MICHIGAN AND ARCTURUS / STEVE MACKAY

co-released by Radon Studio, Base Recordings e Fonoteca Municipal de Lisboa
BRFML 00606 :: 2006

Steve Mackay
com Tyler Armstrong, Nyko Esterle, Kamilsky, Marlon Kasberg, Sam Lohman, Travis McAllister, Noah Mickens, Scott Nydegger, Melvin Occasio, Fabrizio Palumbo.

1. The moment is sinking pt. 1.
2. Cauchemar de Satie.
3. Movable wall.
4. Alien encounter interlude.
5. Face up on Dash.
6. Vacuum interlude.
7. 3 oirt rewop.
8. Alien encounter interlude 2.
9. Tower of Grawer.
10. Los Altos blues.
11. Outro.

TRANS-SISTER RADIO / TERRE THAEMLITZ

Co-issued by Base Recordings and Grain of Sound
BRCD 00505 :: 2005

"Trans-Sister Radio" is an electroacoustic radio drama about transgenderism and migration originally developed for Hessischer Rundfunk by Terre Thaemlitz. "When travelling, dressing for the occasion means downplaying our gender bending by dressing to match our documented genders. Many fully transitioned transsexuals whose countries prohibit legally changing their genders resort to wearing asexual sweat pants and other anti-fashion statements as a kind of devolutionary drag, all in hopes of passing as the man or woman they once were. Or, in some cases, they resort to using false passports showing genders that match their appearances. It all gives new meaning to the term 'pass control.'" - Terre, Transgendered MTF(TMTF...), on international travel.

Audio and implementation: Terre Thaemlitz
Producer: Manfred HessGerman
translation: Dietmar Wiesner/Manfred Hess
German synchronization: Dietmar WiesnerHessischer Rundfunk, HörspielFrankfurt am Main, October 2004 Produced for Hessischer Rundfunk Radio (Channel HR2, Frankfurt M, www.hr-online.de), premier airdate November 17, 2004.
CD co-issued by Grain of Sound (www.grainofsound.com) and Base Recordings (www.basept.org), Portugal, September 2005, catalog numbers GOS018/BRCD00505.
Producer: Hessischer Rundfunk 2004 Hörspiel, Redaktion: Manfred Hess. All tracks published by T. Thaemlitz (BMI), except 15 & 18 (unknown/found sound). Released under license from Comatonse Recordings. Tracks 4 and 22 adapted from "Interstices" (Germany: Mille Plateaux, 2000), 7 from "Means From An End" (Germany: Mille Plateaux, 1997), and 17 from "A-Muzak" (Germany: A-Musik, 1999).


BAND ID:
01. "TSR1 SIGN ON ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 01:11
02. "TSR2 SAKI PART 1 ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 02:44
03. "TSR3 PROGRAM ID ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 00:08
04. "TSR4 WENDY ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 02:02
05. "TSR5 PROGRAM ID ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 00:07
06. "TSR6 STAND UP ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 06:03
07. "TSR7 STILL LIFE ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 05:04
08. "TSR8 PROGRAM ID ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 00:07
09. "TSR9 SAKI PART 2 ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 02:12
10. "TSR10 PROGRAM ID ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 00:07
11. "TSR11 TRANS PORTATION PART 1 ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 13:24
12. "TSR12 PROGRAM ID ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 00:08
13. "TSR13 TRANS PORTATION PART2 ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 04:37
14. "TSR14 TRANS PORTATION PART3 ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 04:29
15. "TWO FACES HAVE I" TIME (MM:SS): 01:44
16. "TSR16 PROGRAM ID ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 00:05
17. "TSR17 A MUZAK ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 03:40
18. (UNTITLED) TIME (MM:SS): 00:30
19. "TSR19 PROGRAM ID ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 00:07
20. "TSR20 SAKI PART 3 ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 01:35
21. "TSR21 PROGRAM ID ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 00:08
22. "TSR22 INTERSEX ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 05:31
23. "TSR23 SIGN OFF ELECTROACOUSTIC COMPOSITION" TIME (MM:SS): 01:04

LIMB SHOP / MÉCANOSPHÈRE

Mécanosphère:
Benjamin Brejon, Adolfo Luxúria Canibal, Scott Nydegger& Le Pilote Rouge, Henrique Fernandes, Steve MacKay


Co-released by Base Recordings, Fonoteca Municipal de Lisboa & Raging Planet in cooperation with Radon, Soopa and Lugar Comum
BRFML CD 00405 :: 2005
Produced by Jonathan "Cactus" JUliel at the Jamboree Hall, Maus Hábitos, Porto
Additional Engineering by Joe Fossard in the Black Box, Lugar Comum, Barcarena
Music & words executed by Mécanosphère.


1. Phantom limbs.
2. Mutilation site.
3. Diagram of bones.
4. Coagulate.
5. Circus gone [parte 1].
6. Circus gone [parte 2].
7. Types of aberration dub.
8. Khlebnikov.
9. Radial light.

BASE ONE: PARADOX CITY / VA

Papercutz, Bulllet, Ka§par, Coden, Arkham Hi*Fi, Com. Gen., Pitch Boys, Badlobster, Rui Canelas, Low Pressure System, Mílanó, Beast Box e António Contador

Co-released by Base Recordings & Fonoteca Municipal de Lisboa
BRFML CDX 00104 :: 2005
Compiled, Photos & Design by Paulo Romão Brás
Mastered by Luís Van Seixas at Pod Studio (Charneca da Caparica)

1. Nighttime at the playground / Papercutz.
(Produced & mixed by Bruno Pinto. Recorded by Bruno Pinto at GoGoPixel Studio, Matosinhos)
2. Full time orchestra / Bulllet.
(Armando Teixeira)
3. Notre amour platonique / Ka§par.
4. Heat seeker / Coden.
(Live, Maus Hábitos - Porto. Nuno Correia: Electronics; Johannes Krieger: Trumpet; Paulo das Cavernas, Jota: Percussion)
5. Adventures in stereo / Arkham Hi*Fi.
(Buddah & Jaws-T)
6. Anouk / Com. Gen.
(Produced by Luís Van Seixas at Pod Studio, Charneca da Caparica)
7. Pod #3 / Pitch Boys.
(Produced by Nuno Meneses. Mixed by Pitch Boys. Recorded by Pitch Boys at Home Studio, Paço de Arcos)
8. Dromology / Badlobster.
(Luís Van Seixas & Massa. Produced by Luís Van Seixas at Pod Studio, Charneca da Caparica)
9. Micron dude / Rui Canelas.
(Produced & mixed by Rui Canelas. Recorded by Rui Canelas at Ranmoc Studios, Aveiro)
10. Arbitrarily polarized light / Low Pressure System.
(Massa & Miguel Ferreira)
11. Monologue / Mílanó.
(Gonçalo Pereira)
12. Cutthroat dub / Beast Box.
(Benjamin Brejon: Drums, Drones, Loop recorder)
13. PartnerBilder / António Contador.
(Composed & produced by António Contador; Inês Vasques: Piano)

SOOPA & RADON STUDIO PRESENT UNITED SCUM SOUNDCLASH

Soopa Scum:
Jonathan Cactus Man, drums, extented trumpet, electronics, tabla, harmonica;
Miguel Autoblack, double bass, bass guitar, electronics;
Filipe The Banshee, prepared guitar, walkman, bow;
Subbureau, additional sound processing.
Radon Scum:
Scott Nyddeger, drum pad, samples, head bashing;
Steve Mackay, saxophone;
Kamil Kruta, processed vocals.

Co-released by Base Recordings, Fonoteca Municipal de Lisboa, Soopa & Radon
BRFML CD 00305 :: 2005
Recorded at the Jamboree Hall, Maus Hábitos, Porto, Spring/Summer 2004
Design by Soopa
Produced by Soopa & Radon
Mastered by Ivo Magalhães & Soopa

1. "And they welcomed thy glory".
2. For Ladies and Gentlemen.
3. Folk you.
4. Mother of vibration.
5. "And they welcomed thy radiance".
6. Return of the flatliners.
7. Subtle rebuttle.
8. Scum release orchestra.
9. "And they stood at the heart of thy network".

Discreetly ornamental hand-drumming, well-recorded, is how the collective ensemble United Scum Soundclash commences with the opening track on this impressive self-titled release, "And They Welcomed Thy Glory." Then United Scum Soundclash drops down a large, long, dark and resonant shaft into some kind of chamber where electronics are not a drag; rather, they are something dragged along a floor. Wisely, the following track, titled "Ladies and Gentlemen," kicks right in after the other one sounds like it was shot by a crossbow, or simply unplugged.
Perhaps it is actually a cheap boombox malfunctioning — in the listener's house, not the recording session. Such a suspicion immediately validates the glowing rating for this effort, as dictated by one of the essential guidelines of record reviewing: the fear of broken equipment is inspired by listening to only the best sides. The setting for this one is Porto, Portugal, but the presence of veteran progressive rock saxophonist Steve McKay is one of several indications of an international influence. In one sense exuberance is an even more important quality — the track with McKay goes the all-too familiar route of saxophonist with funky rhythm track, but surprisingly, the view from alongside the road turns out to be of giant robots made out of tin cans. A triumvirate of madcap multi-instrumentalists hiding under silly stage names is augmented only here and there by McKay, electronic drummer Scott Nydegger, and the effectively creepy processed vocal tracks credited to Kamil Kruta. The main trio hardly needs all that much help, the blindfolded set of ears treated to "And They Welcomed Thy Radiance" or "Folk You" easily becomes overwhelmed by a barrage of electric and acoustic percussion, harmonica, trumpet, electric keyboards, flute, electric bass, tablas, and guitar. Like the infamous Porto sandwich, "the French lady," combining fried egg, steak, ham, sausage, and cheese, the magic is in the sauce. In this case the players have stirred up a glowing blend of the processed and the natural, distortion and reality, the sampled and the trampled.
www.allmusic.com
Eugene Chadbourne [4/5]

Qual despertar sensorial, tantas são as vezes em que a busca por algo de singular morre esmagado na parede dura da duplicação. Esmagado. "United Scum Soundclash" é um desses "despertares", uma daquelas coisas que dificilmente se conseguem explicar, muito menos sem ouvir. Eu ouvi e estou confuso. Nascido de uma parceria entre a Soopa (editora da banda) e a norte-americana Radon, este "United Scum Soundclash" para além dos inevitáveis músicos dos Soopa, Jonathan Cactus Man, Miguel Autoblack e Filipe The Banshee, "recebeu" da Radon a colaboração em alguns temas dos seus músicos Scott Nydegger, Steve McKay e Kamil Kutra. O resultado?, é daquelas coisas que dificilmente se consegue explicar. O tal rumo ao despertar sensorial.
Muito para lá da realidade, da normalidade do som de fácil assimilação, este "United Scum Soundclash" cruza as mais variadas dimensões do som e da música com o mais variado leque de influências, ressaltando o papel do ruído, do lixo, da realidade maquinal dos dias e das noites. Realidade sombria, pesada...
Resultado final de muitas e variadas horas de improvisação, de instrumentos levados ao limite e à exaustão, os sons são depois editados, condensados, estropiados, enfim, processados em contínuo pelas máquinas que um dia nos hão-de governar (acorda homem!). Falo do primado da energia e da confusão, um primado da incongruência instrumental que nos soa assim... não sei... virtual e que nos deixa atónitos. Assim. Verdadeiramente atónitos e sem saber o que fazer com o que temos entre ouvidos. Do massacre do "noise" a um "free-jazz" incrivelmente incorporado num todo, tudo se houve nesta louca e maravilhosa sinfonia do desespero. Loucura.
Tudo é experimental, tudo é diferente, tudo pertence a uma realidade bem para lá daquela que o nosso ser dos dias normais consegue absorver... Experiência turbulenta a não peder.
AVISO: Não é fácil.
http://atrompa.blogspot.com [4/5]

From the name and the graphic design, I assumed this was going to be a breakcore CD, or something along those lines. Appearances can deceive, however. What we have instead is a quirky and original jam from Portugal that combines the attitude of the most antisocial kinds of free jazz experimentation with the sounds and tools of industrial noise. And a saxophone. In hindsight it seems like such a natural synthesis that I can't help wondering why it hasn't been done before -- or if perhaps it has, by groups obscure enough to escape even my own painfully eclectic investigations. In fact the sax is just the tip of the iceberg. There's an 'extended' trumpet here and there, whatever that is, and someone wringing the kinds of sounds out of a harmonica that Merzbow would make by wiring all the outputs of his mixing desk back into the inputs, and then turning it on and off while frantically attacking the faders.
There's little in the way of liner notes but it sounds like these guys work by improvising in the studio, then digitally sifting and arranging the resulting recordings, dubbing over layers of noise, muttered vocals and whatever else they can lay their hands on. You can hear this at work in the percussion in the first few numbers, particularly. It's composed of mechanically-produced sounds throughout ('drumming' I believe it's called), but often dissolves into bit-perfect machine-gun repetitions and unplayable fast and furious thrashing, like an old Nachtluft track I have somewhere that turned timpani recordings into an artillery barrage. Unlike many bands, however, USS use computers to break up the structure of the raw material, deliberately subverting the usual role of the sequencer as enforcer of motoric authority.
After four or five tracks at this chaotic level, "Return Of The Flatliners" is a bit of a relief, starting with a drone and growing into a Shinjuku Thief-cum-Aube noise track, and then calming back down again -- a breath of fresh air. Things are a little more measured after this, and "Scum Release Orchestra" even briefly sounds like the beginning of a Neubauten song, before what sounds like the drunken marching band from Coil's "Herald" start playing cartoon soundtracks... While falling down a spiral staircase. The closing track, compared to what has come before, sounds mostly live and is comparatively melodic. This kind of thing clearly won't be to everyone's taste, but I have a soft spot for people like Bladder Flask and Steven Stapleton and the musical celebration of all things Dadaist and unpredictable, and USS are clearly in the same tradition.
www.connexionbizarre.net - 8Ago2005
ABC [7/10]

"Pode estranhar, mas o disco que regista a informal e re-misturada colisão entre os músicos portuenses do colectivo Soopa e os da norte-americana Radon (incluindo Steve Mackay, dos Stooges e Violent Femmes, e Kamil Kutra, que colaborou com os Residents e Lydia Lunch) é agradável. Claro que estão aqui todas as direcções apontadas pelos «elementos de free-jazz, hip-hop, noise e electro-acústica», capazes de desorientar o ouvinte mais ortodoxo, mas basta apanhar o groove subterrâneo de «For Ladies and Gentlemen» para compreender esse aparente paradoxo. De resto há ainda glitch e arremessos expressionistas que, garantem, não se vão repetir."BLITZ - 19Jul2005Eduardo Sardinha [7/10]"É uma editora? É uma banda? É uma promotora de espectáculos? São várias bandas? É o colectivo Soopa, de músicos, com músicos, para músicos; discos na bagagem, concertos no curriculum e uma apresentação-entrevista em soundclash..."
BLITZ - Sintetizador (entrevista) - 21Jun2005
Eduardo Sardinha

"Produto de horas de "jams" do colectivo portuense Soopa, com ajudas pontuais de membros da rede internacional Radon (entre eles, o saxofonista Steve Mackay, célebre por ter gravado "Fun House" com os Stooges), "United Scum Soundclash" é o promeiro álbum de um grupo que vai agitando o marasmo da música exploratória do Porto, ora através da programação de eventos, ora colaborando com músicos de todo o mundo. Reflectindo os vários interesses dos músicos, o disco mistura free jazz, electrónica e noise num todo algo caótico. Há momemtos interessantes, como "And they welcomed thy radiance", em que bateria e trompete se degladiam de forma aparentemente aleatória. O jazz é também a tónica em "For ladies and gentlemen", com a linha melódica "cool" de Steve Mackay a imrromper sobre "beats" perfurantes. "Folk you" faz flutuar ruídos metálicos e uma harmónica fugidia sobre a voz assombrada do checo Kamil Kutra feita drone. Pena que alguns temas se revelem mais soporíferos. Mesmo assim, a estreia dos Soopa sintetiza de forma coerente algumas correntes da música experimental."
Público / Y - 20Maio2005
Pedro Rios [6/10]

“A música é uma forma de arte fantástica porque apenas necessitamos de um único sentido para recolher uma enorme quantidade de informação. Isto não implica a subjugação da mesma como uma arte menor, até porque ela tem de conseguir despertar todo o tipo de sentimentos no ouvinte, apenas utilizando esse único sentido da audição. Como é claro possui algumas vantagens. Não é necessário que o ouvinte conheça um determinado código linguístico mesmo que nela exista canto. Os sons encarregam-se de fazer passar a mensagem como muitas vezes as palavras não conseguem.
Com a participação de Jonathan Cactus Man, Miguel Autoblack, Filipe The Banshee, Scott Nydegger, Steve McKay e Kamil Kutra, "United Scum Soundclash" apresenta a música como linguagem universal ao associar sons a experiências que neste caso são profundamente citadinas, fazendo uso de uma paleta de atmosferas musicais que vão do cinzento ao negro, por entre loucos desvairos de free-jazz controlados por electrónicas profundamente experimentais. Tal distopia futura – ou será que ainda estamos no presente? – é esmagadora, abstraindo-se e abstraindo-nos de tudo o quanto temos como certo no nosso dia-a-dia. Somente por nos conceder tal experiência, este álbum já seria um esforço louvável. Adquire uma importância ainda maior quando conseguimos permanecer suficientemente lúcidos para contemplar o maravilhoso processo de construção/desconstrução musical existente ao longo do álbum."
http://phono.com.sapo.pt/
Samuel Jerónimo

FÓRMULA ELECTRÓNICA #1 / VA

Not So; Structura; Dr. Parkinson; Shhh...; Wedding Noise; Mílanó; Oxygen; The Ultimate Architects;M-PeX; Fernando Mota.

Co-released by Base Recordings & Fonoteca Municipal de Lisboa
BRFML CDX 00204 :: 2004
Photo & Design by Paulo Romão Brás
Mastered by Luís Van Seixas

1. Breakinin / Not So.
2. D-constructive / Structura.
3. Toilet is out of service / Dr. Parkinson.
4. On a nervous fringe / Shhh...
5. Funtastick / Wedding Noise.
6. Toys will be toys / Mílanó.
7. Letting go / Oxygen.
8. Nebula / The Ultimate Architects.
9. Phrimordium / M-PeX.
10. Teatro / Fernando Mota.

Catarina Sacramanto 7/10
BLITZ Ano XX Nº 1028 13 de Julho de 2004


"E no entanto ela mexe-se. Sim, está viva. Falo da criatividade no geral, e na música electrónica em particular. Em Portugal, para ser ainda mais concreto. A prova é esta fantástica co-edição da Fonoteca Municipal de Lisboa com a Base Recordings, que dá pelo nome de Fórmula Electrónica #1. O objectivo é só um: divulgar e promover a música electrónica feita no nosso país. Não se trata de um álbum, é uma compilação de 10 faixas (de 10 artistas), não se podendo portanto esperar homogeneidade ao longo de todo o registo.É, isso sim, a montra ideal para 10 artistas com tudo para dar certo. (...) Existem, nesta compilação, alguns projectos verdadeiramente interessantes e inovadores. Urge dar espaço e oportunidades aos novos talentos. O que não falta, e esta compilação é a prova, é talento. O que falta, isso sim, é coragem e vontade por parte dos media."
http://coolmusic.no.sapo.pt
Pedro Granjal

"Álbum do dia... No geral todos os 10 projectos aqui representados apresentam uma grande qualidade e muita criatividade apontando como favoritos pessoais Not So, Structura, Shhh..., Structura, The Ultimate Architects, M-PeX e Fernando Mota...".
http://samueljeronimo.blogspot.com/
Samuel Jerónimo

"A new label surfaces from Portugal, following the pioneering example of Thisco, and collaborating with the ever receptive Fonoteca Municipal de Lisboa. "Fórmula electrónica #1" is a nice sampler of modern rhythmic electronica, featuring mostly new names - at least to my ears - like Not So, Structura, Dr. Parkinson, Shhh..., Wedding Noise, Milanó, M-PeX and Fernando Mota, plus The Ultimate Architects (see the review of their ep, from which the instrumental track featured here is taken) and Oxygen, who are probably the most well known projects here. Most tracks are good, and range from glitchy (Not So) to breakbeat (Dr. Parkinson) to Oxygen's noir electronica and Ultimate Architects' wave-ish track... with pretty much everything in between. Quite solid throughout, and a nice overview of what's happening in Portugal."
www.chaindlk.com
Eugenio Maggi

"Base Recordings and Fonoteca Municipal de Lisboa together release the first issue of the Formula compilation. This album features ten bands, all involved in electronica, thoug offering slightly different styles, for instance drum 'n' bass by Dr. Parkinson or a weird Japanese pop/dance track by Shhh.... Slightly more techno, but still difficult to categorize is the contribution by Wedding Noise.
The music of most bands featured on Formula electrónica can not be categorzed so easily. What these band shave in common is their pop appeal and the atmospheric, smooth elements incorporated in the music. Some tracks remind of the 80's new wave, though have enough contemporary elements. Fórmula electrónica is a nice listening experience for those into relaxed electronic pop music with a smooth approach."
http://www.xs4all.nl/~phosphor/

"In a joint venture between the Fonoteca Municipal de Lisboa - a habitué of all things concerning the support of Portuguese electronic labels and projects - and Base Recordings, out comes “Fórmula Electrónica #1”, a compilation that serves as a presentation for ten neo-acts of the Portuguese scene.
”Fórmula Electrónica #1” is diverse, as a compilation of this kind should be, and includes a neat outlook of what's been happening in Portugal lately when it comes to electronic bits and pieces, many times stealthy to the public radar, precisely due to the inexistent promotional structures. Highlights include Not So's “Breakinin” flashy breakbeats, which dwell in great style during one small minute, Structura's hypnotic industrial musing flair, the excellent voice samples on the puzzling mix of Dr. Parkinson's tremulous “Toilet is out of service” and the carefully assembled chillout of Wedding Noise's “Funtastick”.
Oxygen's “Letting Go” is this compilation's most proficient song, with its organic operatic drum'n'bass, while Ultimate Architects (perhaps the best-known act out of the ten) deliver their synth-pop with great effect. To the end comes M-Pex's “Phrimordium”, with its insidious melodic dub, and Fernando Mota's “Teatro”, a slow jungle eerie exercise.
It would be nice to have more initiatives as this one, solely dedicated to divulge a particular music scene's niche that suffers quite a lot from inertia but, most of all, from the lack of proper editions and promotion. Base Recordings and Fonoteca Municipal de Lisboa have made it, releasing quality acts that perhaps would have remained on the shadows otherwise. Future enterprises of this kind will always be warmly welcomed, as one will have the chance to sample music from new talents, which doesn't come as an offer on that double soap pack at the supermarket."
http://www.ventrilocution.net
Luís Oliveira

Tema em playlist na RADIO LIBERTAIRE 89.4 [Laurent Diouf]
WTM-Paris, 12h30 / 14h30, each Tuesday
THE ULTIMATE ARCHITECTS - Nebula
http://www.wtm-paris.com

"Édité à l'initiative de la Fonoteca Municipal de Lisboa (la Phonothèque de Lisbonne) avec l'appui logistique du label Base Recordings, ce sampler nous offre un panorama de la scène électronique du Portugal. Une mouvance qui fait jeu égal avec la tendance internationale : breakbeats savamment agencés, mélodies finement ciselées, basses veloutées et ambiances bariolées. Cette marqueterie musicale est dans la lignée des productions estampillées, par exemple, Electrolux, Arbouse Rec., Vertical Form ou Source Rec. Parmi les formations qui se démarquent de la sélection qui nous est proposée, on citera Structura , Dr. Parkinson , Shhh… et surtout The Ultimate Architects qui signe un titre ensoleillé mais plein de mélancolie ("Nebula").
Laurent Diouf
Wreck This Mess - Paris
http://www.wtm-paris.com