Abama (2011). They make up what was originally the first album by Chapelier Fou, which was self-produced and self-distributed before he joined Ici d'ailleurs in 2009. All the compositions on this record except "Al Abama" and "Hahahahaha" were written and recorded in 2007. Since then, Chapelier Fou has come a long way with the release of several albums (613 -- 2010), Invisible (2012), Deltas (2014) -- tours all over the world (Europe, Canada, China, Russia, etc.), and increasingly frequent incursions into the audiovisual field ("Les Contes du Paris Perché") or interactive art ("Les Métamorphoses de Mr. Kalia"). However, it becomes quickly obvious that ! is much more than a simple introductory work. It is a remarkably accomplished record which conveys all the richness of all of Chapelier Fou's work and suggests the riches to come. The record includes some of his most emblematic tracks such as the hypnotic "Darling, Darling, Darling..." along with his unstoppable violin gimmick which testifies to the relevance of his approach from his beginnings. Chapelier Fou is putting the finishing touches to a forthcoming album. Here he presents his very first songs in a version which is more in line with his original vision, in terms of artwork and track listing. For the occasion, the tracks were slightly remixed and remastered. CD version comes in a digisleeve.
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LP
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IDA 124LP
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Ici D'ailleurs present a reissue of Deity Guns' Trans Lines Appointment, originally released in 1993 on Big Cat. First Deity Guns, then Bästard, and currently Zëro -- the name doesn't really matter, all of Eric Aldéa's projects had an important role among the French no-wave, avant-rock, underground music. Ici D'Ailleurs go back to the '90s with two Aldéa related reissues with Deity Guns' Trans Lines Appointment, presented here, and Bästard's 1996 Radiant, Discharged, Crossed-Off (IDA 004LP). Two essential pieces of music that can be considered as pioneer albums of the "post", "indie", "noise", "math" rock scene. Includes download card.
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2LP
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IDA 027LP
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2021 restock. Ici D'ailleurs present a reissue of Matt Elliot's Drinking Songs, originally released in 2004. Comes in a reverse cardboard gatefold with printed inner-sleeves and a download card.
"Forget 24 hour bingeing, raucous antisocial behaviour, even the gin-soaked balladry of The Band of Holy Joy or the likes of Eazy E, The Beastie Boys and Schooly D singing the praises of their favourite brew. Matt Elliott emerges shyly from the shadows of Third Eye Foundation alias to celebrate the drowning of sorrows rather than the exuberant pissing away of our leisure hours, Introspective and alone, breathing in the fumes of some neglected cellar, his drinking songs withdraw themselves not simply from polite society but from all society. How else can one dream or contemplate what might have been? Opener 'CF Bundy' has a woozy charm. Evenly paced and alive with the strumming of acoustic guitars, it sets the mood for what is to come. Evoking the regrets and indiscretions of a bygone age, one grown sick and enfeebled by fantasies, 'Trying To Explain', 'The Guilty Party' and 'What's Wrong' would all seem to be taking place in a world teetering on the edge of some great fall or cataclysm. 'What The Fuck Am I Doing On This Battlefield?' and 'A Waste of Blood' are both moments of rude awakening. As a coda and extended finale, the 20 minute 'The Maid We Messed' sees Elliott returning to the wordplay and hypervelocity breaks of his Third Eye Foundation recordings. Overall, however, Drinking Songs remains a work to be listened to with eyes closed -- it's about the only way you can keep the room from spinning." --Ken Hollings, The Wire, April 2005.
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