Dear all,






Availability: Between 25th October and 6th November

Territory: Belgium




Availability: from early October onwards

Territory: Europe



Availability: Between 25th and 28th September

Territory: Europe except but France





The album is neither rock, electronic or folk. It’s all three at the same time. It’s the culmination of influences and desires of its master, who disregards barriers and enjoys the freedom to elaborate.

An album like this one is clearly the result of a refusal to stay within the perimeters of any one style, thus allowing the listener too, to escape conventionalism. Finally, we find ourselves confronted with an album that is melancholic, untameable, hypnotic and intense which even after several listens, is still fresh, and that is its strength.

The release of Pensée Magique coincides with the return to stage of Les Marquises, supported by their tour manager/promoter La Route Du Rock Booking. Jean-Sébastien will be accompanied by his brother Julien on drums, Arnaud Lemoine on vocals and keyboards, and Souleymane Felicioli on trumpet, for performances that promise to be even more fierce and adventurous than the album.




The Membranes formed in 1978 in Blackpool out of punk and DIY culture and then went on their own path.

Recently reformed the band were a highly influential underground UK post punk band who preceded the late eighties noise bands like Big Black and Sonic Youth and My Bloody Valentine by several years.

They were championed by John Peel and the music press and had several front covers and top ten indie albums and singles. They were original and ahead of their times with their idiosyncratic music and brilliantly twisted lyrics.

They toured the world and were released by Homestead Records in the USA and were the first band that Steve Albini world with outside Big Black.

Dinosaur Jnr recorded the iconic video for Freak Scene in their back garden and they made several TV appearances of their own in the UK.

The band reformed a couple of years ago to play music on their own terms.

They are still inspired by punk rock but believe music has no boundaries.

The new music weaves noise, drones, found percussion, feedback, discord, melody, free jazz, dub, dark- dub, free punk, heavy rhythms, classical music, orchestras, percussion, near silence, death to trad rock noise and freedom into a unique whole of beauty and noise and enjoys all the contrasts.




DECOY feat Joe McPhee

Decoy are also unusual in that their line-up features a Hammond organ.

It’s not an instrument that’s easily led to new musical pastures, but the group’s Alexander Hawkins seems to have done it without too much force, and doesn’t really reference anyone who’s gone before him.

Bassist John Edwards and drummer Steve Noble are somewhat ubiquitous on the free jazz circuit, due to their ability to spontaneously construct and deconstruct grooves, producing sounds you’d be more likely to hear coming from a breaker’s yard than from bass and drums. They give Decoy’s music a rich, volatile undertow.

Despite his reputation as a high-energy player, McPhee is a restrained presence here. Opening with pocket trumpet, he peals off some joyous, Don Cherry-type squalls as an annunciation.

The music has space but soon hums with tension, McPhee sighing out melodies like a weary bugler over icy shimmers from the Hammond and the rhythm section’s opening salvos.

Joe McPhee (born November 3, 1939)[1] is an American jazz multi-instrumentalist born in Miami, Florida, a player of tenor, alto, and soprano saxophone, the trumpet, flugelhorn and valve trombone. McPhee grew up in Poughkeepsie, New York, and is most notable for his free jazz work done from the late 1960s to the present day.

McPhee was born in Miami, Florida. He began playing trumpet at age eight before learning other instruments. He played in various high school and then military bands before starting his recording career. His first recording came in 1967, when he appeared on the Clifford Thornton album titled Freedom and Unity. He taught himself saxophone at age 32 after experiencing the music of John Coltrane, Albert Ayler, and Ornette Coleman. During the late 1960s and early 1970s, McPhee lectured on jazz music at Vassar College.







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All the best.






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