Delphine Dora clearly has special ears. From atonal strings sandwiching heartfelt pub pop, to ornate Scandi bonkersness, lo-fi voyeur folk, distorted lobby piano and countless more strange weather systems – this mix is dizzyingly rich and weirdly emotional. Delphine’s own work has much the same effect, smooshing together pretty keyboard motifs and choral unease (check out her recent tape of surprisingly comforting incantations, L’au-delà). More words from Delphine below.
Francis Plagne – Yesterday Sponge (Tenth Volume of Naps, Lost & Lonesome, 2011)
I discovered this Australian songwriter first through his appearance on Andrew Chalk’s Painted Screens. I then discovered his Food Court collab project (a trio including some of the great experimental musicians from Australia: Joe Talia, James Rushford and Plagne), with their curious and stunning interpretation of Solage’s ‘Fumeux Fume Par Fumme’. I then found his solo album which includes ‘Yesterday Sponge’. The construction of the song is completely genuine, starting with a curious concrete music passage and strange cuts of orchestral and experimental/free jazz/orchestral in between, before ending wonderfully. And in the middle the perfect pop song that could have been just average without this construction. His music reminds me of Julia Holter’s pop, with its post-modern aspects and challenging ideas.
Frisk Frugt – Fugens Flugt (Den Europæiske Spejlbue, Tambourhinoceros, 2015)
Another geniune construction of pop music with orchestral arrangements, sung with a danish accent!
Weyes Blood – Maybe Love (Cardemon Times, Mexican Summer, 2015)
A pure classic, could have been recorded in the ’70s! And what a voice!
Graham Lambkin – Attersaye (Abersayne / Attersaye, KYE, 2013)
Strange and weird folk and another side of Graham Lambkin, more known for his sound art and collage works. This ballad sounds like nothing else.
Che-Shizu – Mariam Matrem (A Journey, PSF, 1994)
One of my favorite Japanese bands, an underground group from the ’80s-90s, led by Chie Mukai, the vocalist and er-hu player. This sounds like a cross between The Velvet Underground and The Raincoats in Japanese.
Jacques Thollot – Mahagony Extraits (Quand le Son Devient Aigu, Jeter la Girafe à la Mer, Futura, 1971)
This track comes from the unclassifiable album Quand le Son Devient Aigu, a really adventurous record from the French underground that is now cult.
Emmanuelle Parrenin, Phil Fromont, Claude LeFebvre – Berceuse Pour Rosemary (Château dans les Nuages, Cezame, 1976)
Another musician from the cult underground but more rooted in the folk and traditionnal repertoire. She’s currently active and I’ve been lucky to meet and make some music with her recently.
Nara Leao – Vou Por Ai (Dez Anos Depois, Polydor, 1971)
Brazilian music is so rich. There are so many jewels. I’ve chosen this ballad because I love its quietness and melancholy. This song was recorded in 1971 and is really reminiscent of the mood and colour of a French album I really like, La Question by Françoise Hardy, recorded the same year and really influenced by Brazilian music. Both albums were been arranged and accompanied by the guitarist Tuca.
Takahashi Mizutani – L’aube (Mizutani ’70, Rivista, 1991)
This is a quieter song and an unusual side of the leader of Japanese band Rallizes Dénudés, who are mainly known for their long, bruitish and noisy feedback on guitars.
Kara-Lis Coverdale – Circles, Apparitions (Tryptich I, self-released, 2012)
A canadian composer and electronic musician, more known for her collaboration with Tim Hecker. She’s also a talented pianist and released a magnificent EP of piano pieces on her bandcamp that are very Satie reminiscent.
Johannes Ockheghem – Offertorium (Requiem, Harmonia Mundi, 2007)
I’ve been listening recently to a lot of sacred music and polyphony. Sometimes I can listen this kind of music forever. I love music that is transcendental and that puts me in high state of consciousness.