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Frank Rothkamm [ RENO ]
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Catalog No: FLX15
Artist: Frank Rothkamm
Title: RENO
Label: Flux Records
Length: 38:01
Composed: 1992-1997
Release Date: 11/22/2011
Edition Size: 100
UPC: 844553 053973
File Under: techno

After Frank's last release AMERIKA - that even the composer's most well meaning critics found "super-disjointed" and "dissonantly enigmatic" - a dark period of 18 months engulfed him, forcing an unusual silence while he fought with mental health issues. Frank's long awaited return to the scene is with AMERIKA's exact opposite, a very accessible album of underground dance music. Frank wouldn't be frank however if RENO would not have it's conceptual raison d'etre: LE BALLET SURMODERNE (the supermodern ballet). He is clearly not thinking here about the ballet with its origins in the Italian Renaissance courts of the 15th century. Instead, RENO's origins are based in the last decade of the 20th century, the time of the 2nd psychedelic revolution: the Rave movement in San Francisco. There he organized Raves and Rave-type happenings with go-go dancers from nightclubs. There, while performing in drag, he met his future wife and eternal muse Nina. But it was not until he arrived in New York that the idea of electronic dance music as a form of avant-garde composition - a ballet music independent of the club scene - was born.

The music he now composed was for a utopian ballet surmoderne in which the separation between dancer and spectator no longer exist, where every movement of everything is in equal relation to every other movement and in time with the rational clock of the universe. The clock is the ever-present bass drum ticking away at frequencies that the body can feel. The ballet's primary perception and experience is physical, expressing a dancing paradox: Every bar is different, but only minimally so; RENO is repetitive music, but there is really no repetition.With these ideas in his head he went out all over New York to find the support of 3 wise men, mainstays of the New York downtown scene, each shifting the paradigm of the classical composer: producer Peter Scherer, multi-instrumentalist Elliott Sharp, and intermedia artist GLOVE.

Alas, Frank continued to live as a skinny lad, under great stress and in poverty in New York. With his arthouse work FRANK GENIUS PRESENTS PLANET GENIUS a commercial flop, he was unable to sign any kind of album deal or have an opportunity to stage his ballet music. In 1998 he moved to Los Angeles. RENO was left unpublished, a torso without head or limbs. Until Now.

RENO was scored in CUBASE on an ATARI ST computer, hooked-up to an orchestra of what today would be considered vintage synthesizers, samplers and drum machines, most of which share the reputation of being hard to program. This can now be considered a l'esprit de vie that runs through all of Frank's work. Not surprisingly, the drama of RENO as the invisible ballet surmoderne unfolds with a different style and soundset for each track. Because this dance music definitely has meat on its bones it's commonly referred to as BEEFY HOUSE.

keywords: Arp AXXE Emu Drumulator Rhodes MK-80 Kurzweil K2000 Roland TR-707 Roland Juno-106 Yamaha TX-16W Yamaha FB-01 Yamaha TX-81Z Yamaha REX-50 Yamaha TX-7

Tracklisting: year opus
[01] New York German Film Star 1994 248 5:32
[02] New York E Sharp Espresso 1997 280 5:21
[03] New York Brooklyn Warehouse Party 1995 253 4:45
[04] New York Graphic Equalizer 1994 242 4:51
[05] San Francisco Wings As Eagles 1992 177 3:50
[06] San Francisco I Love Nina 1993 214 2:59
[07] New York Dancefloor Killer 1994 244 5:34
[08] San Francisco Jazz Hands 1992 179 5:09


Expect no less than good-natured surprises and the occasional question mark when you read the name Frank Rothkamm.

Reno is an album of flaccidly pushy electronic music composed during the 90s, entirely orchestrated on an Atari ST computer running on Cubase and connected to an array of vintage synthesizers and ancient-sounding drum machines. In essence, this is the sonic rendering of a concept – that of the “supermodern ballet” – according to which audience and performers become one thanks to the universal clock which regulates the (presumed) proportion between the rhythms of our own cosmos and the neuroses deriving from the numerous difficulties contained therein (including the impossibility of getting a work acknowledged, namely what happened to Rothkamm when he went to New York in search of record deals and/or other types of artistic glory and was instead forced to live in stressful conditions throughout the stay).

The original background for this stuff has to be found in San Francisco’s Rave movement, of which the main character was a booster both as organizer and performer in the years of reference.

The sounds get consistently thrown to our ugly mug in all their scientifically démodé appearance: mathematical programming, wishy-washy timbral stableness resulting in some mythical splashes of blubbery synthesis, and a smattering of retro jewels (“Graphic Equalizer”, “Dancefloor Killers” and “Jazz Hands”) that will make someone put on the red shoes and dance a peculiar kind of blues. And it’s also perfect, enjoyed via ear-clogging headphones, for terminating the verbal bullshit surrounding a pitiable train traveller.

I met Frank Rothkamm musically a few years ago and today, after he devoted several pages, I realize I do not know him, for this reason continues to attract me the brilliance, the versatility, the unpredictability that saw him appear in cities across the States, leaving behind If ever a trail of music business.

"America" ??was eighteen months ago: a story of his American stars and stripes, of what he has grasped the intellectual and cultural substrate, even in "low" social spheres, the United States.

The south, west, or corrupt the pure soul of a nation ever get tired of being the cultural hotbed, hated, loved, not understood by anyone who does not dwell.

Frank is left to gobble up these States, and today, from California, changed its route to the distant sounds of piano introspection, captions environmental fields generated with recording in his painting urban images, far from New York, away from the art of street, away from everything that is not also present his art, color-east coast for a sound urban and fashionable.

Clubber: Frank Rothkamm today is extremely clubbers, free-jazz tinged house or his rhythmic fashion, a chrysalis which opened after a purifying insight in to the temptation of California nightclub ...

... Cool!

At the opening of "Reno" borders on the TBM power "German Film Star" has high beats interspersed with winding paths without support drum: most convincing "And Sharp Expresso" danceable dub doused in house, all in the refining disturbing unwanted electronic "Graphic Equalizer "or" Dancefloor Killer ", I guarantee you that while listening to this song instinctively try a Negroni or a glass with your favorite long drinks.

More complex constructions instead for "Wings As Eagle", tribal and dark, unusually located between ethnicity dubstep jungle fonts and pleasantly vintage lo-fi in the aroma of the past wanted to use an old Atari and outdated software.

Closes the night "Jazz Hand Speed", a hymn to the dance floor even more glamorous, where you can dance to seduce with a look, but by communicating with the body without sweating your willingness to live the night no matter what happens, a potential for a fascinating city sorceress.

Frank Rothkamm today (I know from experience what will be tomorrow ...) is the fruit of her here and now and the here and now Frank is "Reno" between Nevada and California and an eight-track digipack limited edition, yet another hot tip for a floppy piece of jewelry.

-- Original Italian ---

Ho conosciuto Frank Rothkamm musicalmente alcuni anni fa ed oggi, dopo varie pagine lui dedicate, mi accorgo di non conoscerlo ancora; per questo motivo continua ad attrarmi la genialità, la versatilità, l’imprevedibilità che lo vede comparire in diverse città degli States lasciando dietro se una scia di musica mai commerciale.

“America” risale a diciotto mesi fa: un racconto stelle e strisce della sua America, di ciò che ha saputo cogliere dal substrato intellettuale e culturale, anche nelle “basse” sfere sociali, degli States.

Il sud, l’ovest, l’anima pura o corrottissima di una nazione mai stanca di essere fucina culturale, odiata, amata, incompresa da chiunque non vi abiti.

Frank si è lasciato fagocitare da questi States ed oggi, dalla California, cambia la propria rotta verso sonorità lontane dalle introspezioni di pianoforte, le didascalie ambientali generate anche con fields recording nel suo dipingere immagini urbane, lontano da New York, lontano dall’arte di strada, lontano da tutto ciò che non sia il suo presente anche artistico, colori da east-coast per un suono urbano e modaiolo.

Clubber: Frank Rothkamm oggi è estremamente clubber, tingendo di free-jazz o di house la sua ritmica fashion, una crisalide che si è aperta dopo un introspezione purificatoria alla tentazione della California da club notturno…


In apertura “Reno” sfiora la power TBM: “German Film Star” ha battiti elevati intervallati da percorsi sinuosi senza supporti drum: convince di più “E Sharp Expresso” dub ballabile irrorato di house, raffinando il tutto nelle conturbanti volute elettroniche di “Graphic Equalizer” o “Dancefloor Killer”, vi garantisco che d’istinto mentre ascoltate questo brano cercherete un bicchiere con un Negroni o con il vostro long drink preferito.

Costruzioni più complesse invece per “Wings As Eagle”, tribale ed oscuro, insolitamente collocato tra etnicismi jungle di carattere e dubstep lo-fi piacevolmente vintage nel suo aroma d’altri tempi voluto nell’uso di un vecchio Atari e di software datati.

Chiude la notte di “Jazz Hand Speed”, ancora un inno al dancefloor più glamour, dove si balla per sedurre con lo sguardo, senza sudare ma comunicando col corpo la vostra predisposizione a vivere la notte qualunque cosa succeda, un potenziale affascinante per una città maliarda.

Frank Rothkamm oggi (so per esperienza non sarà quello di domani…) è il frutto del suo qui ed ora ed il qui ed ora di Frank è “Reno” tra Nevada e California: otto tracce ed un digipack in edizione limitata, l’ennesima punta piccante per un dischetto gioiello.

One thing you know for sure when you open a package with a new release by Frank Rothkamm: you never know what to expect. It can be literally anything: electronic music, ambient, classical piano, or techno music.

'Reno' is however an older work - music for a ballet, but all with modern music, techno/house like, as played on a bunch of ancient synthesizers, connected with Cubase and an Atari computer. 'The music [he] now composed was for a utopian ballet surmoderne in which the separation between dancer and spectator no longer exist, where every movement and in time with the rational clock of the universe'. This work was to be presented in New York, but Rothkamm failed to generate any interest in it, and in 1998 he moved to Los Angeles, and shelved 'Reno'.

Now he releases it and strange it is - once again. Very slick house/techno music, produced excellently, which is a bit odd to play early morning, around christmas time, as its more sweaty, late night dancing music - music to be played loud and with lots'a bass, which is hardly the appropriate thing for a christmas day. Fat cliche's pass along here, reminding me of the German Toxictraxx/House Natives, but I'm sure it will have other connections for those who like mid 90s dance music.

I simply thought this was a very fine release. If only I knew of a good retro party for the year's end, and I could bring this as a lost work of the time. (FdW)
Frans de Waard VITAL WEEKLY

Frank Rothkamm‘s Reno (FLUX RECORDS FLX15) feels like a joke I don’t quite “get”. This German experimenter based in Los Angeles has excelled in providing witty tongue-in-cheek sleeve notes to his own releases of electronic music, sometimes so convoluted it’s impossible to tell when the joke leaves off, if indeed it ever does. Reno is no exception; the written insert would like us to entertain the notion that’s it’s music for a futuristic, superhuman ballet, and was executed using a program on an old Atari system connected to a suite of synths, drum machines and sequencers, which we are invited to view as an “orchestra”. Rothkamm refers in passing to rave culture in San Francisco, to New York downtown music producers, and to a genre laughingly called “Beefy House”, a term coined to express the idea that this music “has meat on its bones”. In spite of all this good natured and chortle-worthy contextualising, all I hear on the record is very average identikit disco music. Wha…?

Herr Rothkamm has become a regular player of our magazine in the last three years, and this allows us to no longer having to submit to the Italian public personality, versatile and prolific schizophrenia. After the disks that have ranged from the most unthinkable experimentalism, from piano to symphonic concrete music, through the revisiting of Hollywood soundtracks, Rothkamm has carved out of the previous eighteen months and has published for its Flux yet another disk who wants to point to the dispute, hoping to bring tears of joy to some old fond of his ruminations sound and style. The 38 minutes of "RENO" at first glance are not sufficient to describe an album higlight of the year just ended, but make it clear once and for all a question on the lips of anyone who has ever faced the music of the German immigrant in the United States. Frank Rothkamm is a genius. Too precise and perfectionist to be unruly, too brief to sign works at long range. This does not mean that all his work is not a pleasant surprise, but the obscurity with which it has always presented itself to the bottom much less profound than his versatility has always wanted to believe. "RENO", for a change, stop the bridges with earlier work, and runs on a conceptual and musical tribute typically dance / underground. This is the first work of Frank after health problems due to drug abuse and the encounter with the companion / muse, Nina, who also accompanies him through the tracks with some warbling. Difficult to detect the inspirations mentioned in presskit. The Renaissance dances give way to simple atmosphere of rave parties, stubborn and vaguely lysergic, far dall'avanguardismo promised. This does, however, "RENO" a bad job. The tracks run without commitment, cuddling lovers of the genre with all the recurring clichés and you find yourself seduced by the rhythm discotecaro. Rothkamm has found his new Mecca in a nth aesthetics generally a bit 'too simplistic to call into question issues dear as the resurrection or the rediscovery of the ego - because this is the spirit of the new Frank, survived by a sober and poverty that hit him. Obviously songs like "Wings As Eagles" (the beautiful house typically 90s, but remember that "RENO" was ready for publication in 1998 ...), "E Sharp Express" or "Jazz Hands" ( the title alone invokes the sound print) are a nice soundtrack when the body craves syntheticism, however, is once again light years from a hard epochal achievement that Rothkamm hopes to cut out each label. If it is also a genius, but misunderstood, the only certainty is that despite the quality, the German musician will not sign never an absolute masterpiece. But you should not desist from it, and if his previous discs have meant something to you.
Max Firinu
original Italian
Herr Rothkamm è diventato ormai un abituale protagonista della nostra rivista negli ultimi tre anni, e questo ci permette di non dover più presentarne al pubblico italiano la personalità versatile e la prolifica schizofrenia. Dopo dischi che hanno spaziato fra i più impensabili sperimentalismi, dal pianismo sinfonico alla musica concreta, passando per le rivisitazioni delle colonne sonore hollywoodiane, Rothkamm si è ritagliato diciotto mesi dell'anno precedente e ha dato alle stampe per la sua Flux l'ennesimo dischetto che vuole puntare alle controversie, sperando di far urlare al miracolo qualche vecchio affezionato alle sue elucubrazioni sonori e stilistiche. I 38 minuti di "RENO" non sono di prim'acchito sufficienti a designare un album higlight dell'anno appena trascorso, ma chiariscono una volta per tutte una questione sulla bocca di chiunque si sia mai trovato di fronte alla musica dell'artista tedesco emigrato negli Stati Uniti. Frank Rothkamm non è un genio. Troppo preciso e perfezionista per essere sregolato, troppo sommario per firmare opere a lunga portata. Questo non significa che ogni suo lavoro non sia una piacevole sorpresa, ma l'ermetismo con cui si è sempre presentato risulta di fondo molto meno profondo di quanto la sua poliedricità abbia sempre voluto far credere. "RENO", tanto per cambiare, interrompe i ponti con i lavori precedenti, e si snoda su un tributo concettuale e musicale tipicamente dance/underground. Si tratta del primo lavoro di Frank dopo problematiche di salute dovute all'abuso di stupefacenti e l'incontro con la compagna/musa Nina, che lo accompagna anche tra le tracce con qualche gorgheggio. Difficile ritrovare le ispirazioni citate nel presskit. I balletti rinascimentali lasciano spazio a semplici atmosfere da rave party, ostinate e vagamente lisergiche, ben lontane dall'avanguardismo promesso. Ciò non fa però di "RENO" un brutto lavoro. La tracce scorrono senza impegno, coccolano gli amanti del genere con tutti i luoghi comuni ricorrenti e ci si ritrova sedotti dal ritmo discotecaro. Rothkamm ha trovato la sua nuova ennesima Mecca in un genere dall'estetica un po' troppo semplicistica per chiamare in causa temi cari come la resurrezione o la riscoperta dell'Io - perché è questo lo spirito del nuovo Frank, sobrio e salvatosi dalla povertà che lo ha investito. Ovvio che brani come "Wings As Eagles" (splendida quanto tipicamente house anni '90, ma è bene ricordare che "RENO" era già pronto per la pubblicazione nel 1998...), "E Sharp Espresso" o "Jazz Hands" (il titolo da solo richiama l'impronta sonora) sono una piacevole colonna sonora quando il corpo brama il sintetismo, però si è ancora una volta anni luce da un disco epocale, traguardo che Rothkamm spera di tagliare ad ogni uscita discografica. Nel caso fosse anche un genio, ma incompreso, la sola certezza è che nonostante la qualità, il musicista tedesco non firmerà mai un capolavoro assoluto. Non dovrebbe però farvi desistere dal recuperarlo, se i suoi precedenti dischi hanno già significato qualcosa per voi.

MM: Unfortunately, the CD is not playable. She is already damaged by external physical impression here and then actually ran on multiple devices is not, not even a brand new DVD player, which otherwise takes all CD formats as a last resort. The CD is therefore inevitably defective.
This is really a shame, because it does from Los Anegels Dusseldorf to Graz on a very long journey and now must ultimately make its way to the recycling center.
I would draw your attention only, so please do not wonder, why does not the part of the Meter no reaction to the album.
FR: I am glad that you were trying to decipher the underground Ballet RENO after their long journey. Fortunately, there is also a different way. You can listen to the album for free at any time
MM: Thanks for the tip, I will certainly do. I write reviews, but only because of physical CDs.
--- original German ---
MM: Leider ist die CD nicht abspielbar. Sie ist bereits vom physikalisch-äußerem Eindruck her beschädigt und lief dann tatsächlich auf mehreren Geräten nicht, noch nichteinmal einem brandneuen DVD-Spieler, der ansonsten alle CD-Formate als letzte Instanz annimmt. Die CD ist also unweigerlich defekt.
Dies ist eigentlich sehr schade, da sie doch von Los Anegels über Düsseldorf bis Graz eine sehr weite Reise hinter sich hat und nun letztlich doch den Weg zum Wertstoffhof antreten muss.
Ich möchte Sie nur darauf aufmerksam machen, also bitte nicht wundern, warum von Seiten der TERZ keine Reaktion auf das Album kommt.
FR: Es freut mich dass Sie das Untergrund Ballet RENO nach ihrer großen Reise zu entziffern versuchten. Zum Glück gibt es auch eine anderen Weg. Sie können sich auf das Album umsonst jederzeit anhören.
MM: Danke für den Hinweis, das werde ich bestimmt tun. Reviews schreibe ich allerdings nur aufgrund von physischen CDs.

To my ears Frank Rothkamm’s “house music” projects are the least interesting facet of his oeuvre. Reno belongs to the same “sub-category” of his output as Frank Genius Presents Planet Genius. It was recorded in the late ‘90s and left unpublished until now. Ultra-accessible dance music. It’s simplicity is deceiving of course – this IS Rothkamm – but it’s simply not my cup of tea.

-- french --

À mes oreilles, la facette “house music” de l’œuvre de Frank Rothkamm est la moins intéressante. Reno appartient à la même catégorie que Frank Genius Presents Planet Genius. Il s’agit d’ailleurs d’un album réalisé à la fin des années 90 et demeuré dans le tiroir. Musique de club très accessible, d’une simplicité trompeuse certes, mais tout de même pas ma tasse de thé.
François Couture CLFX


Broadcast:Friday 3 February 2012 11:20PM
I started to pick some of the best new stuff that I've heard, and then I noticed that 8 of the 13 tracks are Australian.

Supporting Information

part one

Broadcast Time: 2320
Track Title: bundled
Artist: wharf99
CD Title: the shapes of synths to come
Composer: wharf99
Duration: 2.50
Record Co.: cdr
Publisher: wharf99
CD Number: cdr

Broadcast Time: 2323
Track Title: softwave
Artist: wharf99
CD Title: the shapes of synths to come
Composer: wharf99
Duration: 8.20
Record Co.: cdr
Publisher: wharf99
CD Number: cdr

Broadcast Time: 2331
Track Title: and here is the mind
Artist: nick ananke
CD Title: ananke
Composer: nick tsiavos, achilles yiangoulli, anthony schulz
Duration: 5.00
Record Co.: ananke
Publisher: ananke
CD Number: anan007

Broadcast Time: 2335
Track Title: golden hour
Artist: nick huggins
CD Title: single from five lights
Composer: huggins
Duration: 2.45
Record Co.: two bright lakes/remote control/inertia
Publisher: two bright lakes
CD Number: promo only

Broadcast Time: 2338
Track Title: one track mind
Artist: raffertie
CD Title: mass appeal
Composer: raffertie
Duration: 10.20
Record Co.: just isn't music/ninja tune/inertia
Publisher: just isn't music
CD Number: cencds306

Broadcast Time: 2349
Track Title: let you go
Artist: hermitude
CD Title: hyperparadise
Composer: hermitude
Duration: 4.45
Record Co.: elefant traks/inertia
Publisher: elefant traks
CD Number: ace069

Broadcast Time: 2355
Track Title: graphic equalizer
Artist: frank rothkamm
CD Title: reno
Composer: rothkamm
Duration: 4.50
Record Co.: flux records
Publisher: flux records management
CD Number: flx15

part two

Broadcast Time: 0006
Track Title: gobi road
Artist: hanggai
CD Title: he who travels far
Composer: hanggai
Duration: 3.30
Record Co.: world connection
Publisher: no details
CD Number: 43088

Broadcast Time: 0010
Track Title: lafaye
Artist: school of seven bells
CD Title: single from ghostly [out in march]
Composer: school of seven bells
Duration: 4.10
Record Co.: vagrant/inertia
Publisher: vagrant
CD Number: promo only

Broadcast Time: 0015
Track Title: broken wing
Artist: mrs bishop
CD Title: single
Composer: mrs bishop
Duration: 3.30
Record Co.: falcona recordscreative vibes
Publisher: no details
CD Number: promo only

Broadcast Time: 0019
Track Title: Bruxism [Pocket House Remix]
Artist: Trophy Wife
CD Title: Remixes
Composer: Trophy Wife
Duration: 5.15
Record Co.: pod/inertia
Publisher: no details
CD Number: promo only

Broadcast time: 0024
Track Title: no room no passages
Artist : masonik
Sourced from pool
Composer: masonik
Duration: 5.50
unreleased, available to either stream or download from pool
Masonik has been a long time fan of existential writing & No Rooms No Passages sees Jean-Paul Sartre's "No Exit" remixed from the 1968 Lp adaptation by Paul Bowles. Basil Psanoudakis - Bass, turntables & electronics. Andy Hawkins - Guitar

Broadcast time: 0030
Track Title: crawling on the ocean floor
Artist : paul fletcher
Sourced from pool
Composer: fletcher
Duration: 7.00
unreleased, available to either stream or download from pool
Ambient soundscape- could be from the depths of the ocean or any other mysterious fascinating environment- sounds made from vinegar and bicarb sizzling and fizzing,real ocean, and resynthesiszed and drawn sounds using visual music program metasynth

Zervm: Alpha And Omega (Nex Cvltvs - Darker Than Black records)
Frank Rothkamm: Brooklyn Warehouse Party (Reno – Flux records)
Owlscry: Absent Presence (Owlscry)
Red Winter: Toward The Twilight (Red Winter I)
Pure: Icy Space (Fever Dreams – Bleak)
Boniface: Lords Of Winter (Boniface/Dwarrowdelf Split)
Verwüstung: Comasleep (I First Saw You On That Snowy Night And Couldn't Shake An Overwhelming Feeling Of Sadness)
LAAG: Préliminaires (Various Artists: Le Parfum De Jean – Earsheltering)
Dark Symphony: Tracing the Dark Path (Dark Symphony)
Aspectee: espe (Jour Cinq – Black Drone)
David Lynch's Hat: Satan Pt. II (Satan (single))
Darkenhöld: Marble Bestiary (A Passage To The Towers... - Ancestrale production)
Akhet: untitled (Akhet – Tonefloat records)
Súl ad Astral: Allure (Allure)

13/01/2012 [leggi tutto]

EMANUELE MANISCALCO, Victoria, da "From Time to Time. The Music of Paul Motian" - Él Gallo Rojo 314-49
AMSTERDAM KLEZMER BAND, Papa Chajes, da "Katla" - Essay Recordings AY CD 28
FRED HO AND THE GREEN MONSTER BIG BAND, Shake Up the World!, da "The Sweet Science Suite" - Mutable/Big Red Media 003
el TiGeR CoMiCs GRoUP, Cloud, da "Ladybird" - Optical Sound OS.046
FRANK ROTHKAMM, E Sharp Espresso, da "Reno" - Flux Records FLX15
TAYLOR DEUPREE, Focux, da "Focux" - Lantern LANT008
RALPH ALESSI AND THIS AGAINST THAT, Sock Puppeteer, da "Wiry Strong" - Clean Feed CF220CD
TONY MALABY, Floating Head, da "Tony Malaby's Novela" - Clean Feed CF232CD
DANIEL HUMAIR/JOACHIM KÜHN/TONY MALABY, Buried Head, da "Full Contact" - Bee Jazz Records BEE 020
MARTY EHRLICH'S RITES QUARTET, Walk Along The Way, da "Frog Leg Logic" - Clean Feed CF242CD
BASSDRUMBONE, The Masque, da "The Other Parade" - Clean feed CF223CD
CARLOS BICA & AZUL, Horses, da "Things About" - Clean Feed CF239CD
 nicola catalano RIA RADIO 3

PLAYLIST de la 756e émission de radio « Le Vestibule »
Diffusée le 7 janvier 2012 entre 21 h et 23 h
Sur les ondes de CFOU 89,1 FM

PLAYLIST of the 756th radio show « Le Vestibule »
January 7, 2012 from 9:00 P.M. to 11:00 P.M.
on CFOU 89.1 FM

1) Jacaszek: “As Each Tucked String Tells” (GHOSTLY INTERNATIONAL)

2) ABC Galaxy: “In Stormy Daniels” (SELF-RELEASE)

3) ** Amiina: “Mambó” (AMINAMUSIK EHF.) **

4) Boom Bip: “Manabozh” (LEX RECORDS)

5) Feist: “How Come You Never Go There (Beck Remix)” (ARTS & CRAFTS)

6) Troels Abrahamsen: “Called” (A:LARM MUSIC)

7) Nagano Kitchen: “Black Panther” (DRUMCODE)

8) Delhi 2 Dublin: “The Evolution (Feat. OKA) (Delhi 2 Dublin’s Down Under Mix)”

9) Dead Can Dance: “Crescent (Live)” (SELF-RELEASE)

10) Sieben: “Music Is Light” (REDROOM RECORDS)

11) Alcest: “Autre Temps” (PROPHECY PRODUCTIONS)

12) Germany Germany: “120” (SELF-RELEASE)

13) Unwoman: “Ceremony” (SELF-RELEASE)

14) Notic Nastic: “Cyanide” (NOTIC NASTIC)

15) Opera Multi Steel: “Un Cri (Autres Appels Version)” (INFRASTITION)

16) The War On Drugs: “Come To The City” (SECRETLY CANADIAN)

17) Frank Rothkamm: “New York E Sharp Espresso” (FLUX RECORDS)

18) Lykke Li: “I Follow Rivers (The Lost Sessions)” (SELF-RELEASE)

19) James Blake: “Not Long Now” (ATLAS RECORDINGS)

20) Clock Opera: “Lesson No 7 (Tom Vek’s Tripping Remix)”

21) WhoMadeWho: “All That I Am” (KOMPAKT)

** (Demande spéciale/Special Request) **

Jean-François Fecteau

Listen to the January 7, 2012 radio show Le Vestibule:

Download Le Vestibule, January 7, 2012: