Tazio (lui) & Boy (elle), c’est un monde enchanté. Tout est velouté, fait de caresses et de tendresse. Des musiques écrites au bord de leur tente pendant leur vacances, au détour d’une ballade, ou encore au petit matin dans leur salon sur le coin du canapé. Pour eux, composer une chanson serait comme pour d’autres entretenir leur jardin. Tout est fait dans la simplicité, dans leur maison. Un piano, une guitare, un violon, une voix suave, tout est bon pour créer leur atmosphère intime. On se sentirait presque enveloppé, rassuré par cet album. Tout s’enchaîne délicatement, le tracklisting a été merveilleusement bien choisi. Comment ne pas succomber à "Sylvia", comment ne pas avoir envie de relever la tête, de regarder la pluie tomber par la fenêtre, emmitouflé dans son vieux pull en laine. Cet album est bien plus qu’une simple compilation, il s’agit véritablement d’un premier album a part entière. On frôle l’univers de Sigur Ros, on en est très prêt sur ce titre. Et a chaque titre se dégage une nouvelle émotion, un nouvel appel.

Bref, un album idéal pour flâner toute la matinée en écoutant ces titres se succéder. Un premier album fait maison très bien travaillé, qui laisse sans nul doute présager que ces deux là ne nous laisseront pas sur notre fin et reviendront très très vite avec un nouvel album.

"Il était une fois un garçon et une fille, Thomas et Aurélie, tous deux musiciens, ayant chacun participé de manière plus ou moins déterminante à divers projets musicaux au cours de la décennie écoulée (Venus, Melon Galia, The Lovely Cowboy Orchestra, Raymondo, etc). En 2005, Thomas et Aurélie publient leur faire-part de naissance : I’m a Horse est né, reste à lui donner vie. S’en suit de longs mois d’un journal en ligne illustrant les premiers pique-niques et gazouillements du cheval bicéphale.

Début 2007, tout s’accélère : devenu "Soy un Caballo", le duo sort 3 vidéos, quelques titres sur myspace, et annonce un album pour mai 2007. Mixé à Londres par Sean O’Hagan (High Llamas) et comptant quelques collaborations de choix (on chuchote le nom de Will Oldham), ce disque est en passe de devenir un des objets les plus attendus de l’année. Les quelques morceaux en écoute sur leur site ravissent en effet les cœurs et charment les esprits blasés : accords délicats, structures osées, atmosphères intimistes, textes touchants, Thomas et Aurélie semblent avoir atteint un état de grâce où tout leur semble possible et où tout est parfaitement pondéré. Touchant, émouvant, bouleversant, de loin ce qu’on a entendu de plus beau depuis très longtemps... que demander de plus ?" (aKa)

"Pauline Oliveros (b. 1930) is an accordionist and composer who currently resides in Kingston, New York. Her instrument is tuned in just intonation and she often includes it in her meditative improvisational music. Her music is not meditative in the sense that it is intended for listening to while meditating, rather each piece is a form of meditation, such as her aptly titled 'Sonic Meditations.' 'Accordion & Voice was the first of my recordings as a soloist. I was living in an A-frame house in a meadow just below Mount Tremper at Zen Mountain Center. I had a wonderful view of the graceful saddle mountain top. When away on a performance trip I would imagine the mountain as I played 'Rattlesnake Mountain.' I followed the feelings and sensations of my many experiences of the mountain -- the changing colors of the season, the breezes and winds blowing through the grasses and trees. 'Horse Sings From Cloud' taught me to listen to the depth of a tone and to have patience. Rather than initiating musical impulses of motion, melody and harmony I wanted to hear the subtlety of a tone taking space and time to develop. The tones linger and resonate in the body, mind, instrument and performance space. My thanks to Important Music for bringing these pieces to be heard again.' --Pauline Oliveros, 2007

"We have been massive Vic Chesnutt fans for many years. Prior to starting Constellation together in 1997, among the first records we bonded over was Is The Actor Happy, a slab of vinyl played so often (and so often late at night) that its grooves are well chewed. Our friend, Brooklyn-based filmmaker Jem Cohen (Benjamin Smoke, Instrument, Chain), has known Vic for many years. When Jem proposed that Vic make his next album at the Hotel2Tango studio in Montreal, with various Constellation musicians (along with a couple of American friends) as players for the session, we were thrilled. When we heard the results, we were floored. When offered the opportunity to release the record, we were honored. Vic Chesnutt is one of the finest songsmiths we know. His words knock us out, his voice is like no other, and the two combined can deliver lyrical phrases that echo in your brain for weeks, months, years... that you find yourself adding to your quotidian vocabulary of sardonic asides, devastating metaphors, witty rhymes... words that are never clever for their own sake, but smart and substantive as all hell. The songs on North Star Deserter are some of the most bracing and intense we've ever heard from him: macabre and fearless, playful and funny, at times deeply personal and at others, incongruously hopeful."

Stunning oversize boxset (similar in production to Alga Marghen's OU box of a few years ago). Historic Fluxus sound documentation at its finest. Featuring music by: Earl Brown, Sylvano Bussotti, John Cage, Giuseppe Chiari, Toshi Ichiyanagi, Terry Jennings, Jackson MacLow, Nam June Paik and Karlheinz Stockhausen. Recordings from 1964-66 & 1982. Performed by David Behrman, Philip Corner, Malcolm Goldstein, Terry Jennings, Charlotte Moorman, Nam June Paik, etc. Limited to only 500 copies and worth the extra pennies.

"It is certainly surprising that until now an exhaustive recognition of the work of Charlotte Moorman has not been undertaken. The cellist can be numbered among the most charismatic and influential protagonists to have appeared on the avant-garde or experimental music scenes since the early '60s. A documentation of her activities as a performer is generally available only in various catalogues which document the crucial intersection with the work of Nam June Paik, or the association with manifestations and events connected with the so exquisitely realistic gestures of the Fluxus movement. To have accepted the transformation of herself into a 'living icon' through the works realized in collaboration with Paik, has perhaps contributed to obscure a part of her individuality. As Giuseppe Chiari correctly noted, in a text which is authoritatively integrated into the documentation provided by the present publication, Charlotte Moorman's oeuvre can in fact be sympathetically felt only in the absolutely 'unique' character of her interpretative gesture, a character which justly identifies her originality, her capacity of an authentic 'author.' The presence of Charlotte Moorman as catalyst must be realized in such an evaluation. Cello Anthology is a collection of documents -- sonic and photographic -- as well as original texts and testimonials, made available for the first time in a unitary form, which permits a complete recognition of Charlotte Moorman's work. The biography and chronology faithfully reproduce the materials that the artist herself had ordered in booklet form. The range of her activity not only as an interpreter, but also as a promoter of the avant-garde artistic research progressively open to intersecting with the most varied disciplines -- from music to sound and concrete poetry, from visual and plastic art to cinema and to video art -- is moreover reconstructed through an unpublished text with which Charlotte Moorman meant to review the history of the fifteen editions of the New York Avant Garde Festival she organized between 1963 and 1980. At the core of her uninterrupted performative activity, here documented across a rich iconographic apparatus ordered chronologically, the works realized in collaboration with Nam June Paik doubtless represent a culminating moment in her striking career. It therefore seemed appropriate to also integrate the transcription of the primary texts and documents pertaining to them, to better perceive to what extent the aesthetic project of the Korean artist was indissolubly bound to the peculiar 'corporeality' of the cellist's performance 'gesture' and to her absolutely unique capacity of translating the musical experience within the limits of her own non-exchangeable physical presence. Giuseppe Chiari's affectionate testimony dedicated to the faithful interpreter of some of his most important works of the early '60s -- works which affirmed the Florentine artist on the international scene -- and the reprint of Gisela Gronemeyer's poignant essay dedicated to Charlotte Moorman, likewise offer a useful explanatory setting for the introduction of these copious texts and documents. Indeed, for the first time, the work of Charlotte Moorman can be appreciated by means of a significant selection of vintage recordings. The first two CDs highlight a pair of exceptional documents -- a performance recorded by radio station WBAI in New York on 12 September 1964, and a concert from 25 July 1966 in the Theatersaal in Aachen, Germany. These events superbly represent the type of repertoire that Moorman and Paik cultivated and proposed in the U.S. and Europe, in the years following their meeting, in their memorable 'duo' exhibitions. The programs of the two concerts present several homogeneous choices and others more clearly divergent. The Aachen event, in fact, is testimony to the progressive and always more pronounced emergence of meta-musical elements deliberately turned toward the demystification of 'ritualistic' meanings of a concert, even while consciously accepting it as an exhibition frame. It is for this reason that the Aachen recording can document, with respect to the comprehensive programme, only those works in which the sound matrix constitutes the prominent factor. This is particularly evident, beyond several tried and true war-horses of their exhibitions which recur or are distributed equally in both concerts ('26'1.1499" for a String Player' by John Cage, 'Duet II' by Toshi Ichiyanagi and two works by Giuseppe Chiari: 'Per Arco' and 'Ave Maria di Schubert,' both of which were written for the cellist and dedicated to her), in the premiere of Earle Brown's 'Synergy,' a rare and delightful duet with Terry Jennings on saxophone, an almost systematic version of 'Plus Minus' by Karlheinz Stockhausen aided by Paik's Robot in the WBAI concert, as well as, in the Aachen concert 'Sonata No. 1 for Adults Only' and especially the first performance of 'Opera Sextronique,' both by Paik, in addition to other pieces by Earle Brown and Sylvano Bussotti. The second disc includes another unspecified rendering of Ichiyanagi's 'Duet II' and an abbreviated version of 'Cage's 2'1.1499" for a String Player.' Of the famous 'TV Cello' -- conceived by Paik for Moorman as a 'living sculpture' -- the third CD offers an in situ recording realized on one of the three days inaugurating the Paik retrospective at the Museum of Contemporary Art in Chicago, on 11, 12 and 14 September 1982. This version contains respectively the 'TV Cello Duets' with Paul Garrin and the 'Concerto for TV Cello and Videotapes,' largely improvised, 'including a tape collage by Ornette Coleman prepared for Charlotte, also talking with audience.' The fourth CD restores three other documents, collateral but definitely not secondary. One happy example is a choral work performed on 3 September 1964, during the second New York Avant Garde Festival, a performance of Jackson Mac Low's composition 'The Long Hot Summer,' sees in an exceptional reunion the names of Charlotte Moorman, Nam June Paik, Benjamin Patterson, Philip Corner, and Malcolm Goldstein, as well as Mac Low himself. On the relevance of this performance, distinguished by a marked ethico-political intonation and valence, Philip Corner dwells extensively in an unpublished text printed here as an attachment to the sonic documentation. The voice of Charlotte Moorman, characterized by her unmistakable vital charge, is brought back to us through a long and meaningful interview conducted by Harvey Matusow in October of 1969 in the BBC New York Studios. The soundtrack of the video 'Waiting for Commercials,' realized by Paik in 1972 in collaboration with Russel Connor, whose sound collage integrates musical insertions by Charlotte Moorman and David Behrman, completes the anthology put together and offered here. Luxury edition including a 154-page book with original documents, full color photos and scores; a set of 16 full color inserts reproducing the original posters and programs of the Annual Avant Garde Festival of New York; 4 compact discs. First boxset edition limited to 500 copies."