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Jimi Tenor has always been something of a Renaissance man. On leaving his Finnish homeland for New York in the early 1990s, and later as he travelled through Europe, he quickly discovered what he calls his ikigai, his great joy in life: to record and produce music in DIY mode at home with the most rudimentary of means, spontaneously and intuitively. In more than 30 years of making music, Tenor has remained true to his ideal, whether as a solo artist on his early electronic albums or in the widely diverse collaborations and constellations which followed (with the likes of Tony Allen, Kabu Kabu, Abdissa Assefa). “Multiversum” is now his third album for Hamburg-based label Bureau B.

A deep house/techno gem from Marseille. Kriss aka Life Recorder is an analog master... Don't sleep on it. After label's debut in 2017, the second Transmission is coming from Life Notes Recordings. French producer Life Recorder is going further with his new Motion Process ID shaping a way to present another side of his music maybe darker but always showing love for emotional pads and atmospheres and willing to share something behind the music."Outside The Algorithm" presents 3 new deep techno tracks born from moods and feelings and here a reaction towards a music/art scene nowadays often ruled by social medias algorithms, image and egos. Technology can help us on the way even sometimes building bridges with the offline world but we have to reflect and preserve ourselves from wrong feelings and frustrations built from the digital era.

Transversales is very glad to announce the release of Mémoire Magnétique Vol. 2 spanning 1966-1993, revelatory collection of short and secret music by electronic music pioneer Bernard Parmegiani. Since the late 50's, Bernard Parmegiani, a major figure of electroacoustic music and a founding member of GRM has created some eighty two concerts music. From the start, Parmegiani’s work was closely linked to the screen, with dozens of documentaries, films, long features, animation films but also musical pieces for dance, stage or television. If many of his pieces are landmarks in the history of electroacoustic music (De Natura Sonorum, La Roue Ferris…), his application music compositions are strongly embedded in the subconscious landscape of the French public (Stade 2, Roissy Paris Airport…). The second volume of this compilation allows us to discover some of unreleased rarities from Bernard Parmegiani’s personal archives and unpublished recordings which were composed for the screen or the performing arts.

Allen Ravenstine's turbulent futurism behind the synthesizer was a key ingredient in American post-punk innovators Pere Ubu's distinctive sound. Just as Brian Eno's malevolent modulations had adulterated the glam-rock swagger of Roxy Music before him, Ravenstine's corrosive tones oozed through his band's songs like radioactive seepage, illuminating their otherwise guitar-driven landscapes with a strange chemical glow.In addition to playing with them from 1975-1989, he also co-owned the Plaza, a historic apartment complex in Central Cleveland where Pere Ubu members lived and created alongside a vibrant community of other artists. Music took a backseat for Ravenstine afer leaving the group, among other things he obtained his pilot's license and wrote a novel. The invitation to spar with fellow synthesist Robert Wheeler in 2012 for Waveshaper Media's acclaimed synth documentary I Dream Of Wires reignited his dormant sonic interests. Since then, he's unleashed a handful of recordings.The analog abstraction for which he became known remains a significant part of Ravenstine's current sound palette, but recent years have seen him turn increasingly toward outlandish eclecticism as his foundation. 2018's celebrated Waiting for the Bomb (RER Megacorp) bounded freely between disparate styles and instrumentation, all the while managing to convey a cohesive (albeit of-kilter) identity.Ravenstine is now launching his much-anticipated follow-upon Waveshaper—a series of four EPs collectively entitled The Tyranny of Fiction. Materializing as a pair of LPs with one EP per side, or as two double CD sets, these works continue to chronicle the approach unveiled on their predecessor. The cheeky series title hints at a tension that's fundamental to these recordings. Ravenstine's use of genre suggests it's almost a literary device to him—unsurprising, given his forays into the realm prose. Styles will ofen allude to underlying thematic or narrative elements. However, friction begins to arise when this is juxtaposed with his surreal sense of orchestration. He takes pure electronic sound, nuggets of real -world recordings, live instrumentation and the latter's sampled counterparts and stirs them all together vigorously. This makes for decidedly unfaithful reproductions of the various musical idioms his composition cite, leaving the listener to contend with constant dissonance—every feature of the music feels at once completely familiar and utterly inscrutable.Even within the brief span of each installment of The Tyranny of Fiction, Ravenstine gleefully embraces a panoply of modalities. ElectronMusic, the first of the bunch, uses ornery ambient music as its jumping-of point, embarking on excursions into hyperreal chamber music, and swarming sci-fi synthesizer. Shore Leave announces itself with a spartan piano miniature decorated with a sof trickling sound before a meandering into cubist exotica, sinister new age music, and what sound like 21st century nocturnes. A host of other mongrel styles spill forth over the course of Nautilus. Each track weaves its own wayward travelogue amidst stray bits of audio verité and wafting musical fragrances—by turns tropical and foreboding. Rue De Poisson Noir takes cues from its fragmentary companion, slithering between cinematic intrigue, of-brand jazz, avant-garde mischief, and fried electro without batting an eye. At various points throughout, Ravenstine's fried citationality might recall a young generation of Ohioan oddballs, Orange Milk Records. Like many acts on the innovative electronic music imprint, Ravenstine's colorful, innuendo-rich music is restless, playful, inquisitive and most of all evocative—never resorting to irony or other such ploys.

Hubwar is one of those artists who have been noticed by crossing the borders that previously separated IDM and bass-music. "Eikonoklastes", first album and cornerstone of his own imprint Noizion Recordz, already opens the possibilities : a subtle blend of electronica, dubstep, jungle and footwork. If this frst opus was rather cosmic, this new album brings us back to our planet, more precisely into the “Deep Earth”.In this journey with a thousand cultures, we wiggle on Brazilian rhythms with “Sambacraft”, enter a state of trance in the “Kudumbigala's” jungle, move our heads on “Northern Mali’s” trap-like beat, regain the dancefoor on a furious dubstep entitled “Acid Ababa", get lost in the tribal drums of “Far From" and hover over the atmospheric dub of "Slow ". In short, "Deep Earth" can be heard both on the living room turntable or on a big sound system in a dance hall.