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Techno - Released May 12, 2017 | InFiné

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An untouchable. The status of Carl Craig , pioneer of Detroit Techno, is such that without him, countless electro tinkers would still be fooling around with their Playmobil to this day... the album that he offers here is a project all in its own right. Versus is in effect a kind of work in progress which subscribes to the philosophy of InFiné, an expert in stylistic hybridisation, and Planet E, the stable founded by Craig en 1991. It is also a kind of epilogue to a concert that the American played in 2008, at the Cité de la Musique, at which he was accompanied by the Les Siècles orchestra directed by François-Xavier Roth, Berlin electro producer Moritz Von Oswald and classical pianist (and electro musician) Francesco Tristano Schlimé. On the bill, City Life by Steve Reich, Streets by Bruno Mantovani and six pieces by Craig… Almost a decade later, Versus takes its inspiration from a this meeting of the genres. Here we find electronic miniatures plunged into the grandeur of symphonic music. Twelve of the fourteen pieces on the record are by Craig (mostly his great classics), with Tristano looking after the arrangements. The latter is also the writer of the other two pieces. Versus offers, above all, welcome and intelligently-composed and arranged performances which avoid the clichés that the marketing label " techno meets classical " could easily conjure up.. Inspiring and inspired. © MD/Qobuz
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Ambient - Released April 24, 2020 | InFiné

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Classical - Released June 5, 2020 | InFiné

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After Glass Cage in 2000 and Glass Piano in 2015, New York Julliard graduate pianist Bruce Brubaker returns to his obsession with Philip Glass. Brubaker taught Francesco Tristano, who went on to create many bridges between classical and electronic music. He is also one of Philip Glass’ specialists, a composer that he has played and reinterpreted many times.This time, Brubaker chose to team up with Irish musician Max Cooper, the flagship of IDM. Cooper who, on his last album, Yearning for the Infinite, invented a sort of “chaos generator”, was the perfect candidate for a tribute to one of the masters of minimalism. In the album, the seminal piece Two Pages (1968) acts as a “single track” (provided that this concept has any meaning here). It is a ten-minute hypnotic piano solo deepened by the modular synthesizer that Cooper adds to the background. The record opens and closes with two key pieces: Metamorphosis 2, a cathartic composition, and one of Glass’ major “hits,” and the Opening of Glassworks where Max Cooper’s discrete work reinforces the piece’s contemplative feel. © Smaël Bouaici/Qobuz
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Ambient - Released January 24, 2020 | InFiné

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Ambient - Released September 16, 2016 | InFiné

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distille un univers bien à lui
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Ambient - Released November 3, 2017 | InFiné

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Christmas falls on the 3rd November this year for electro fans. Because each time Erwan Castex a.k.a. Rone drops an album it really is a gift. This disc comes four years after Tohu Bohu (his magnificent missive written and posted from Berlin, which allowed him to make a name for himself and impose a style of his own) and two years after the beautiful and bewildering album Creatures. This gifted sound engineer has now added another floor to his electronic tower of Babel. And yes, it is indeed this famous construction from The Book of Genesis that is the best symbol for his work. Far from the dancefloor, Rone’s music is a multistory building in which we have already met people as diverse as Etienne Daho, François Marry without her Atlas Mountains, the unusual cellist Gaspar Claus, the equally elusive pianist Bachar Mar-Khalifé, Bryce Dessner from The National or even the avant-garde Japanese trumpeter Toshinori Kondo… For this fourth work, whose liner notes bear the name of Michel Gondry and his son Paul, Rone has assembled John Stanier, Claus and Dessner from the group Vacarme once again, as well as the slam poet Saul Williams, the quirky Baxter Dury, the Israeli Noga Erez and Kazu Makino from Blonde Redhead. Taken independently, each piece on Mirapolis differs from the next. But Rone, being a sound architect, manages to homogenize all these sound textures and ambiences to make for a disorienting sensory trip. Sometimes electro is not the dominant genre but this doesn’t matter as it’s always Rone who comes out on top. © MD/Qobuz
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Ambient - Released May 22, 2020 | InFiné

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Solo Piano - Released June 1, 2015 | InFiné

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Flamenco - Released April 15, 2016 | InFiné

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Ambient - Released April 15, 2013 | InFiné

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4 stars out of 5 -- "Balancing techno heft, classical flourishes and the springier end of Krautrock, the trio's second album is disciplined by always engagingly playful." © TiVo
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Ambient - Released February 9, 2015 | InFiné

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Techno - Released November 16, 2009 | InFiné

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As the '80s as general concept take on more of a generally talismanic reference point for newer musicians to pick and choose from, it's perhaps not surprising that electronic pop and dance musicians are finding some of the lesser-known but still generally familiar approaches of the time a new frontier to work in. Danton Eeprom has appeared on a variety of singles and collaborations already but his 2010 debut full-length is something else again, often feeling like an alternate reality where strangely quirky electro-rock via acts like Station to Station-era David Bowie didn't become a cue for AOR smoothies in the end -- or alternately, where Gary Numan's shift to a self-consciously warmer sound circa Berserker didn't end up causing him to trip over himself. The elements on songs like "Thanks for Nothing" have all the gated drums and airy synth textures and general neon-lit bar moves one could want, while other touches like the brass breaks on "Give Me Pain" and the near power ballad synth melody and slow drumming opening of "Vivid Love" further call the past to mind. Yet for all this, Yes Is More is not a retro album but a recombination of past and present -- the bubbling, quick-paced breaks and textures on a song like "Stilettos Rising" is more post-glitch than of-the-time Miami Vice, while the lengthy "Confessions of an English Opium-Eater" has the kind of crisp neo-EBM punch one would expect from Motor or Kasper Bjørke. Meanwhile, there's a full-on nod to even earlier inspirations thanks to a cover of the Sister Sledge's "Lost in Music" featuring Erika Forster of Au Revoir Simone on vocals, turning the anthem into more of an expression of regretful surprise, while in the most unexpected move of all, concluding track "What's a Balloon But a Bag of Air" is a guitar pop instrumental with beats and chimes that is almost Mogwai goes dance -- a striking way to wrap up a quietly inventive album. © Ned Raggett /TiVo
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Ambient - Released September 8, 2014 | InFiné

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Ambient - Released March 4, 2016 | InFiné

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Electronic - Released November 4, 2013 | InFiné

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Electronic - Released February 3, 2014 | InFiné

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Techno - Released April 23, 2012 | InFiné

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Soundtracks - Released May 9, 2011 | InFiné

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Ambient - Released November 24, 2014 | InFiné

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"It’s an album that speculates about the intricacies of sound, but finishes with the mystery of those intricacies still intact." © TiVo
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Electronic - Released November 15, 2010 | InFiné

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"IDIOSYNKRASIA retains the sharp darkness of where techno essentially resides -- inside a hefty club soundsystem -- and Tristano uses his piano to fill the areas between electronic pulses with light and shade." © TiVo

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