Tigersushi Records is the prolongation of Tigersushi's online experience at www.tigersushi.com where the "music for the small majority that listens" motto is experienced everyday with reviews, discogs and a unique web radio. Tigersushi kicked off its releases with the acclaimed More GDM series featuring the likes of Cluster, Maurice Fulton, John Tejada and Metro Area. It has also established the seriously fun club-nastiness of the Kill-The-DJ label which is A&R-ed straight out of the murky dancefloor of Pulp by Ivan Smagghe (of Blackstrobe and Volga Select fame) and Fanny Corral. Tigersushi has now shown its knack for the unexpected and developing to-the-point artistic projects and wonderful music with releases ranging from K.I.M's Miyage mish mash to the half-baked music devotion of Glasgow duo Otpimo -- represented both on Kill The DJ and on the fledgling O.S.C.A.R.R imprint. Other extremely provocative Tigersushi artists include: Poni Hoax, Principles of Geometry, Panico, Sir Alice and more.
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LP
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TSR 050LP
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With this second record, Shoko Igarashi unveils a new genre called Onsen Music. Each track invites you on a relaxing journey, much like soaking away your troubles in the steamy hot waters of a traditional Japanese spa (Onsen). The variety of songs mimic the variety of onsens, some are salty and scorching, some are smooth and clear, some are bubbly and colorful, and others are a refreshing dip into crisp clear waters. In every instance, there's a sense of satisfaction as soothing and delightful as the tracks themselves. This ode to "relax," while remaining irresistibly danceable, is filled with good vibrations, melodies and hooks that go straight to the heart, saxophone playing virtuosity, intricate electronic compositions, vocals that make listeners dream of new worlds, and beats that could keep them on a dancefloor all night long. Shoko Igarashi was born in Yamagata Prefecture, Tsuruoka city, Japan. An accomplished tenor saxophonist, she is also a versatile flautist and plays alto and soprano saxophone fluently. She has already made her mark as both an arranger and a composer. Shoko grew up surrounded by dreamlike landscapes of abundant nature in the snowy countryside of Tsuruoka, a mysterious and surreal region renowned for producing the best quality rice in Japan, where she says, "the water and the air feel the purest," and where mountains and shrines overflow with ancient mysticism. For fans of: Ryuichi Sakamoto, Yellow Magic Orchestra.
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12"
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TSR 100EP
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Soon after the release in 2022 of a triple album dedicated to electronic language, Principles of Geometry continues their orbiting journey that began exactly 20 years ago with Penta, a Maxi composed of five electro-geometric vignettes that confirms the discreet French duo pilots one of the most underestimated projects in European IDM. By returning just one year after a massive fifth album (26 tracks), Principles of Geometry makes a clear artistic move: shifting from electronic language unfolded on ABCDEFGHIJKLMNOPQRSTUVWXYZ to gesture, as one would associate intellect with manual, actions with words. On Penta, to be visualized as the five fingers of a hand sketching the immediate and spontaneous pleasure of a hand pressing a chord, Guillaume Grosso and Jeremy Duval thus combine two essential concepts of their electronic music: the need to make the listener dance with their brains, and to touch with their mental images. With nods to the godfathers of the genre (Autechre and Boards of Canada) or crossing paths with Aphex Twin in a Michael Mann film, Penta is therefore a beauty of gesture first conceived with the fingers, and without the need for words to evoke either the romance or the violence of a chord on a Roland Juno 60. Mastered by the legend Noel Summerville (Boards of Canada, Kraftwerk, My Bloody Valentine) and designed by Ian Anderson of The Designers Republic (responsible for the graphics of the cult WipEout and many collaborations with the Warp label), this Maxi is therefore listened to as much as a recreational return to the future of the '90s as it is a concise summary of the equilateral career of Principles of Geometry; equally distant between pure emotion and the need to ponder the notes played in this very special ship.
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2LP
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TSR 048LP
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After Giorgio Moroder, Jeff Mills, or Dieter Moebius, it is Joakim's turn to compose a soundtrack for one of the greatest masterpieces of cinema -- actually the first movie to enter UNESCO's Memory of the World Register, Fritz Lang's Metropolis. Originally commissioned for the 2022 reissue of Metropolis, a restored version of the original director's cut, the music was removed from the commercial release of the movie after the Murnau Foundation suddenly realized there was going to be new music which according to them "altered the original piece". The Blu-ray discs were removed from the beautiful box set released by Potemkine and destroyed, replaced by a Blu-ray without Joakim's music. So, Tigersushi decided to release the music on its own, with the Dolby Atmos mix that was made for the Blu-ray edition together with a classic stereo mix. It's a dark journey into the depths of Metropolis, its industrial noises but also its moments of light through Maria's character and Freder. For fans of: Oneohtrix Point Never, Mica Levi, Philip Glass, Disasterpeace.
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TSR 045LP
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Cult French duo Principles of Geometry is back after an eight years hiatus with a 26 tracks love letter to IDM and electronica, ABCDEFGHIJKLMNOPQRSTUVWXYZ. A construct on the language which composes their musical lexicon, a sonic grammar which has been their common thread through five albums now. This album is inspired by classic albums such as Artificial Intelligence on Warp Records, Braindance on Rephlex and was teased online this summer with singles "Cmd Ctrl" and "Hummerican". The last side of the third LP is an etching design by The Designers Republic.
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TSR 043LP
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Japanese born Shoko Igarashi's debut album Simple Sentences is a record that, not unlike a piece of luggage checking in from city to city, has managed to absorb vital influences from each place it has landed. Shoko grew up in rural Japan, she studied in the US and is currently living in the most quintessential European city, Brussels. Shining in its diversity, Simple Sentences carries elements from each one of those stops in her life. The influences from Far East are more than evident and funnily enough, even unconscious, which makes them integrate in a beguiling childish and naive way that add seven more to the originality of the sound. Take, for example, "Apple Banana" -- echoes of Chiemi Manabe, Hosono, and even overtones of Akiko Yano are all seamlessly there. "Sand Dungeon" is a little gem reminiscent of Yellow Magic Orchestra at the heights of their powers and the aptly titled "Anime Song" could be an unreleased track from Testpattern's infamous and sought-after LP. "Lovely Song" in its electronic pastoral vibe could have been produced by Seigen Ono, but is entirely the work of Shoko's expansive creative world. "CASH OK" harks back to New York's '90s jazz street scene, paying tribute to her Brooklyn live gigs, and album closer "Tsuki No Yama" goes back to her roots with a meditative folk sound quite different from the rounded pop edges that the rest of her album carries. Simple Sentences is like its title implies: straightforward in its brilliance and simplicity, yet carefully measured with a maturity that almost makes you wonder how Shoko managed to absorb all these influences and bring them together into a vibrant sound collage which ultimately is fresh and timeless.
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2LP
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TSR 042LP
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This is a record about our relationship to nature: How do we perceive it, how do we represent it in the western world? Why was it separated from us, from culture? How can we create a new relationship in an era of major environmental challenges? It took five years for Joakim to complete this album, especially to collect all the field recordings that populate the fauna and flora of this immersive record where he goes back to his roots in IDM, classical music, avant-garde pop and ambient. Through 16 tracks, Joakim explores a world of sounds that blur the line between the natural and the artificial, a psychedelic journey on a modern Noah's Ark. The album is also the most collaborative work of Joakim so far. In a time of pandemic isolation, he reached out to a wide range of contributors, from American experimental drummer Greg Fox to conceptual Taiwanese artist Yutie Lee, from Chicago jazz new ambassador Angel Bat Dawid to Italian philosopher Emanuele Coccia. Besides the album, Second Nature will also be presented as a sound and video installation including multiple simultaneous video projections and a spatialized 3D sound environment based on the record.
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TSR 036CD
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While the first volume of Tigersushi's new compilation series, Musique Ambiante Francaise, showcased a rather cosmic and synth heavy side of all things ambient, this Vol. 2 goes in many new directions, with more experiments towards electroacoustics and musique concrete, another side of ambient that has a long French lineage. The term musique concrete, a type of "acousmatic" music, was invented by pioneer Pierre Schaeffer in 1948 who influenced numerous other French composers such as Pierre Henry, Laurent Bayle, etc. Once again, Tigersushi asked artists across the electronic music spectrum, not necessarily familiar with ambient music, to create a track for the compilation: some are already famous for their avant-garde work like Felicia Atkinson, Le Comte, Smagghe & Cross. Others come from very different backgrounds and made their first beat-less track: Bambounou, Pierre Rousseau (ex Paradis), Destiino (aka Yuksek). The sound ranges from analog synth bliss (Le Comte, Pierre Rousseau, Destiino) to anxious electronics (Bambounou, Ashburn County), from emotional minimalism (Trypheme, Bun) to neoclassical electro acoustic experiments (Ojard et Jean Ray, Villeneuve & Morando, Jackson and His Computer Band). The human voice makes an appearance here and there too (Felicia Atkinson), A long journey awaits you, be patient, take your time, disconnect.
Double-CD version also features Louisahhh!!!, 67Yarc, Numerus Aurus, Abstraxion, DyE, Sonic Haiku, and Dark Mark.
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TSR 036LP
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Double LP version. While the first volume of Tigersushi's new compilation series, Musique Ambiante Francaise, showcased a rather cosmic and synth heavy side of all things ambient, this Vol. 2 goes in many new directions, with more experiments towards electroacoustics and musique concrete, another side of ambient that has a long French lineage. The term musique concrete, a type of "acousmatic" music, was invented by pioneer Pierre Schaeffer in 1948 who influenced numerous other French composers such as Pierre Henry, Laurent Bayle, etc. Once again, Tigersushi asked artists across the electronic music spectrum, not necessarily familiar with ambient music, to create a track for the compilation: some are already famous for their avant-garde work like Felicia Atkinson, Le Comte, Smagghe & Cross. Others come from very different backgrounds and made their first beat-less track: Bambounou, Pierre Rousseau (ex Paradis), Destiino (aka Yuksek). The sound ranges from analog synth bliss (Le Comte, Pierre Rousseau, Destiino) to anxious electronics (Bambounou, Ashburn County), from emotional minimalism (Trypheme, Bun) to neoclassical electro acoustic experiments (Ojard et Jean Ray, Villeneuve & Morando, Jackson and His Computer Band). The human voice makes an appearance here and there too (Felicia Atkinson), A long journey awaits you, be patient, take your time, disconnect.
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12"
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TSR 084EP
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"One of the hardest thing as a musician is to maintain this naive, almost utopian and emotional approach to our music. Especially when it comes to a highly codified genre like electronic music which appeared in the late '80s/early '90s like a promise of a bright future for music, everything sounding so fresh and revolutionary. When Katerina sent me those demos I heard that freshness, that pure intention, something I remember from discovering melancholic Detroit tunes in the '90s or early Warp Artificial Intelligence compilations, bridging the gap between techno and more intricate electronica." --Joakim
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LP
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TSR 037LP
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Tigersushi presents Maestro's Maestro In The Chamber. Label head Joakim on the release: "Last summer, Maestro were invited to the Chateau du Fëy in French Burgundy to perform live. Instead of going for their usual power trio formula, they dropped almost all their instruments arsenal, kept one synth, a minimal drum kit and invited a string quartet to create stripped down chamber orchestra versions of their songs. The result was beyond everyone's expectations. And luckily it was recorded. I always love hearing great bands demos and alternate takes (like The Beatles, Bowie...), when the things are still rough, stripped down. Then you can really hear the essence of a song. That's what's so beautiful with this record, Fred's intricate string arrangements cast a new light on Maestro's sophisticated compositions, Mark's lyrics and voice take you far away, their music shines like never before. One last thing, if they ever play in your town, do yourself a favor and go see them live."
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CD
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TSR 035CD
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Don't even try to find the meaning of Temperplane in the Webster. The word is the fruit of Jean Waterlot's imagination, an attempt to capture the momentum that lead to the release of the third album of his band Montevideo: a fantasized plane that would allow you to fly through various degrees of emotion, from where you could observe our planet Earth from above, far above. Nonetheless it's a more conventional plane that Montevideo took to record those eight songs, heading to New York to work with Joakim who established his Crowdspacer studio in Brooklyn a few years ago. The band decided to extend the fruitful collaboration with the French producer started on their second LP Personal Space in 2012. So fruitful that they also signed the record to Joakim's label, Tigersushi. After exploring more synth heavy, discoid vibes on Personal Space, Montevideo are coming back to their indie roots here, a rawer energy, without abandoning their ambition to keep your feet dancing. Here, their "psychedelic dance" vision takes on the challenge of dressing up the Beach Boys with the baggy jeans of the Happy Mondays, bringing the Pacific Ocean breeze to Manchester, spreading complex vocal harmonies all over the dancefloor. Between the band and Joakim, the communication is fluid and effortless. Like Andrew Weatherall or Erol Alkan, the studio sorcerer seamlessly mixed dance and rock acting as a producer from the recording to the mixing, beefing up the beats, adding the right samples where they were needed. "With his extensive knowledge of electronic music, Joakim filtered our ideas through the processing of his machines" says Jean. Because of their pop influences and the melting pot of cultures present in Brussels, English remains their language of choice when it comes to singing, like when they describe this "Fun House", a nightly place to lose yourself, even scarier than The Stooges' one. The song starts like Fad Gadget and ends like The Charlatans, like a tribute to the historical bond between Belgium and British pop music that dates back to the '80s (think Factory Benelux or Les Disques Du Crepuscule). Montevideo's dance-pop crossover sometimes evokes the psychedelic fumes of the Beta Band or Django Django, before taking a romantic new wave stroll in Brooklyn ("Sutton Street") or heading straight to the club ("Calypso"). Artwork by legendary studio H5.
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TSR 035LP
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LP version. White vinyl; Gatefold sleeve. Don't even try to find the meaning of Temperplane in the Webster. The word is the fruit of Jean Waterlot's imagination, an attempt to capture the momentum that lead to the release of the third album of his band Montevideo: a fantasized plane that would allow you to fly through various degrees of emotion, from where you could observe our planet Earth from above, far above. Nonetheless it's a more conventional plane that Montevideo took to record those eight songs, heading to New York to work with Joakim who established his Crowdspacer studio in Brooklyn a few years ago. The band decided to extend the fruitful collaboration with the French producer started on their second LP Personal Space in 2012. So fruitful that they also signed the record to Joakim's label, Tigersushi. After exploring more synth heavy, discoid vibes on Personal Space, Montevideo are coming back to their indie roots here, a rawer energy, without abandoning their ambition to keep your feet dancing. Here, their "psychedelic dance" vision takes on the challenge of dressing up the Beach Boys with the baggy jeans of the Happy Mondays, bringing the Pacific Ocean breeze to Manchester, spreading complex vocal harmonies all over the dancefloor. Between the band and Joakim, the communication is fluid and effortless. Like Andrew Weatherall or Erol Alkan, the studio sorcerer seamlessly mixed dance and rock acting as a producer from the recording to the mixing, beefing up the beats, adding the right samples where they were needed. "With his extensive knowledge of electronic music, Joakim filtered our ideas through the processing of his machines" says Jean. Because of their pop influences and the melting pot of cultures present in Brussels, English remains their language of choice when it comes to singing, like when they describe this "Fun House", a nightly place to lose yourself, even scarier than The Stooges' one. The song starts like Fad Gadget and ends like The Charlatans, like a tribute to the historical bond between Belgium and British pop music that dates back to the '80s (think Factory Benelux or Les Disques Du Crepuscule). Montevideo's dance-pop crossover sometimes evokes the psychedelic fumes of the Beta Band or Django Django, before taking a romantic new wave stroll in Brooklyn ("Sutton Street") or heading straight to the club ("Calypso"). Artwork by legendary studio H5.
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CD
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TSR 034CD
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It's been 30 minutes now or so that the Franco-Scottish trio Maestro have been on stage depicting all the shades of mourning times, waves of reconciliation, reassurance, and anger. Their second album, Monkey Business, is an attempt to understand why these things happen over and over. Why can love be so cold-hearted and why does the harmony between two people run dry? An ever-recurring question, when and why do these cracks happen? When do two humans become strangers all of a sudden? Since no one has found an answer yet, do we have to scream and create music and words? No, well, not everyone should. But there's no doubt this band can and wants to. So you are here staring at Maestro and by the end of the show there's a dance that seems to have been present from the beginning. Still following? Suddenly all the rage makes sense because good old England has invented an angry idea that is called pop. Maestro navigate through the oddest extremes of pop with a punk deviance. From off-kilter Arabic synth riffs ("Should I"), to an unexpected perverted quirky trap ("Dirty Bitch"). It's not surprising the Scottish man is in charge of the words and singing -- even if Scotland was about to leave this old England... They are cooking a similar soup, but this is not the same old cup of tea folks... Maestro are sucking the blood of a vivid European vein, shamelessly classical but at the same time redefining conventional structures (like on the baroque song "Skyman" and its detached whisperings, "...shit happens...") Within the experimental sophisticated arrangements lie some of the sweetest melodies ("Sweet Talk", "K.I.M"), and a lonesome spine-tickling moment thanks to the climatic waltz "Yes Today". Maestro are direct, sharp, and acidic, barbaric and virtuoso, their music is ultimately enlightened by a magical combination of electronic textures present within their driven, pure, and provocative music. But their deconstructed sound never loses its harmonic motive. Here and there broken hymns appear and peel themselves out of 30 years of club history. It feels like there is a certain necessity for mass hysteria in this music.
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TSR 034LP
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LP version. It's been 30 minutes now or so that the Franco-Scottish trio Maestro have been on stage depicting all the shades of mourning times, waves of reconciliation, reassurance, and anger. Their second album, Monkey Business, is an attempt to understand why these things happen over and over. Why can love be so cold-hearted and why does the harmony between two people run dry? An ever-recurring question, when and why do these cracks happen? When do two humans become strangers all of a sudden? Since no one has found an answer yet, do we have to scream and create music and words? No, well, not everyone should. But there's no doubt this band can and wants to. So you are here staring at Maestro and by the end of the show there's a dance that seems to have been present from the beginning. Still following? Suddenly all the rage makes sense because good old England has invented an angry idea that is called pop. Maestro navigate through the oddest extremes of pop with a punk deviance. From off-kilter Arabic synth riffs ("Should I"), to an unexpected perverted quirky trap ("Dirty Bitch"). It's not surprising the Scottish man is in charge of the words and singing -- even if Scotland was about to leave this old England... They are cooking a similar soup, but this is not the same old cup of tea folks... Maestro are sucking the blood of a vivid European vein, shamelessly classical but at the same time redefining conventional structures (like on the baroque song "Skyman" and its detached whisperings, "...shit happens...") Within the experimental sophisticated arrangements lie some of the sweetest melodies ("Sweet Talk", "K.I.M"), and a lonesome spine-tickling moment thanks to the climatic waltz "Yes Today". Maestro are direct, sharp, and acidic, barbaric and virtuoso, their music is ultimately enlightened by a magical combination of electronic textures present within their driven, pure, and provocative music. But their deconstructed sound never loses its harmonic motive. Here and there broken hymns appear and peel themselves out of 30 years of club history. It feels like there is a certain necessity for mass hysteria in this music.
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2LP+CD
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BEC 5156734
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French producer Joakim on Samurai: "This is a very personal record. I tried to channel the emotions and spontaneity I had when I first started making music. It's not about nostalgia, it's about the freshness and directness - call it naivety - you lose when you start becoming a professional musician. I moved to New York almost five years ago. These past few years have been a weird combination of excitement and quite challenging events. I've learnt what it means to be exiled, in every sense. This album is about that, being far away from 'home' and from yourself and finding your way back. The album is built like an unknown city, you walk through it, making random turns, getting lost, some corners may bring back memories, you're getting away from something and at the same time you're on a quest. Hence the importance of listening to it in its entirety (yes, I'm a utopian)." Double LP version comes in a gatefold sleeve and includes a CD.
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12"
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BEC 5156097
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"'Each Other' is one of my favourite tracks on Tropics of Love (BEC 5161854/5161855, 2014)... slower, more soulful, more sensual... DJ Slow spontaneously submitted a remix to me... I knew his work with Pelican Fly and as a DJ, so I was very flattered... A/JUS/TED... also spontaneously asked me to remix the track, and having heard their versions for Holy Ghost! or Blood Orange, I was totally sold... Vicram is a new French artist that I approached, he's quite mysterious and the few tracks and demos I have heard from him tell me he has great potential." --Joakim
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TSR 028LP
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LP version. Maestro is a Franco-Scottish duo that debuted in 2010 with the release of A War Zone EP on Tigersushi. Frederic Soulard is behind the machines -- he's the sound wizard previously known as Joakim's live sound engineer and as a producer for Poni Hoax, Jeanne Balibar, Limousine, Viking, Viva and the Diva, and others. Mark Kerr is the voice. Born and raised in Glasgow, Kerr has been a drummer all his life, touring with Les Rita Mitsouko since the '90s before joining Joakim's band and other cutting edge Parisian electro acts like Bot'Ox. With Maestro he drops the drumsticks and reveals what an amazing singer and songwriter he is, fuelling the project with his post-punk and industrial influences (from the likes of Throbbing Gristle). After debuting in 2010, the pair won some high-profile admirers with 2012's Timbuck, which included a remix by The Horrors. 2014's freaky, obsessive Mechant (TSR 067EP) (literally "Mean"), and Thriller Killer (TSR 069EP), with an amazing remix by Matias Aguayo, set the stage for Mountains of Madness, their debut full-length release.
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TSR 028CD
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Maestro is a Franco-Scottish duo that debuted in 2010 with the release of A War Zone EP on Tigersushi. Frederic Soulard is behind the machines -- he's the sound wizard previously known as Joakim's live sound engineer and as a producer for Poni Hoax, Jeanne Balibar, Limousine, Viking, Viva and the Diva, and others. Mark Kerr is the voice. Born and raised in Glasgow, Kerr has been a drummer all his life, touring with Les Rita Mitsouko since the '90s before joining Joakim's band and other cutting edge Parisian electro acts like Bot'Ox. With Maestro he drops the drumsticks and reveals what an amazing singer and songwriter he is, fuelling the project with his post-punk and industrial influences (from the likes of Throbbing Gristle). After debuting in 2010, the pair won some high-profile admirers with 2012's Timbuck, which included a remix by The Horrors. 2014's freaky, obsessive Mechant (TSR 067EP) (literally "Mean"), and Thriller Killer (TSR 069EP), with an amazing remix by Matias Aguayo, set the stage for Mountains of Madness, their debut full-length release.
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TSR 069EP
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Second single taken from the upcoming debut album No Entry. A true dancefloor anthem backed by a rare, deep, and hypnotic Matias Aguayo remix from Comeme fame.
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TSR 068EP
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"Connie" is a long-lost cousin of "Lonnie." He's the mean incarnation of Principles Of Geometry, fierce and twisted. For the first time in history, "Connie" is a track built to destroy the clubs and has been thoroughly tested by Joakim in his sets around the world. On the flip-side there are some top underestimated remixers: Tobacco (Ghostly) and VHS Head (Skam) deliver super-dark and weird versions of "Videostore" and "Polysex" in a very Aphex Twinian tradition while Oceanic brings "Suntunnel" back on the dancefloor with his drum-centric rework.
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12"
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TSR 067EP
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Maestro is Tigersushi's new gem discovery. Not exactly new, actually, since they already released a 12" and a 7" in 2012, but they now have finished a full-length debut LP and are ready to make a lot of noise on a rather quiet French scene when it comes to indie electronic pop with healthy doses of industrial weirdness and dance patterns. They are not exactly French, either, if you look closely, but an unusual French/Scottish duo composed of Mark Kerr (the beast) and Fred Soulard (the machinist). On the flip-side, Krikor revives the industrial filthy groove of Maestro's heros Throbbing Gristle and Chris & Cosey. Dark and sexy.
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TSR 027LP
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LP version. Principles Of Geometry is the duo of J & G, the cosmic twins, based somewhere in the North of France. They met in a major studio in Paris where they worked as sound-engineers and started to share their love of IDM, obscure soundtracks, ambient and analog synthesis. Their common passion quickly led them into a dark room where they recorded their first demos. In 2005, they sent a CD of those demos to Tigersushi. This demo CD became their eponymous debut album and the first chapter of what they call an "omniscient trilogy." POG's second album, Lazare (TSR 015CD), an ode to Resurrection, was released in 2008 and featured Sebastien Tellier and Vast Aire from Cannibal Ox. Press reviews were outstanding and with the addition of their first world live tour, the impressive "Stereoscopic show" -- a 3D live experience conceived with AntiVJ, they earned a well-deserved special spot on the French electronic music map. Finally the apocalyptic Burn the Land and Boil the Oceans was the conclusion to that trilogy in 2012, the return to the ground, a non-dramatic expression of extinction, the idea that everything goes back to where it comes from to be born again. The Meanstream appeared before their eyes. An inner glow, a vivid childhood fantasy they had to accomplish. These ten tracks are their most humble and honest expression of emotions, their own genre. Meanstream is a child's word, a bullet to your soul. On this album they also found their perfect symmetrical Gemini -- the cult Alessi Brothers -- an influential band from the '70s, authors of "Seabird," "Oh Lori," etc), Bobbi and Billy. The connection between POG and the Alessi Brothers was true and cosmic, a real artistic exchange. There's also the first song performed by POG themselves, the deep and hypnotic "Runner." It's time to surrender to the Meanstream.
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TSR 027CD
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Principles Of Geometry is the duo of J & G, the cosmic twins, based somewhere in the North of France. They met in a major studio in Paris where they worked as sound-engineers and started to share their love of IDM, obscure soundtracks, ambient and analog synthesis. Their common passion quickly led them into a dark room where they recorded their first demos. In 2005, they sent a CD of those demos to Tigersushi. This demo CD became their eponymous debut album and the first chapter of what they call an "omniscient trilogy." POG's second album, Lazare (TSR 015CD), an ode to Resurrection, was released in 2008 and featured Sebastien Tellier and Vast Aire from Cannibal Ox. Press reviews were outstanding and with the addition of their first world live tour, the impressive "Stereoscopic show" -- a 3D live experience conceived with AntiVJ, they earned a well-deserved special spot on the French electronic music map. Finally the apocalyptic Burn the Land and Boil the Oceans was the conclusion to that trilogy in 2012, the return to the ground, a non-dramatic expression of extinction, the idea that everything goes back to where it comes from to be born again. The Meanstream appeared before their eyes. An inner glow, a vivid childhood fantasy they had to accomplish. These ten tracks are their most humble and honest expression of emotions, their own genre. Meanstream is a child's word, a bullet to your soul. On this album they also found their perfect symmetrical Gemini -- the cult Alessi Brothers -- an influential band from the '70s, authors of "Seabird," "Oh Lori," etc), Bobbi and Billy. The connection between POG and the Alessi Brothers was true and cosmic, a real artistic exchange. There's also the first song performed by POG themselves, the deep and hypnotic "Runner." It's time to surrender to the Meanstream.
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12"
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TSR 066EP
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Here comes the first installment from Principles Of Geometry's upcoming album Meanstream. Lush synths set your mind on a Michael Mann movie scene -- amazing beats somewhere between hip-hop, electronica and Peter Gabriel, and the voice of the Alessi Brothers, the legendary twins from the '70s/'80s. Remixes come courtesy of Tanner Ross, one of the members of the Wolf+Lamb & Soul Clap crews + Night Slugs head-honcho (and ghetto house producer as Dance System) L-Vis 1990.
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TSR 026CD
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Imagine DyE aka Juan de Guillebon as an advanced receptor transmitter of melodies and sounds for the young generation. When music -- from the '70s to 2015, from Bruce Springsteen to Daphni -- travels through him, it's processed by filters, hardware living machines and magical organs, to become new music. Music that seems to describe a trance towards the stars and the future, where the future is to awake vocations and dreams -- straight from his home-studio. DyE's music belongs to epic quests. You're Link, the little knight in Zelda, smashing archetypal sounds in Detroit, Robocop listening to sounds in the jungle, Albator meeting dolphins in a subaquatic Paris. On his debut album Taki 183 (TSR 023CD), you experienced the transition from childhood to adulthood. With Cocktail Citron, you'll find multiple loves -- may it be in a pill or with a French girl as the title-track sums it up perfectly well. Like a resonance of his work as a remixer or as a bass player with Joakim, Bot'Ox, Aladdin, Rachid Taha and many more, this record is also about free encounters. Even though DyE is a solo project, he made it a point to invite people from other dimensions to expand the spectrum of words and sound (Egyptian Lover, Angie David, Guillaume Teyssier). It's also DyE's most danceable record so far, probably a consequence of his young DJ career, playing along the with the Tigersushi crew or opening for the likes of Erol Alkan or Four Tet. DyE's music has proven to be universal, with his "Fantasy" track on YouTube garnering more than 45 million views. To become a magician with music is a fair choice and a funny odyssey. Cocktail Citron is DyE's new magic formula, on a Tigersushi plate. It will move you from the inside, as it brings the eternal return of the little boy or little girl you are.
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