DJ VII retrouve le studio pour représenter Groovedge Records, avec une heure de sélecta post-punk, minimal-synth et tribal ambient, avec des tracks de Popol Vuh, Steve Moore, Eyeless in Gaza..

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Félicitude invite pour cette dernière “Brigade Cynophile” les américains, Los Angelinos du label Post Present Medium (PPM), pour une heure de rock expé, space-rock, noise, punk et plus, avec une sélection d’artistes ombreux tels que Total Abuse, Chalk Circle, The Urxed..

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Gil.Barte revient pour sa mensuelle “Methodrone”, sélectionnant une heure de musiques obliques, electro, noise, dark ambient et plus.

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FOND/Sound collector Diego Olivas is back on air, giving you the warm and luxury you deserve, with an hour long dive into the world of sophisticated pop music (aka Sophisti-Pop). Moving on from the template created by Roxy Music’s Avalon, it is in the music of Prefab Sprout, Swing Out Sister, and other lesser known, but still as sparkling, sophisticates, we’ll revisit the suits, the cars, the aching blues of ’80s, upward mobility. Fashionable musical gems, designed to last for a lifetime, all fit together for an hour. And, oh yes, there will be sax…

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Réécoutez Manu Archeo pour une heure de musiques balearic entre soft disco & trip-hop, via St Germain, Mudd ou encore Sillyboy’s Ghost Relatives.

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Listen back to Seoul’s Clique Records owners playing subtle music for this new session, including Rich La Bonté, Mkwaju Ensemble, Dennis Young and more, meandering through dub, synthy tunes and more..

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Napoli’s wonderboy Manny Whodamanny is back with another episode of the monthly “Whodamix”, with brother-in-crime Matsuda for the first hour, doubling the pleasure of this synthy, electro session.

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Sub Rosa label honcho Fabrice Havenne is on the stream for the next again for sixty minutes of avant-garde, experimental, drone and contemporary sound pieces from Charlemagne Palestine, François Bayle, Talk Talk and more..

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King Doudou revient sur nos ondes pour une nouvelle aventure sur le réseau, explorant l’évolution du Baile Funk au Brésil, avec une sélecta incluant de nombreux producteurs actuels tels que MC Moranguino, MC Rafinha, MC Gedai et bien plus..

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OKO DJ and her fellow companion from Bruits de la Passion Danse-Toujours join forces to explore the world of feminist radical lesbian band Ova and their unique music.
All the material in this show is issued from the Womens’ liberation Music Archive, documenting the Feminist music-making in the UK and Ireland in the 1970s and 80s.
Learn more here: https://womensliberationmusicarchive.co.uk/o/

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Tryphème est de retour sur nos ondes pour nous partager sa sélection entre ambient sentimentale, ethio-jazz, et pop introvertie, entre autres.

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On retrouve Belec pour une sélection entre post-punk, odd-pop, wave, et voix féminines baroudeuses…

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Pour cet épisode, 306Club invite la dj parisienne, Elen Huynh, explorant divers horizons éléctroniques entre experimental, ambient ou encore dub et trap industrielle.

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Laura Not takes us on her second take on plastician artist’s music, exploring not-only musicians’ musical productions.

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Vincent Glandier et Beurette Sentimentale présentent “La Femme vêtue de soleil”, un collage sonore mêlant lecture de poésie, musique expérimentale, et spoken word.

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Krikor returns to our studio for his monthly residency, with a varied selection spanning from library music, industrial dub, tribal sounds and African percussions.

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Réécoutez cet épisode de Chips Électrique avec le collectif Night Drive pour la première heure de l’émission et leur invité Champ Döner qui se charge de la deuxième partie du show. Retrouvez des morceaux d’ALEXIS LE TAN, JONQUERA, BLACK SEED, AH KRAKEN, RAUM-ZEIT entre autres…

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“The turn of the millennium sparked fears globally of a technological fallout: computers would crash at the changing of a ’99 to a ’00, security systems would fail, the world’s nuclear stockpile would be triggered. The impending panic of inaccurate ordering of automated dating in digital systems spread its fear far and wide and came to be known as the Y2K bug.
On the under side of the world, in Australia, where most things arrive late, distorted or totally different to their original form, there were two women embracing analog and digital technologies in all their glory. Nicole Skeltys and Kate Crawford were better known as B(if)tek, a pioneering electro-femme outfit. Feminism with a wink and a bleep. Ladytron before Ladytron. Nicole’s eccentric solo project was Artificial – Hillbilly House – as she likes to call it.
River Yarra speaks to Nicole & Kate about their time as B(if)tek and Artificial paired with a 1hr mélange of the two women’s music.”

Here is the retranscription of their Q&A session:
Q: I read somewhere that B(if)tek started in Canberra (1.) Can you tell me how that came about?
Wikipedia says B(if)tek’s debut album “Sub-Vocal Theme Park” was released on Geekgirl, but wasn’t it on a German psy-trance label? Who is Geekgirl and what was your relation to them?

A: In 1996, when Kate and I realised our late night noodlings with analogue machines in my garage in Canberra had accidently produced enough material for an album, we approached our friend Rosie Cross to help us with the costs of pressing and promoting the CD. Rosie Cross was a digital feminist pioneer, she had set up the first on-line e-zine/site/blog for women into tech & tech related arts called Geekgirl. So Subvocal Theme Park was released in Australia thanks to her support and encouragement. But seems like it was only a few weeks after that, that we got contacted by a German trance label called Nephilim who wanted to release the CD in Germany and Europe. So we agreed to that too. To this day, I still don’t know how they found out about our obscure independent antipodean release. But I’m glad they did, because Subvocal got a cult following in Europe, and even just a few years ago, it reappeared at top of the electronic charts in Hungary!

Q: Most of your associated acts from the turn of the millennium seem to be males. At that time, were there any other female identifying musicians in your circles?

A: We were (and I still am) a member of a seminal electronic arts collective in Australia called Clan Analogue. It was (is) a collective of artists – mostly electronic musicians – who support each other and release own material, put on our own events etc. Yes, there were very few women doing electronic music production & performance back then, we were certainly the most successful in Australia at the time. But Clan had/has some great women artists & DJs like Sobriquet, Lush Puppy, Bass Bitch, Charlotte Wittingham (in Telemetry Orchestra), Cindi Drennan (in Tesseract). It was only after we’d released our second album 2020 in 1999, that Ladytron hit the scene – and are still going strong today. I sometimes quip that ‘we were Ladytron before there was Ladytron’.

Q: What do you feel your experiences in the music industry were stacked against your male counterparts?

A: Because we surrounded ourselves with – and often chose to perform with our friends in the electronic arts community, particularly Clan Analogue, there was a political awareness and aesthetic & intellectual support for what we were doing. We also had a lot of fun taking the piss out of feminine stereotypes in live performances – we used to dress up as nurses, space-age airline stewardesses, geishas, girl guides etc and hop around on stage. So that all worked well for us, but when we stepped outside of that cognoscenti electronica world, we sometimes came face to face with the reality of male dominated rock. We were one of the support acts for the 1999 Beastie Boys Australian tour, but the first night we appeared on stage in nurses outfits, we got harassed and leered at by the mass of ‘right to party’ boys in the front row who didn’t get us (or indeed what the Beastie Boys then stood for). So we dressed in ‘normal’ clothes for the rest of the tour.

Q: In your 2020 album, were you imagining what the future might hold and how close are we to your predictions?

A: Ha ha! I was asked that last week in an interview for a forthcoming documentary about Australian electronica in the 20th century. And my response was/is – if you look at the cover of 2020, you see a lovely girl against a retro-futurist ‘life in space’ background, looking at her smart watch/ gadget – possibly for inspiration. And I can guarantee, that we are on track to next year looking EXACTLY like that. Not only that, but back in 1999, there was no 2020 – but very soon, there will be. How spooky is that? We were always ahead of our time…

Q: Your 3 albums are all quite different while still retaining the same analog vision. What influenced your genres and what did the change between them look like?

A: Subvocal was just a glorious outcome of innocent noodlings and experimentation in a Canberra garage, dark, brooding, cinematic, a bit magical. Canberra feels pretty remote, and we used to play a lot in our own forest parties late at night, so perhaps the music reflects some of that atmosphere. 2020 was more upbeat, perhaps reflecting the fact that by then we were in demand to play at clubs, raves and festival dance stages across the country. Our final album Frequencies Will Move Together was quite heavily influenced by Boards of Canada at the time, and we also had the pleasure of asking some of our local and international friends (like Monolake) to do remixes for the 2nd album in this double album release – thanks to a generous grant from the Australia Council.

Q: You played some live performances on SBS (2.) and won an ARIA (3.) for best dance record in ’99 How did that arise? – In the same year’s hottest 100 the only dance song in the top 10 was Fatboy Slim’s “Praise You”

A: Yes, we were on TV a fair bit from about 1999 – 2001 – including Saturday morning Video Hits show, which was kind of the Australian equivalent of Top of The Pops! We were nominated for best dance act that year, but didn’t win. However, that inspired us to set up own own awards to reward artists who were genuinely pushing the aesthetic boundaries, taking risks and had a political conscience. The WINK awards ran for 3 years, and were funded from our own pockets, with some equipment & venue support from the Australian Centre for the Moving Image. We gave away cash prizes, had a proper ceremonies with hundreds of attendees, & provided each lucky winner with custom made lightbox awards designed by a local craftsman. We got entries from all around the world. That is one of my proudest achievements, it was rewarding artists for all the right reasons (as opposed to just being commercially successful which is the mainstream music industry’s only criteria of worth), and it made a lot of people very happy.one hour show in March to the theme of women, feminism, and women’s rights…

Notes
(1) Canberra (Lands of the Ngunnawal people) is the capital city of Australia. It was decided as such after a bitter feud between the two established metropolitan areas of Australia – Melbourne (Birrarunga – Lands of the Kulin nations); situated on the south eastern coast, and Sydney (Lands of the Eora nation); the eastern coast- couldn’t agree on which city would best suit the capital. Thus they picked somewhere in the middle.
(2) Special Broadcasting Service providing multilingual and multicultural radio and television services that inform, educate and entertain all Australians and, in doing so, reflect Australia’s multicultural society.
(3) Australian Recording Industry Association and the ARIA awards is an annual series of awards nights celebrating the Australian music industry

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June Records brings you Moscow-based, ARMA17 resident Hipushit for this month’s Apparitions broadcast, providing with one hour of synth-punk, indus-experimental cuts, weird, bizarre gems from Laura Ingalls, Farai, Alessia Cosmos, Hakan Libdo…

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Rat Life Records founder Credit 00 is back with another session of his bimestrial broadcast, cruising through synth-pop, electro, ambient and more along the way…

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TV.OUT is the project of Ori Itshaki & Doron Charly Mastey from Tel Aviv, now based in Berlin.
Since the 2011 debut release on their own Parallax imprint, the duo is working non stop producing and DJing.
Their DJ sets divers from Techno, Chicago House, New Wave, Electro straight to Italo Disco classics that heavily inspires the duo.
TV.OUT also run Parallax records hailing from Tel-Aviv that focuses on the local underground sounds.

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FILLES DE BLÉDARDS est un collectif d’artistes basé entre Paris et Marseille qui explore et propose des réflexions autour des identités de l’immigration.
Aujourd’hui, Kahina Djemani, Rasheeda Khobza, Mariam SaintDenis et Alexia Fiasco ont décidé de parler d’Afroféminisme, de désidentification et de l’urgente nécéssité d’occuper l’espace culturel. Elles parleront aussi de leur prochain festival qui aura lieu le 29 et 30 mars à Mains d’Oeuvres, La Station Gare des Mines et au Klub.
Sur une invitation de Daphné Praud.
Photographie de Laurianne Bixhain.

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niafou. tapes is a series of radio essays feat. artists who use alternative research mediums to challenge residual forms of subordination in today’s cultural landscape.

For their first edition, they offer a one hour long soundscape, a commission by dj, researcher and music producer Moesha13. It’s an audio collage made from snippets of films, songs, speech and her own voice.

The piece is named : Existing. Becoming. Where creating is a post-colonial revolt and a practice in becoming visible.

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Katzele returns to our waves with a selection blending some tropical cuts with ambient tracks and leftfield pop music, with contributions from Alexis Le-Tan, Harmonious Thelonious, Cosmin TRG and more..

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Moog du collectif Bagarre Générale revient sur nos ondes pour une nouvelles édition de Spectrum, continuant d’explorer les répertoire metal, rock psyché et classiques, à travers King Crimson, W.A.S.P., Black Sabbath et plus.

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Berlin-based Cereals DJs kick off their bimestrial residency on our station with a one-hour broadcast to ease yourself into your day, selecting comforting music from The Space Lady, Cat Stevens, D.K., Harry Nilsson and more.

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Tarba retrouve le studio pour une nouvelle session de “Strike a Posse”, en solo ce mois-ci, pour une heure entre breaks, bass, electro contemporaine comprenand Elysia Crampton, Soisony, Deadbeat, Eric Stratos and more.

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The Italian label Yerevan Tapes is back on air with founder Silvia cruising through a recent batch of experimental, noise, synth-wave, with tracks from rabit, The Doubtful Guest, MJ Lallo, Krikor Not Waving and more.

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Flottaisons précises, jeux idéels ou percussions dissolues, servies dans leur écrin inhumain de mémoire annulée ; blancs d’argent comme un brouillard dans la cybernétique au cœur duquel réfléchirait des éclats diffractant le temps, reflets envoyés comme des fusées de reconnaissance ou de détresse vers des spéculations de futurs en regenerescence. Incal-style.

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High Wolf aka Black Zone Myth Chant is back for another episode of “Winged Sun”, building a selection of tracks based upon the “Family” word, and involving every centimeter of the music spectrum, from Don Cherry to Coil via Krikor and more.

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Estades, based in Madrid, Spain, member of the REAL NO REAL collective and partially responsible for The Gathering for Listening mixes on the Unlocked Youth platform. He broadcasts the bimonthly program, the East river for the Madrid online Radio Relativa. The mix varies through different sound approaches and spectrums trying to recreate a dream, sometimes dense, sometimes soft and sometimes twisted.

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Dariev regagne le studio pour une nouvelle édition d’Ubik’s Cube, orientée ici sur les genres coldwave, post-punk et EBM, à travers une sélection incluant Trisomie 21, Section 25, Bel Canto et plus.

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James Stewart de Black Atlantic Club retrouve le studio pour une nouvelle édition de “Talkin’ That Talk”, oscillant entre jazz, soul, afrobeat et plus pendant une heure..

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City on the mix this time, delivering a lot of unreleased between the softest prog and ambient to the noisiest mess, featuring tracks from courtesy of the Ascetic House family.

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Low Income $quad artist and all-around zahef builder Strahinja Arbutina gets back to his residency with a new show, shared with Berlin-based New-Yorker Ciarra Black, each providing with 30 minutes of techno, breaks and heavy electronics.

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Byche retrouve nos ondes pour une nouvelle session de “Glock33”, avec ici une heure d’acid, breaks et electro incluant des tracks de D. Tiffany, River Yarra, Boby Acid Addiction, Resident Alient and more.

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777 Recordings brings you Low Income $quad honcho SZCH for this month’s broadcast, delivering one hour of fast breaks and global mayhem, involving tracks from Drexcyia, Yuzo Kushiro, Daddy Yankee and more.

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The Nummer brings you Leila Sakini and A Psychic Yes for this month’s “Détente Aux Enfers” session, featuring two hours of intense electronics, ambient, drone, experimental, avant-garde and more along the ride.

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Listen to Jay Glass Dubs going into the more obscure and freakish side of his collection.

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This month “Umgebung” is a mix by Amy Kraczyk, a young DJ who is part of the team at Subcity Radio and has just started a new party called ‘It’s Too Hot To Sleep’. Subcity Radio and It’s too hot to sleep’s Amy Krawczyk supplies an hour of calm chaos and slips in a small dose of Scottish artists.

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Le fondateur de Besoins Premiers et producteur eo eintu retrouve sa résidence mensuelle “A Swim in the Pond of Vice”, ici pour une heure oscillant entre compositions récentes et passées, allant de Franco Nanni à Inga Copeland, via Geins’t Nait et plus.

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Comic Sans Records invite le parisien Chien Ardent pour la deuxième heure de cette nouvelle session, partagée entre breaks contemporains, musiques digitales et variations slow-industrial..

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Mush retrouve le studio pour une nouvelle édition d’Infoworld, offrant une heure d’electronica, ambient et breaks subtils, comprenant des tracks de The Other People Place, Torn Hawk, E-Talking et plus…

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Jean-Philippe Guye poursuit son histoire personnelle de la musique, en s’attardant ici sur la période Baroque.

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Réécoutez la dernière NO-GO ZONE avec Low Jack & Moyo pour 2 heures de musiques extrêmes et saturées.

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Cet épisode de Pu$$y Nightmare, édition spéciale “2 girls 2 mic, avec OKO & Vazy Julie”, s’inscrit dans la curation OKO’s March Curation: Feminism Through Music, qui s’étale sur le mois de mars 2019, en résonance avec la journée du 8 mars.
Pendant deux heures, Marine et Julie y explorent leur vécu de femme, et le mettent en perspectives avec les thèmes du féminisme, du plaisir féminin, de l’hystérie, de la vieillesse, mais aussi la notion de sororité, la figure de la sorcière, et la musique.

Avec des lectures, inspirations et discussions autour des ouvrages suivants :
La fabuleuse Histoire du Clitoris, Jean Claude Piquard
Sorcières, La Puissance Invaincue des Femmes, Mona Chollet
Nous Sommes tous des féministes, Chimamanda Ngozi Adichie
La puissance du féminin: Libre, sereine et sacrée : renouez avec vos forces profondes, Camille Sfez
Sorcières Mes Soeurs, Camille Ducellier
Hysteria, Tanya Wexler

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David Chouferbad et Dave de Bigwax records se retrouvent dans nos studios pour partager leurs drôles de disques et morceaux insolites provenant des quatre coins du monde entre cheesy selecta et autres sonorités bien groovy.

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Ecoutez une heure de douce transgression musicale via Les Choses Contraires menée par Elen Huynh qui oscille entre break obscure, techno mystique ou encore dark-wave.

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On retrouve Roseboy666 pour une émission spéciale “Yung Archive : Mala Changes”, un focus sur le célèbre sample de Jimmy Duval, repris par de nombreux producteur et rappeur des US ou d’ailleurs. Ecoutez des tracks de THE GAME, WAVY JONE$, ASAP LOTTO et plus

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Nico Motte est de retour sur les ondes de LYL pour une émission chiadée oscillant entre synth-pop français, ambient grinçant et pièces modern classical.

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Hajj reçoit pour ce nouvel épisode de Souffrance FM la réalisatrice française Caroline Poggi, pour une sélection bien tranchée, entre trance, trap et autres productions dans l’air du temps.

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Réécoutez I’ve Seen The Future pour ce nouvel épisode de Code Espejismo en eaux troubles,  entre ambient, experimental, UK bass, jungle, et Detroit infused music.

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Notte Brigante founder and producer HLM38 returns to our station for another session of Viva Notte!, involving Amsterdam-based dub masters Beesmunt Soundsystem for a guest mix in the second hour…

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Another Room For Music revient sur nos ondes pour une nouvelle émission, divaguant ici dans les genres drone, new-age et ambient, prenant l’horizontalité pour motif, à travers des compositions de Iasos, Flora Yin-Wong, Cinéma Perdu et plus.

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Le fondateur de Tunnel Vision Records Stakhan revient au studio pour une émission partagée avec Vector Trancer du label Mirror Zone, pour deux heures entre ambient profonde, vocale, trance alentie et plus.

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Nico du label lyonnais S.K. Records visite notre studio pour une heure aléatoire, plongeant au hasard dans sa collection de disques pour enchainer entre post-punk, italo, free jazz et plus.


The Krossfingers wizards are back on air for another episode of “No Way Back”, meandering through news and oldies, synth-wave and leftfield disco, via Unovidual, Neneh Cherry & The Circuit, Baron Samedi, Chandra and more.

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Anna Funk Damage is on fire and he’s letting you know: listen back to his second one-off, featuring raw, brutal music from all epoques, cruising from The Decayes to Crave and more.

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Comment résister au balancement irrésistible induit par l’orchestre de Count Basie dans des morceaux tels Rock-A-Bye Basie, Taxi War Dance ou, par-dessus tout, Pound Cake, un blues dans lequel le saxophoniste Lester Young prend un de ses meilleurs solos ? L’orchestre de Duke Ellington, quant à lui, enregistre à tour de bras à la fin du mois de mars 1939 avant de s’embarquer pour une tournée européenne de près d’un mois qui le conduit en France, aux Pays-Bas et, au prix d’une traversée de l’Allemagne nazie sous haute surveillance, au Danemark. Les chefs d’œuvre abondent dans ces séances : Pussy Willow, le sublime Subtle Lament et l’incroyable Solid Old Man. En ce printemps 1939, Django Reinhardt est au sommet de ses capacités créatrices. Un rival, pourtant, se pointe à l’horizon en la personne de l’Argentin Oscar Alemán, sorte de gitan indien. Après l’« Adieu à l’Afrique » du chanteur métis Miguelito Valdés, accompagné par l’orchestre du Casino de la Plage, on appréciera le talent novateur du saxophoniste Chu Berry au sein d’un ensemble dirigé par le vibraphoniste Lionel Hampton. On sera enfin bouleversé par la chanteuse Billie Holiday. Âgée de seulement vingt-trois ans, elle se dresse avec courage contre la pratique du lynchage dans le sud dans Strange Fruit. Elle exprime également avec émotion la profonde nostalgie que dégage une chanson comme Yesterdays.

Le 18 avril 1939, Staline propose un pacte d’assistance mutuelle militaire et politique à la Grande-Bretagne et à la France, rejeté par Londres le 8 mai. Devant l’atermoiement manifesté par les démocraties occidentales, Staline remplace Litvinov, partisan inconditionnel de la sécurité collective, par Molotov à la tête du commissariat aux Affaires étrangères de l’Union soviétique. De leur côté, l’Italie fasciste et le 3e Reich signent « le Pacte d’acier » le 22 mai.

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Riccardo Schiro est de retour sur le fil pour une heure de divagation éclectique entre métal, deviant disco et noise.

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Belly Woddie invites Denovali artist Multicast Dynamics (aka VC-118A, Mohlao) for one hour of dub-techno, profound electronics and beats from Black Merlin, Vladislav Delay, Alka Rex and more.

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Maxime Bisson se charge de cette nouvelle édition de Confessions FM, avec une sélection d’une heure oscillant entre jazz, balades doucement post-punk, et spoken word langoureux via Annette Peacock, The Durutti Column, Maximum Joy et plus.

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Maxime Gueugneau de Kiblind Magazine retrouve notre studio et nos ondes pour une nouvelle édition de L’Ours, oscillant entre hip-hop, nouveautés électro et plus.

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Maurizio Pustianaz est de retour sur les ondes pour une heure de divagations entre cold-wave italien et punk de la botte, tout autant outrancier, via Do-Po, Dead Relatives ou encore Detonazione.

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