June McDoom // June McDoom LP [COLOR]

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アメリカ・フロリダのインディーフォーク作家June McDoomが、2023年5月に同国NYの老舗インディーレーベルTemporary Residence Ltd.からリリースしたデビューレコードです。

インディーフォーク5曲を収録。

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Includes DL code. Available in 12" black or 12" 'crystal clear with green mix' vinyl.

Artist : June McDoom

Label : Temporary Residence Ltd.

インディーフォーク5曲を収録。

------------------------------------------

Includes DL code. Available in 12" black or 12" 'crystal clear with green mix' vinyl.

Artist : June McDoom

Label : Temporary Residence Ltd.

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So Long Without A Word \u003cbr\u003e2. Pearls \u003cbr\u003e3. Centralia \u003cbr\u003e4. Ghost Bridge \u003cbr\u003e5. Sky is Blue \u003cbr\u003e6. Sonny\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eText excerpt written by \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eWinston Cook Wilson, via the label:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe title of Ghost Bridge, the East-Coast-spanning chamber ensemble Hour’s fifth record, is less metaphorical than one might expect. Bandleader Michael Cormier-O’Leary repurposed it from an unrealized movie concept about a bridge that inexplicably starts disappearing. 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The six kaleidoscopic instrumental pieces on Ghost Bridge, though, feel more cosmically inquisitive than straightforwardly elegiac, sketching a progression from existential doubt toward a new dawn of understanding, punctuated by moments of fear, pain\u003cspan class=\"bcTruncateMore\"\u003e, relief, and acceptance.\u003cbr\u003e\u003cbr\u003eIn delving into this thematic territory, Ghost Bridge forms a contrast with Hour’s art-rock-informed, more improvisatory early releases, representing a step further into the realm of intricate chamber orchestration. Known for his work with Friendship, Wendy Eisenberg, and 2nd Grade (among many other artists), Philly-based multi-instrumentalist and Dear Life Records founder Cormier-O’Leary has made Hour a home for increasingly cinematic instrumental compositions since the mid-2010s. 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So Long Without A Word \u003cbr\u003e2. Pearls \u003cbr\u003e3. Centralia \u003cbr\u003e4. Ghost Bridge \u003cbr\u003e5. Sky is Blue \u003cbr\u003e6. Sonny\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eText excerpt written by \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eWinston Cook Wilson, via the label:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe title of Ghost Bridge, the East-Coast-spanning chamber ensemble Hour’s fifth record, is less metaphorical than one might expect. Bandleader Michael Cormier-O’Leary repurposed it from an unrealized movie concept about a bridge that inexplicably starts disappearing. On the nearly-ten-minute title track of this richly imaginative suite of songs—-written for a 13-piece supergroup of an ensemble that includes woodwinds, strings, and vibraphone as well as a rock rhythm section—-Hour conjures up this central image with spectral string harmonics and free-time percussion gestures that rattle like tremors passing across the planks of a rope stepbridge. Against this eerie backdrop, Cormier-O’Leary cuts the figure of an ECM Records pianist-composer, contributing spare and poignant motifs. (Think Paul Bley on Open, To Love.) While writing the keyboard pieces that became the takeoff point for the album, Cormier-O’Leary also found himself reflecting on less fantastical kinds of disappearances: the loss of loved ones or even his own mortality. The six kaleidoscopic instrumental pieces on Ghost Bridge, though, feel more cosmically inquisitive than straightforwardly elegiac, sketching a progression from existential doubt toward a new dawn of understanding, punctuated by moments of fear, pain\u003cspan class=\"bcTruncateMore\"\u003e, relief, and acceptance.\u003cbr\u003e\u003cbr\u003eIn delving into this thematic territory, Ghost Bridge forms a contrast with Hour’s art-rock-informed, more improvisatory early releases, representing a step further into the realm of intricate chamber orchestration. Known for his work with Friendship, Wendy Eisenberg, and 2nd Grade (among many other artists), Philly-based multi-instrumentalist and Dear Life Records founder Cormier-O’Leary has made Hour a home for increasingly cinematic instrumental compositions since the mid-2010s. The band mixes influences from baroque-pop experimentalists like Jim O’Rouke and Van Dyke Parks, post-rock progenitors like Dirty Three and Tortoise, and genre-flouting ensembles from Penguin Cafe Orchestra to the Carla Bley Band. Moving beyond their roots on the Philadelphia DIY scene, Hour has honed their unique sounds across crosscountry tours, ambitious residencies, gigs with comedian Joe Pera, and a live album celebrating the possibilities of their expansive touring unit (2025’s Subminiature). With dazzling, full-bodied production and engineering work by Lucas Knapp, Ghost Bridge delivers plenty of the live ensemble’s trademarks. Most importantly, there are cyclically developing guitar and keyboard melodies, expertly crafted and insistent enough to encourage the audience to join in and hum along. However, even more than on Hour’s last studio album (2024’s Ease the Work), unconventional harmonies and sophisticated counterpoint take center stage here. 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※10/9リリースですアメリカ・ペンシルベニアのチャンバー・フォークバンドHourが、2026年10月に同国インディーレーベルdear lifeからリリースしたレコードです。チャンバー・フォーク19曲を収録。16ページの写真ブックレット付属。レーベルその他作品はこちら /// Click here to see more Dear Life releases available at Tobira. ...

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Ask us for digital files.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eThe musical partnership of Joseph Shabason and Nicholas Krgovich orbits around a shared center of earnestness, slice-of-life poeticism, and the subtle everyday banality that becomes beautiful, even absurd, under their slight redirection. Where 2020’s Philadelphia placed domestic interiors under a microscope, documenting the indoor minutiae society was forced to examine mid-pandemic, At Scaramouche steps out into the sunlight squinting groggily and happily at the new day ahead-- and particularly the night that follows. One evening after a recording session and some aimless ambling that included a visit to the house where the 1974 movie “Black Christmas” was filmed, Krgovich and fellow vocalist Chris A. Cummings found themselves misplaced at the Toronto restaurant from which At Scaramouche takes its name, gawking with amusement at its concocted air of luxury. “The layout hinted at its MCM glory, and there was a panoramic view of the city,” Krgovich illustrates, “but it was full mid 2000s, dated Sex In The City re-run decor, ‘opulence’ for rich people with bad taste. I loved it! Chris loved it!”. On At Scaramouche, Krgovich and Shabason demonstrate a mutually uncanny ability to transmute this kind of cultural wariness into amused majesty, poking fun and bowing in reverence all at once. 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Me and Nick were at the helm but we called on the amazing crew of musicians that I play with here in Toronto to really help flesh things out,” Shabason emphasizes. “The last record was a real exercise in minimalism and quietness, and to me this record feels much more robust, and occasionally bombastic by comparison.”\u003cbr\u003e\u003cbr\u003eJoseph Shabason grew up in small-town Ontario, throwing punk and emo shows in garages and church basements as an alternative to “playing hockey or doing drugs,” as he states it. At the same time Nicholas Krgovich was 4,000 kilometers away in Vancouver, BC living the kind of suburban life that can, by necessity, imbue someone with romanticism toward the things downtown-dwellers might not bat an eye at, like the fluorescent glow of commercial lighting after-hours, or the overlooked poignancy of a rundown strip mall, and all the many thousands of tiny commonplace miracles that At Scaramouche is made of. “Childhood McDonald’s gone, there used to be some woods there,” Krgovich hums prosaically over a bed of soft drum machine and Dorothea Paas’s soft supporting vocals. “The cemetery was small,” he elaborates while noticing just how far and how fast the past has receded, “now the high rises around the mall that aren’t done yet…” Where much nostalgia can slip down the slopes into something melancholy that puts the past on an impossible pedestal, album-ender “Drinks at Scaramouche” proves that Krgovich is just as in love with the present, allowing history and future to bring out the sacred in one another. “Finding all the little blips, in-betweens, now with deepening meaning,” he sings, “what little light goes slow, heartening to know that nothing really goes away.” Like so much that Shabason \u0026amp; Krgovich put their fingerprints on, At Scaramouche presents a familiar palette with just enough inflected weirdness to prompt double takes, turning folk art into outsider art with an almost imperceptible sleight of hand.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cem\u003e\u003cspan class=\"bcTruncateMore\"\u003e.”\u003cbr\u003e- Idee Fixe Records\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Shabason \u0026amp; Krgovich\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eIdeé Fixe Records\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCat No : IF038LP\u003c\/span\u003e\u003c\/p\u003e","published_at":"2026-09-22T08:03:19+09:00","created_at":"2026-09-22T08:02:52+09:00","vendor":"Tobira Records","type":"","tags":["folk \/ left-field pop","Ideé Fixe Records","lp","new"],"price":418000,"price_min":418000,"price_max":418000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":50481174315258,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Shabason \u0026 Krgovich \/\/ At Scaramouche LP [BLACK]","public_title":null,"options":["Default Title"],"price":418000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"0061297790326","requires_selling_plan":false,"selling_plan_allocations":[],"quantity_rule":{"min":1,"max":null,"increment":1}}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/a0314757924_16_9e7de15c-4d43-4f91-b39a-ce884c05ece2.jpg?v=1686207680","\/\/tobirarecords.com\/cdn\/shop\/files\/0029483526_10_9dd75f4a-280a-4be7-a9a3-5d09239f0db6.jpg?v=1686207680"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0314757924_16_9e7de15c-4d43-4f91-b39a-ce884c05ece2.jpg?v=1686207680","options":["Title"],"media":[{"alt":null,"id":32091894153466,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0314757924_16_9e7de15c-4d43-4f91-b39a-ce884c05ece2.jpg?v=1686207680"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0314757924_16_9e7de15c-4d43-4f91-b39a-ce884c05ece2.jpg?v=1686207680","width":700},{"alt":null,"id":32091894219002,"position":2,"preview_image":{"aspect_ratio":1.556,"height":771,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0029483526_10_9dd75f4a-280a-4be7-a9a3-5d09239f0db6.jpg?v=1686207680"},"aspect_ratio":1.556,"height":771,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0029483526_10_9dd75f4a-280a-4be7-a9a3-5d09239f0db6.jpg?v=1686207680","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cspan\u003eカナダのベッドルーム・\u003c\/span\u003e\u003cspan\u003eインディーポップデュオShabason \u0026amp; Krgovichが、2022年10月に同国インディーポップレーベルIdeé Fixe Recordsからリリースしたアルバムです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eポップというジャンルで取り上げられるロマンスや愛、失恋などは一切排除し、「仕事終わりの夕暮れの駐車場」や「営業時間外の看板の蛍光灯の光」、「古びたショッピングモールの見過ごされた切なさ」など、日常に潜む些細な事を豊かな情緒で捉え、やさしく手のひらで包み込み、そっと差し出す珠玉の9曲を収録。\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/tobirarecords.com\/products\/shabason-krgovich-sage-shabason-krgovich-sage-lpblack-color-tape\/\"\u003e最新作\u003c\/a\u003eもオススメです。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2585902156\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eIdeé Fixe Recordsその他作品は\u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/idfi\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\/\/\/ Click \u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/idfi\"\u003ehere\u003c\/a\u003e\u003cspan\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/idfi\"\u003e \u003c\/a\u003eto see more \u003cmeta charset=\"utf-8\"\u003eIdeé Fixe Records\u003c\/span\u003e\u003cspan\u003e releases available at Tobira. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e 12\" black vinyl. Ask us for digital files.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eThe musical partnership of Joseph Shabason and Nicholas Krgovich orbits around a shared center of earnestness, slice-of-life poeticism, and the subtle everyday banality that becomes beautiful, even absurd, under their slight redirection. Where 2020’s Philadelphia placed domestic interiors under a microscope, documenting the indoor minutiae society was forced to examine mid-pandemic, At Scaramouche steps out into the sunlight squinting groggily and happily at the new day ahead-- and particularly the night that follows. One evening after a recording session and some aimless ambling that included a visit to the house where the 1974 movie “Black Christmas” was filmed, Krgovich and fellow vocalist Chris A. Cummings found themselves misplaced at the Toronto restaurant from which At Scaramouche takes its name, gawking with amusement at its concocted air of luxury. “The layout hinted at its MCM glory, and there was a panoramic view of the city,” Krgovich illustrates, “but it was full mid 2000s, dated Sex In The City re-run decor, ‘opulence’ for rich people with bad taste. I loved it! Chris loved it!”. On At Scaramouche, Krgovich and Shabason demonstrate a mutually uncanny ability to transmute this kind of cultural wariness into amused majesty, poking fun and bowing in reverence all at once. Their spotless\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003esmooth-jazz tonality, lyrical literalism, and even cover artist Jake Longstreth’s humorously sober depiction of an actual old Taco Bell building all point to the duo’s low-key-gonzo subversion of Adult Contemporary tropes into something unexpectedly transcendent.\u003cbr\u003e\u003cbr\u003eThe first glassy keyboard hits of “Soli” indicate this sentiment before Krgovich even steps forward as the album’s host, and when he does, he immediately gets to work setting the scene of a weary parking lot stroll on a cool, street-lit evening after work-- just one of so many unremarkable moments that become utopic under Krgovich’s poetic care. “Clocking out at five PM, don’t give it another thought, feel the evening coming in,” he sings. “When it’s dark before supper, and the rain on the house… happy for no reason.” Glimmering pianos and brushy percussion calmly converse with fretless bass as a diffuse light spreads across this little world that’s being created. But where the duo’s previous effort Philadelphia would’ve camped permanently in the stillness, At Scaramouche lunges into the upbeat stroller “In the Middle of the Day”. Though no less exemplary of the album’s quiet everyday magic, it sets a brisker pace with its head-nodding drum break and coolly interjecting bassline. Other moments on the album reiterate the spryness, like the nearly-erratic “Soli II”, and the lively pop centerpiece “I Am So Happy With My Little Dog”. On the latter, Krgovich leads a tight-knit ensemble that comes as close to krautrock here as they ever might, where a driving drumbeat politely urges the elements forward; trumpet harmonies, chanting vocals, and bubbling synths, all crowned by a chorus-laden, perfectly askew solo from guitarist Thom Gill . “This record was very much a band effort. Me and Nick were at the helm but we called on the amazing crew of musicians that I play with here in Toronto to really help flesh things out,” Shabason emphasizes. “The last record was a real exercise in minimalism and quietness, and to me this record feels much more robust, and occasionally bombastic by comparison.”\u003cbr\u003e\u003cbr\u003eJoseph Shabason grew up in small-town Ontario, throwing punk and emo shows in garages and church basements as an alternative to “playing hockey or doing drugs,” as he states it. At the same time Nicholas Krgovich was 4,000 kilometers away in Vancouver, BC living the kind of suburban life that can, by necessity, imbue someone with romanticism toward the things downtown-dwellers might not bat an eye at, like the fluorescent glow of commercial lighting after-hours, or the overlooked poignancy of a rundown strip mall, and all the many thousands of tiny commonplace miracles that At Scaramouche is made of. “Childhood McDonald’s gone, there used to be some woods there,” Krgovich hums prosaically over a bed of soft drum machine and Dorothea Paas’s soft supporting vocals. “The cemetery was small,” he elaborates while noticing just how far and how fast the past has receded, “now the high rises around the mall that aren’t done yet…” Where much nostalgia can slip down the slopes into something melancholy that puts the past on an impossible pedestal, album-ender “Drinks at Scaramouche” proves that Krgovich is just as in love with the present, allowing history and future to bring out the sacred in one another. “Finding all the little blips, in-betweens, now with deepening meaning,” he sings, “what little light goes slow, heartening to know that nothing really goes away.” Like so much that Shabason \u0026amp; Krgovich put their fingerprints on, At Scaramouche presents a familiar palette with just enough inflected weirdness to prompt double takes, turning folk art into outsider art with an almost imperceptible sleight of hand.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cem\u003e\u003cspan class=\"bcTruncateMore\"\u003e.”\u003cbr\u003e- Idee Fixe Records\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Shabason \u0026amp; Krgovich\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eIdeé Fixe Records\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCat No : IF038LP\u003c\/span\u003e\u003c\/p\u003e"}

クイックビュー {"id":9458680922362,"title":"Jean-Marie Mercimek \/\/ Dans Le Camion De Marguerite Duras TAPE","handle":"jean-marie-mercimek-dans-le-camion-de-marguerite-duras-tape","description":"\u003cp\u003eフランス／ベルギーのポストパンク・シャンソンデュオJean-Marie Mercimekが、2025年6月にパリの実験レーベルStéréogrammeから100本限定でリリースしたカセットです。\u003c\/p\u003e\n\u003cp\u003eポストパンク・シャンソン〜MIDIジャズ10曲を収録。廃盤です。\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/tobirarecords.com\/products\/jean-marie-mercimek-dans-le-camion-de-marguerite-duras-lp\"\u003eLP\u003c\/a\u003eもございます。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4142746034\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=2950203361\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4142746034\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eCassette in norelco case. Ask us for digital files.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Le Camion 04:06\u003cbr\u003e2. Jambe De Cuir 02:05\u003cbr\u003e3. Une Bouche Regardée 04:25\u003cbr\u003e4. Sommeil Lointain 03:14\u003cbr\u003e5. Un Point Sur La Carte 03:28\u003cbr\u003e6. A La Pêche O Crevetes 04:02\u003cbr\u003e7. Fiévreuse 01:42\u003cbr\u003e8. Ouvrir Et Recoudre 05:37\u003cbr\u003e9. Sanguine 03:54\u003cbr\u003e10. D'Ombres 03:19\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eText written by \u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\"\u003eTurner Williams Jr., via the label:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe road is a wrinkled timeline. Uncanny flatness conceals unfolding textures, transparent layers and open tabs. The truck cuts the landscape, tracing the road with a line of mad logic that composites time, space, thought. On “Le Camion de Marguerite Duras,” French duo Jean-Marie Mercimek have returned with a road movie for the blind. Composed and recorded by Marion Molle and Ronan Riou over six years across France and Belgium, this unlikely distillation of microtonal MIDI composition, French B.O., and post-punk chansons brazenly expands the duos’ penchant for lowkey narrative spectacle.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAcross “Le Camion,” sounds form a theatrical screen. Our ears are the curtains drawn wide and listening with a look that pans across the shot. No title cards, they cut straight to action. The truck is a camera, zooming and framing the tracks as scenes. Songwriting and sound design blur in a tangle of delicate economy. The balance of mutant music-boxes and dewy miniatures recalls otherworldly hits from Gareth Williams’ Flaming Tunes, Residents, and catchier corners of the Lovely Music catalog. Strange, sure, but this flick is never quite a cartoon. Molle and Riou’s vocals dilate into a cast of very human characters. Voices sing borrowed texts like untrained actors (playing themselves, in fact) stepping into the frame once before\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e disappearing forever. And when they’re gone, you miss them. But here in the truck, it all comes back again under the cyclic spell of repose in perpetual motion. Turn up the radio and appuyez sur le champignon.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Jean-Marie Mercimek\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eStéréogramme\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ecat no : \u003cmeta charset=\"utf-8\"\u003eSGT003\u003c\/span\u003e\u003c\/p\u003e","published_at":"2026-09-19T11:35:23+09:00","created_at":"2026-09-19T11:34:29+09:00","vendor":"Tobira Records","type":"","tags":["folk \/ left-field pop","jazz","new","strange beats","tape"],"price":255500,"price_min":255500,"price_max":255500,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":50463994872058,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Jean-Marie Mercimek \/\/ Dans Le Camion De Marguerite Duras TAPE","public_title":null,"options":["Default Title"],"price":255500,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[],"quantity_rule":{"min":1,"max":null,"increment":1}}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/dan1_c3e71c4e-a1f6-4a39-8288-6987bfcedf89.jpg?v=1753411028","\/\/tobirarecords.com\/cdn\/shop\/files\/dan2_f3146626-6157-43b3-bf41-5149e1a70d90.jpg?v=1753411029"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/dan1_c3e71c4e-a1f6-4a39-8288-6987bfcedf89.jpg?v=1753411028","options":["Title"],"media":[{"alt":null,"id":36428708610298,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/dan1_c3e71c4e-a1f6-4a39-8288-6987bfcedf89.jpg?v=1753411028"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/dan1_c3e71c4e-a1f6-4a39-8288-6987bfcedf89.jpg?v=1753411028","width":700},{"alt":null,"id":36428708643066,"position":2,"preview_image":{"aspect_ratio":0.75,"height":1200,"width":900,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/dan2_f3146626-6157-43b3-bf41-5149e1a70d90.jpg?v=1753411029"},"aspect_ratio":0.75,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/dan2_f3146626-6157-43b3-bf41-5149e1a70d90.jpg?v=1753411029","width":900}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eフランス／ベルギーのポストパンク・シャンソンデュオJean-Marie Mercimekが、2025年6月にパリの実験レーベルStéréogrammeから100本限定でリリースしたカセットです。\u003c\/p\u003e\n\u003cp\u003eポストパンク・シャンソン〜MIDIジャズ10曲を収録。廃盤です。\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/tobirarecords.com\/products\/jean-marie-mercimek-dans-le-camion-de-marguerite-duras-lp\"\u003eLP\u003c\/a\u003eもございます。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4142746034\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=2950203361\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4142746034\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eCassette in norelco case. Ask us for digital files.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Le Camion 04:06\u003cbr\u003e2. Jambe De Cuir 02:05\u003cbr\u003e3. Une Bouche Regardée 04:25\u003cbr\u003e4. Sommeil Lointain 03:14\u003cbr\u003e5. Un Point Sur La Carte 03:28\u003cbr\u003e6. A La Pêche O Crevetes 04:02\u003cbr\u003e7. Fiévreuse 01:42\u003cbr\u003e8. Ouvrir Et Recoudre 05:37\u003cbr\u003e9. Sanguine 03:54\u003cbr\u003e10. D'Ombres 03:19\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eText written by \u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\"\u003eTurner Williams Jr., via the label:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe road is a wrinkled timeline. Uncanny flatness conceals unfolding textures, transparent layers and open tabs. The truck cuts the landscape, tracing the road with a line of mad logic that composites time, space, thought. On “Le Camion de Marguerite Duras,” French duo Jean-Marie Mercimek have returned with a road movie for the blind. Composed and recorded by Marion Molle and Ronan Riou over six years across France and Belgium, this unlikely distillation of microtonal MIDI composition, French B.O., and post-punk chansons brazenly expands the duos’ penchant for lowkey narrative spectacle.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAcross “Le Camion,” sounds form a theatrical screen. Our ears are the curtains drawn wide and listening with a look that pans across the shot. No title cards, they cut straight to action. The truck is a camera, zooming and framing the tracks as scenes. Songwriting and sound design blur in a tangle of delicate economy. The balance of mutant music-boxes and dewy miniatures recalls otherworldly hits from Gareth Williams’ Flaming Tunes, Residents, and catchier corners of the Lovely Music catalog. Strange, sure, but this flick is never quite a cartoon. Molle and Riou’s vocals dilate into a cast of very human characters. Voices sing borrowed texts like untrained actors (playing themselves, in fact) stepping into the frame once before\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e disappearing forever. And when they’re gone, you miss them. But here in the truck, it all comes back again under the cyclic spell of repose in perpetual motion. Turn up the radio and appuyez sur le champignon.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Jean-Marie Mercimek\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eStéréogramme\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ecat no : \u003cmeta charset=\"utf-8\"\u003eSGT003\u003c\/span\u003e\u003c\/p\u003e"}

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