Hopping over from the ridges of Nantes, Arnaud Aubry and Thomas Durand began their adventure as Elastic Systems in 2022, diving deep into human/machine synergy by means of wiggly electronic playtime.

Electronic drums and MIDI wares play interchangeably complementary roles and generate disparate forms that range from jaunty krautrock to sinewy body music to the open-ended chiptune of yesterday’s tomorrow. At times highly technical and angular, Elastic System’s improvisations can just as soon melt into free-floating waveforms that push listeners – and their dance moves – to engage in a perpetually shifting sonic worldbuilding, bringing it all together in a choose-your-own-adventure cascade of relentless euphoria.

When did Elastic Systems start? 2022?

Elastic Systems started in the summer of 2022, a moment in our lives when we had free time and wanted to try a new band based on the use of an electronic drum set. We spent several weeks trying dumb and funny jokes that later became songs.

I know only one three-track demo from you. Is this your only release?

The demo is the only release available for now. They were actually just recordings of rehearsals that we wanted to share to find our first gigs.

You are a duo. Can you introduce yourselves to me? Who are you? How old are you? How did both of you meet? What’s your musical background? Did you play in other bands before? Did you have any formal musical training? Did you study music?

We are Thomas Durand and Arnaud Aubry, respectively 30 and 31 years old. We didn’t grow up in arty families and explored music ourselves during our teenage years. We met at this point, going to experimental and punk gigs in Nantes. We were 17 and curious for new experiences in music and life. Thomas is a completely self-taught musician and has produced singular music under many aliases, such as the ongoing project Tutoriel. Arnaud started by taking drum lessons, and then later by doing a lot of improvisation by himself in the attic of his family’s house. He has later been part of several formations as a drummer, where improvisation always played a big part. Elastic Systems isn’t our first band together, as we played together in a punk band called Virage and a pop band called Shy Accident.

…
full interview here

show from the 19/01/2026 includes Tatiana Paris - canine

Depuis le 19 septembre 2006, la Centrifugeuse est une émission musicale diffusée 1 mardi sur 2 de 20h à 21h30. Retrouvez là sur les ondes de la radio Canal Sud 92.2 FM (Toulouse et ses environs) ou sur le site internet de Canal Sud. L’émission propose un grand mélange en défendant toutes les musiques indépendantes, de la musique contemporaine au noise rock, en passant par la folk, la pop, le jazz, la soul… Avec son envie de décloisonner les genres musicaux et montrer les liens qui existent entre eux. Il y a assez de cloisons sociales, pourquoi créer des frontières musicales ?

Depuis le 19 septembre 2006, la Centrifugeuse est une émission musicale diffusée 1 mardi sur 2 de 20h à 21h30. Retrouvez là sur les ondes de la radio Canal Sud 92.2 FM (Toulouse et ses environs) ou sur le site internet de Canal Sud. L’émission propose un grand mélange en défendant toutes les musiques indépendantes, de la musique contemporaine au noise rock, en passant par la folk, la pop, le jazz, la soul… Avec son envie de décloisonner les genres musicaux et montrer les liens qui existent entre eux. Il y a assez de cloisons sociales, pourquoi créer des frontières musicales ?

My 40 Favorite Albums of 2025, part 1

Tangent Mek, Immutable Traveler (Montaigne Noire)

French violinist Anouck Genthon, Greek flutist Marina Tantanozi, and Finnish viola de gamba player Anna-Kaisa Meklin are all based in Switzerland where they came together to form Tangent Mek, a trio of stunning versatility and lyric beauty. They toggle between folk material and contemporary music on Immutable Traveler, rejecting any notion of stylistic purity. Sometimes it reminds me of the folk explorations taken by Silvia Tarozzi and Deborah Walker in their Canti di Guerra project, when they all sing lovely melodies, while elsewhere they conjure sonic worlds that the listener can inhabit, such “Say it Clear, Say it Loud,” where the layers of sustained tones generate a lush physical sensation, as one line or another seems to move across the foundation, suggesting a beguiling three-dimensionality.

di Gianfranco Marmoro

In un panorama italiano che nel 2025 ha regalato più di una sorpresa (Laura Agnusdei, Glazyhaze, Andrea Laszlo De Simone) e pregevoli conferme (Lucio Corsi, Carmen Consoli), il trio degli She’s Analog rappresenta un’ulteriore momento di rilievo della scena musicale nostrana.
Non è tanto per l’ambito stilistico entro il quale si muove il secondo album della band italiana - jazz e rock sperimentale - quanto per l’attitudine da remake-remodel che anima i tre musicisti – Stefano Calderano (chitarra, percussioni), Luca Sguera (piano, Prophet, percussioni) e Giovanni Iacovella (batteria, elettronica) – sempre attenti nel cogliere elementi armonici e dissonanze capaci di tratteggiare una musica ai confini del post-rock e dell'avant-jazz.

“No Longer, Not Yet” è un album che cattura l’ascoltatore con costruzioni ritmiche frammentarie e vigorosamente organiche. Brani come “Danse Macabre” e “Slow Kick” sono frutto di un dialogo a più voci dove ogni strumento diventa protagonista. Le intense e vellutate strutture di percussioni e batteria del trio creano un terreno perfetto per incursioni preziose di chitarra e strumenti elettronici che ne scombinano la naturale evoluzione, fino a creare paesaggi sonori di aulica bellezza, che trovano nella lunga odissea di “Blu” il loro apice narrativo, con un flebile, minimale groove ritmico che, senza mai implodere, offre spazio e respiro a splendide elaborazioni sonore.
I cinque anni trascorsi dall’esordio “What I Bring, What I Leave” hanno permesso agli She’s Analog di perfezionare quel meccanismo di sottrazione e dissolvenza che ne esalta autenticità e originalità, ponendo sullo stesso piano ricerca concettuale e spessore emotivo.

“No Longer, Not Yet” è l’elogio della fragilità dell’uomo contemporaneo, una perfetta colonna sonora per questi tempi di transizione, ma non cercate risposte o superflue divagazioni: anche quando la musica appare leggermente più impetuosa (“Tangled”), la band resta fedele a un’algida e ponderata visione avant-rock-jazz, rendendo l’ascolto dell’album un’esperienza gratificante.

Europe Jazz Media Chart
January 2026

TATIANA PARIS Thalle
Carton Records

BANDCAMP

Matthieu Jouan:

"A new solo album by French guitarist Tatiana Paris, featuring not only her electric guitar, but also vocals, organ and a modular synthesiser. The album is conceived as a cinematic journey, a world with a highly pronounced synesthetic dimension. Electric splinters and acoustic screeches are like stars in her firmament, twinkling and forming constellations.

A distillation of emotions, surprises and subliminal languages, Thalle is an excellent surprise for the end of 2025."

Indiedrome du 23/12/2025

brave new world

Bilayer & Sara-Jane Summers: Stifølgje
« Illrie » (Aurora)

Axel Seidelmann & Studio Dan: Plastic People
« Walking through a brave new world - 8 improvisations » (ROS)

Axel Seidelmann & Studio Dan: Farenheit 451 - Oder Celsius - 273. 15?
« Walking through a brave new world - 8 improvisations » (ROS)

Tatiana Paris:Pagaille
« Thalle » (Carton)

Tatiana Paris: Salluit
« Thalle » (Carton)

Stefan Goldmann: Anaphora
« Live at Borusan » (Macro)

Stefan Goldmann: Builders
« Live at Borusan » (Macro)

Fredrik Rasten with Asterales: #1
« Fuse Modulations » (Thanatosis)

Pat Thomas: extract
« Wadud / Most Loving » (Nyahh)

Das Jahr 2025 in Listen

• Yoko Ono/The Great Learning Orchestra: »Selected Recordings From Grapefruit« (Karlrecords)

• Noura-Mint Seymali: »Yenbett« (Glitterbeat) 

• Tatiana Paris: »thalle« (Carton Records)

• The New Eves: »A New Eve Is Rising« (Transgressive Records)

• Christian Kjellvander: Ex Voto/The Silent Love« (Tapete Records)

• Chick Boyd: »Gay Like Me« (chickboyd.com)

• Party Dozen: »Mad Rooter«/»Ghost Rider« (City Slang)

• Michaela Melián: »Music for a While« (a-Musik) Artikel

• Lukas Lauermann: »Varve« (col legno) Artikel

• Ø: »Sysivalo« (Sähko Recordings) Artikel

• Lovers: »Lettres d’amour«(Thanatosis) Review

• Lonnie Holley: »Tonky«(Jagjaguwar) Review

• Mick Harvey and Amanda Acevedo: »Golden Mirrors« (»The Uncovered Sessions Vol. 1)« (Mute Records) Artikel

• Max Nagl: »Remise« (Rude Noises) Review

• Miriam: »Sing-A-Beast« (Dissipatio) Review

Zwischengestreut als Überbrückung eine Vorhut auf Sounds die nach der Atlantikquerung warten. Am Brückenkopf Italien befindet sich das Trio She’s Analog mit »No Longer, Not Yet« (Carton Records/Torto Editions) quasi in einer Transitzone. Die Raffinesse des Klangs ergibt sich hier teils auch aus überbordenden Schichtungen, doch münden Tapes und Field Recordings in einen Kompositionskreislauf. Insbesondere ist das 18-minütige »Blu« Soundcollage und mäanderndes Improv-Stück zugleich, mit einem zwischendurch sich prächtig herausschälendem Mellotron.

22 décembre 2025 /

Gerald De Oliveira

“Bilan 2025”

Allez, à la one again, encore un bilan pour que dalle. Vous allez me dire, mais pourquoi continuer, et la réponse est simple, par soucis de fixer dans le temps une année musicale, afin de pallier une mémoire qui finira par se barrer, comme tout le reste. Ce sont donc 20 albums ou EP, récapitulatif de mes écoutes nomades qui excluent les lives sinon Radiohead et Nick Cave seraient de la partie (merci itunes) et de mes écoutes à la maison (merci petit calepin qui comptabilise les écoutes des vinyles......vous me croyez......vous devriez...ou pas). 20 propositions d’un chroniqueur en fin de parcours, qui depuis plus de 25 ans balance ses bêtises en se prenant avant tout pour ce qu’il est, un improbable branleur, indécrottable ours, qui aime la musique pour les émotions, mettant de côté l’intellectualisation outrancière qui a fini par tuer une grande frange de la musique pas comme les autres. Alors profitez de ces 20 disques, prenez des claques, des caresses, prenez tout ce que ces disques vous donnent, l’impression qu’il y a toujours quelque chose de vivant ici-bas, et que la mémoire, si elle n’est pas neuve, a la possibilité d’encore se charger de plaisirs musicaux.

[…]

8. Tatiana Paris – Thalle

« ...entre structures sonores planantes et pleines de bruits, de propositions d’évasion, Thalle est une envolée émouvante, presque mystique, et pourtant bien ancrée dans le sol, avec des racines qui seraient orientées vers le ciel. Terrassant de beauté. »

Nicolas Genest, Raphaël Pannier, Dhafer Youssef, Clément Janinet & More

By Ludovico Granvassu | Mondo Jazz

December 23, 2025

The music of the trio tangent + mek is an open-ended sonic space. Dense or broken, the sound surfaces and structures are continuous, oscillating between noise, drone and traces of folk music material, that remain rather distant associations. Three well-known acoustic instruments heard in tonal proportions far removed from what one would expect. Since each musician brings in a rich spectrum of tonal differentiation, there are many possible combinations. Gently but surely the three lead the listener into the interior of the sounds. Their music includes shaped chamber-musical structures, and silence is always an option.

The Baars/Kneer/Elgart trio exists in this form since 2010, formed during a festival encounter in Amsterdam’s Bimhuis of the back then Amsterdam-based Baars/Kneer duo with Ulm based drummer Bill Elgart; the duo became a trio as a matter of course. Since then it has toured regularly in European clubs and appeared at festivals such as the Nickelsdorfer Konfrontationen and the Ulrichsberger Kaleidophon. In the meantime, 3 recordings have been released on the labels Evil Rabbit Records and Jazzwerkstatt, which caused a sensation internationally.

Le 6/9 du jeudi 18 décembre 2025

02:28:04

Utility Fog with Peter Hollo - Best of 2025 Part 2!
Full text summary to come. Part 2 of Utility Fog's Best of 2025 features the stuff that's neither vocal-driven (songs, raps) or beats-driven. Next week's Part 3 will be a 2hr DJ mix.

Utility Fog teeters on the cusp between acoustic and electronic, organic and digital. Constantly changing and rearranging, this aural cloud of nanotech consumes genres and spits them out in new forms.

Peter Hollo curates each episode around a narrative of genre-plasticity, deep-diving into artist histories, side projects and influences. Challenging sounds are contextualised within musical movements, surprising connections are uncovered, unfairly overlooked works are revisited.

Come on a journey through music in all its ugly beauty.

She’s Analog, No Longer, Not Yet (Carton Records/Torto Editions)

L’ipermodernità in perenne fibrillazione degli She’s Analog è un sogno glitch dove convergono droghe, visioni e istanze diverse: il torpore catatonico dello slow core e del post rock, le forme a un passo dal collasso di Storm & Stress, palazzi elettronici vista Tortoise e/o Radian, il free come postura e pronuncia, il glitch, l’ambient e tanto, tanto altro.

Una delle più stimolanti formazioni italiane, a cavallo tra pulsioni digitali, frammentazioni avant e un hyper rock aperto davvero a ogni stimolo.

show of the 18 november 2025

David McKenna presents the best in underground and out of left-field French music. This week: including Tatiana Paris, Ravage, Le Renard, Ply and Big Pop.

show of the 30 september 2025
David McKenna presents the best in underground and out of left-field French music. This week: including Sacred Lodge, Ciccio & 2mo, Sam Fleisch, Seb Brun & Simon Henocq and R/A/D.

In 2022 bracht Tatiana Paris met Gibbon haar eerste soloplaat uit. Het album bestond vooral uit sologitaar en tapes en leverde haar de nodige erkenning en daarmee ook tientallen concerten op.

Paris is nu terug met haar tweede plaat, wederom op het Franse label Carton Records. Ze maakt met thalle een plaat over willekeurigheid en correlatie. Hoe komen niet-gesynchroniseerde elementen samen om een harmonieus geheel te vormen? De albumtitel verwijst daarbij naar planten zonder wortels en bladeren, zoals bijvoorbeeld algen of mossen.

Weinig houvast dus, maar dat maakt van thalle geen los zand of nietszeggende vaagheid. Wél is het weer een uitdagende, experimentele plaat. De eerste zeven, acht minuten worden intrigerend gevuld met schijnbaar losse geluidjes, kleine noise en indringende drone.

Modulaire synths, orgel, objecten, radio, tapes, bewerkte gitaar en stem zijn de elementen die thalle vormen. Op hibbon horen we een zwaar (door auto-tune) bewerkt koor en intense, geladen, fuzzy noise. De titel van de track verwijst naar het afsterven van organen en de tonen die zich manifesteren na het verdwijnen van de ademhaling, een idee wat je ook kunt koppelen aan het uitzetten van machines. En dat is vooral wat hibbon uitstraalt.

pagaille laat machinale klanken horen die toch iets organisch en warms houden. Een fris soort minimalisme dat – inderdaad – willekeur tot een vreemdsoortige harmonie weet om te vormen.  Dat geldt ook voor grand duc dat ‘zeurt’ als een insect maar dat ook een kalme progressie, voortgang laat horen. Ook hier komen kleine autonome entiteiten samen om tot een min of meer coherent klankenlandschap, muziekstuk te komen.

Op canine zingt Paris een liefdevolle tekst die ze ooit kreeg van haar geliefde. Het stuk is daarmee een stuk concreter en tastbaarder. IJle jazzgitaar en Paris’ dito voordracht zijn de enige elementen in dit ruimtelijke, open stuk. De twee titelstukken – bewust op iedere plaatkant één – bestaan vooral uit orgel drone, van de hand van Rachel Langlais. Tatiana Paris deinst er niet voor terug om hier ruim de tijd voor te nemen, maar beide tracks weten zonder meer te prikkelen.

De muziek van Tatiana Paris laat zich niet gemakkelijk omschrijven. ‘It moves between noisy chanson and spectral minimalism’, werd wel gezegd. Daar zit wat in. Op thalle kun je vele termen loslaten, vooral omdat de muziek het machinale combineert met het organische, het serene met het verstorende. Het beste is om het album gewoon te ondergaan. De kans is groot dat het een bijzondere, mindful ervaring oplevert. Muziek als dit laat heel veel ruimte voor interpretaties, associaties en een prikkelende onduidelijkheid.