Open today: 10:00 - 17:00

By continuing your navigation on this website, you accept the use of cookies for statistical purposes.

Panoptique
How Did You Find Me?

How Did You Find Me?
How Did You Find Me?How Did You Find Me?How Did You Find Me?How Did You Find Me?How Did You Find Me?How Did You Find Me?

Catno

MMLP9009

Formats

1x Vinyl LP Album

Country

France

Release date

Mar 8, 2021

Media: Mi
Sleeve: M

$38*

*Taxes included, shipping price excluded

A1

La Colonie Pénitentiaire

4:31

A2

Slippery

5:43

A3

Sable

2:53

A4

How Did You Find Me?

1:09

A5

Menta Y Regaliz

3:36

B1

Rice & Beans

1:59

B2

My Desire

2:28

B3

Sulppice

6:30

B4

Sub RDV

3:01

B5

Look At The Stars

3:28

Other items you may like:

deejay.de: ...Musique Plastique (Visible Cloaks, Pedro) rescue a nearly lost soundtrack to a Belgian avant-theatrical work from the 80s. For fans of Nuno Canavarro, Roberto Musci and Vito Ricci.
Seance Centre: ...Plus or Minus Two compiles 4 songs from Kansas City wave pioneers Short-Term Memory’s first cassette album, Every Head Needs Cleaning, with with a song each from their last cassette release Cinema Mind, and their digital retrospective, Flub Dub and Other Love Songs. This EP focuses on the group’s prescient dance-floor DIN-sync workouts which share sensibilities with contemporaneous early Detroit experiments by Juan Atkin’s Cybotron, Ron Hardy’s visionary Kikrokos tape edit, Shoc Corridor’s extended 808 exercises, and 90s Techno Pop by Haruomi Hosono. Rounding off the EP is the existential electronic soul ballad Words. Remastered from the original reels, 45rpm DMM pressing. Kansas City, 1983: a band formed, wires connected and synapses fired. Three friends, tired of guitar/bass/drums rock started jamming with newly acquired synths and Roland TR 606. They called themselves Short-Term Memory. Thanks to the vanguard technology of the time, these electronic instruments spoke to each other, and Jim Skeel, Kevin Dooley & Jon Paul could program their instruments and ride the DIN-sync wave. Weekly jams became more ambitious, and in 1983 they released their first album Every Head Needs Cleaning on their own Silly Poodle Music label. Over the 80s members drifted in and out of the group, and they released 2 cassettes, an LP and a 7” EP. By the 90s Jim Skeel was at the helm, the only original member, and joined by Tim Higgins he continued to record in MIDI mode for a few years before pulling the plug, leaving recordings and memories that resisted the great fade-out of time, and today sound vibrant and more visionary than ever.
ORANGE MILK RECORDS: ...Review from 'a closer listen' ~"Luis Pestana‘s debut is unlike anything else on Orange Milk Records; in fact, it’s like little else on the market. The set unfolds like a radio play, embracing multiple genres and instruments: choirs and church bells, woodwinds and hurdy-gurdy. The Portuguese artist calls Rosa Pano “his own folklore, inspired by his mother’s lullabies,” although the timbres are more likely to wake a listener up than to lull one to sleep. There are no track breaks, providing a seamless experience; one is drawn into the dream. We would not be surprised to see a troupe adopt the extended piece for an exercise in creative choreography.“Oneia” begins as a slow march with church bells, a female voice and a sense of procession. At the end of the track, a clock is wound and allowed to tick; a baby begins to cry. Then chimes ring out and the tape enters a new phase, a fairy-tale world populated by buzzing sprites and synthesized surges that seem more Subtext than Orange Milk. Is the baby sleeping yet? As of Track 3, she is not. Multiple voices converge, keeping her awake and agitated. A short, solid drone leads to the busiest piece, “Au Romper Da Bela Aurora” (“A Break from the Beautiful Dawn”), where zither lays the foundation for an architecture of operatic voices.The electronic tones return for the end run, percussive in nature, implying a flight through the forest back to safer ground. At the end of “Asa Machina,” the machines break down with a stutter, revealing a persistent choir. A lone flute, possibly from Pan, leads to the nine-minute title track, in which a siren’s cry is answered by a chorus of wolves. As a final drone approaches, the fairy tales crash together on a single shore. Once again, church bells ring, the mysterious story returning to the beginning: cycling, although changed, like a dreamer nourished by fantastic visions. Are we dancing or are we dreaming? Either way, we’ve grown enchanted by Pestana’s folkloric world."(Richard Allen)acloserlisten.com/2020/11/22/luis-pestana-rosa-pano/ Celeste (vocals) Elizabete Francisca (vocals)Alibori H. (woodwinds) Bruno Pereira (zither)Janita Salomé (arrangement and vocals on 5)Vitorino (vocals on 5) Carlos Guerreiro (hurdy-gurdy on 5)Contains samples from Julia Wolfe, Warner Jepson,José Pinhal and Krzysztof KomedaWritten and produced by Luis PestanaMastered by James PlotkinArtwork by Mariusz LewandowskiLayout by Keith Rankin and Adrienn Császár