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Véronique Vincent & Aksak Maboul - Ex Futur Album

Excerpts from “Ex-Futur Album”, aka Aksak Maboul’s lost third album, an avant-pop opus written, recorded and unfinished in 1980-83 by Véronique Vincent (Honeymoon Killers vocalist) and Marc Hollander (founder of Crammed Discs & Aksak Maboul) in collaboration with Vincent Kenis (Congotronics / Aksak Maboul)… assembled from demos & rough versions, edited & mixed in 2014… and released in October with a slight delay of 30 years.

A collection of retrofuturistic songs with genre-wrecking leanings (think electropop meets proto-techno, with African, Middle-Eastern, dub, jazz & cinematic French flavours…)

Out october 2014 @ Cramned Discs

Previously on Rc

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Supersilent - 12.1

From “Supersilent 12”, out @ Rune Grammofon

Recorded during three different sessions back in 2011, “Supersilent 12” is produced by Deathprod from hours of recordings at his own Audio Virus LAB, Athletic Sound in Halden and the Emanuel Vigeland museum, known for its 20 second natural reverb. Since the very beginning Supersilent have always moved forward with the greatest integrity. Supersilent music is collective work, total group improvising, and not a matter of individual grandstanding. They never rehearse as a group and don’t discuss the music with each other, meeting only to play concerts or to record. Every recording and every concert is a unique occasion, not to be repeated, and their music lives in a no-man’s-land between the genres, somewhere between avant garde free jazz, rock, electronica and modern composition. It can sometimes appear to be written or at least arranged, again making it clear that these musicians communicate on a high, almost telepatic level. “Supersilent 12” brings furher evidence to the above as they move further towards the avant garde territory populated by Deathprod and current Arve Henriksen releases “Chron” and “Cosmic Creation”.

Bernard Szajner “Je déteste la harpe laser. Je l’ai détruite à coup de masse, dans un geste très rock’n’roll. C’est un instrument trop spectaculaire qui empêche d’entendre la musique, sa présence est si forte qu’elle subjugue le public. Quand on voit quelqu’un caresser un rayon lumineux, quelque chose d’immatériel qui produit un son, c’est un acte magique. Ce n’est pas que je travaille à démystifier cela, nous sommes tous des victimes consentantes de notre goût pour l’immatérialité, nous adorons cette immatérialité qui est aussi protectrice.”