OUI083 : The Wrong Object featuring Annie Whitehead - Harry Beckett / Platform One

 

OUI083 : The Wrong Object featuring Annie Whitehead - Harry Beckett / Platform One

John Kelman in AllAbout Jazz (2007):

"Belgium's The Wrong Object is on a roll. An album as strong as The Unbelievable Truth (MoonJune, 2007), documenting a first (and, sadly, only) encounter in 2005 with the late British saxophone legend Elton Dean, would be more than enough for any group in any year. But with Platform One, this intrepid art/rock group teams with another legend—trumpeter Harry Beckett, born in Barbados but a fixture on the British scene since the 1950s—and trombonist Annie Whitehead, who may not be a legend yet, but deserves to be. Recorded live, Platform One isn't necessarily better than The Unbelievable Truth, but it is more powerful, brimming with reckless abandon and rock energy.

The term reckless abandon makes a lot of sense for The Wrong Object. The group's reputation was first established paying tribute to the music and, more importantly, spirit of the late Frank Zappa. Platform One features two Zappa covers—the complex, twisting and turning and ultimately swinging "Big Swifty, from Waka/Jawaka (Ryko, 1972), and the slower but no less visceral "Filthy Habits, from Sleep Dirt Ryko, 1979). The former features a lithe and unpredictable solo from Whitehead, while guitarist Michel DelVille's unfettered solo on the latter approaches Zappa's solo of complete abandon on "Zombie Woof, from Overnight Sensation (Rkyo, 1973).

There's no shortage of fine original material either. The brief improvised fanfare of "Intruth leads into Delville's Middle Eastern-tinged "Honeypump Riff, where bassist Damien Polard and drummer Laurent Delchambre propel a brief but outrageous Zappa-esque solo from DelVille, before Jean-Paul Estiévenart takes an increasingly frenetic trumpet solo that's equally matched by Whitehead. The guitarist's episodic "Wet Weather Wet moves from gentle waltz to "Peter Gunn -style rifferama to periods of greater freedom that the group navigates with complete ease.

The rest of the album features equally strong material by Whitehead and Beckett. Whitehead's title track, a 5/4 minor blues, is introduced by a probing a capella trombone solo that is reason alone for Whitehead to garner greater international acclaim, while "This Affects That swings hard, but is kept sonically off-kilter by DelVille's guitar synth. It's a testimony to the flexibility of the group and its guests that Beckett's fiery and open-ended "Scarlet Mine, from 1970's Flare Up, sounds absolutely contemporary thirty-five years later. Beckett's elegant flugelhorn work is featured on "Tinseltown, an elegant jazz waltz carried by The Wrong Object's flexible support.

That Platform One sounds like a group that's played together longer is even more remarkable for the fact that the group and its guests never met prior to hitting the stage. Instead, they passed mp3 files back and forth before meeting, so each could learn the other's material. It may be a new way of dealing with the prohibitive costs of bringing geographically distanced artists together, but based on the many wondrous sounds of surprise on Platform One it's one that, in the hands of capable musicians, clearly works just fine."

The album was originally released in 2007 on JazzPrint UK.

Michel Delville: Guitar, Guitar Synthesizer, Electronics
Annie Whitehead: Trombone
Harry Beckett: Trumpet, Flugelhorn
Jean-Paul Estiévenart: Trumpet
Fred Delplancq: Tenor Saxophone
Yves Dellicour: Soprano Saxophone, Bass Clarinet
Frank van der Kooij: Baritone Saxophone (11)
Damien Polard: Bass, Electronics
Laurent Delchambre: Drums, Percussion

Liner Notes – Matthew Wright
Mastered By – Gaëtan Streel

Digital release on the 4th of September 2026

Track listing:

1: Intruth

2: Honeypump Riff

3: Big Swifty - Written by Zappa

4: Platform 1 - Intro

5: Platform 1

6: Filthy Habits

7: This Affects That

8: Wet Weather Wet

9: Scarlet Mine

10: Tinseltown

11: Hello Max

Apple Music, Itunes, Deezer, etc.:

https://bfan.link/platform-one

And on Bandcamp:

OUI090 : Ever Present / Flight of the Plastic Seagull

 

OUI090 : Ever Present / Flight of the Plastic Seagull

Single taken out of the forthcoming album 'alledaagse gedachten' coming out on the 2nd of October 2026.

A teaser for the album:

Digital release on the 3rd of September 2026.

Track listing:

1: Flight of the Plastic Seagull

Apple music, Itunes, Deezer, etc.:

https://bfan.link/flight-of-the-plastic-seagull

And on Bandcamp:

OUC057 : Nicolaï Della Guerra / Five Birds

 

Cover art by Jonathan Gomand

OUC057 : Nicolaï Della Guerra / Five Birds 

Nicolaï says:

"*Five Birds* is a short musical poem in five stanzas for piano, featuring interludes on the Rhodes. 

Each stanza possesses its own color and world, while remaining part of a continuity that links these distinct elements."

Nicolaï Della Guerra is a pianist whose music evolves through the intersection of diverse worlds and approaches. Drawing inspiration from folk traditions, jazz, minimalism, and modal music, he seeks a balance in his work between composition and improvisation—and between the music itself and the imagery it evokes.

Deeply European, he is of Italian-Bulgarian heritage, was born in Germany, and divides his time between France, Belgium, and wherever the birds take him.

In recent years, he has developed numerous ensemble projects, including musical tales, an opera, contemporary works, and collaborations with artists from diverse backgrounds. For the past two years, he has been performing solo piano concerts in Belgium centered on his album *Piano Sketches*, in which the instrument is transformed and enriched by voice, singing, and electronic textures.

With *Five Birds*—a short album dedicated entirely to the piano—Nicolaï continues this theme of the journey. Five tracks representing five places, five landscapes, and five ways of moving. It is an invitation to listen, to view things from a new perspective, and to follow the birds.

The music of Nicolaï is more than just a classical crossover as it has touches of Jazz (Adage) and the musicality of soundtracks music at times.

The Rhodes interludes bring something more contemporary and modern as well.

As Nicolaï says, different colors but a very fine album which announces a full length one magistral more experimental tunes in November.

Stay tunes and meanwhile enjoy already this mini album.

Piano Recording — Studio Chroma
Rhodes Recording — Studio Archeus
Artwork & Photography — Jonathan Gomand
Mixing & Mastering — Gabriel Dubois, Studio Chroma

Digital release on the 28th of August 2026.

Track listing:

1: Le renard

2: Les pliés

3: Barbuyo

4: L'oiseau

5: Adage

Itunes, Apples music, Deezer, etc.:

https://bfan.link/five-birds

And on Bandcamp:

OUI080 : Max Devereaux / Free Jazz on a Saturday Afternoon

 

Cover art by Max Devereaux

OUI080 : Max Devereaux / Free Jazz on a Saturday Afternoon

A raw, solo electric guitar session captured in single, uninterrupted takes during the summer of 2025. Following in the avant-garde tradition of solo works like Masayuki Takayanagi’s 1982 recording Lonely Woman, this album finds Devereaux swapping between two separate Fender Stratocasters to carve spontaneous structures and gestural expressions out of thin air.

Recorded in Devereaux’s downtown Minneapolis skyscraper apartment, the music is a pure, free-form expression of the guitar. The session was filmed in its entirety by long-time collaborator Michael Sodnik, whose expressive, kinetic camerawork reacts to the sonic shifts of the guitars in real-time, capturing the physical intensity of the recording process.

A nice video:

Digital release on the 10th of July 2026.

Track listing:

1. Improvisation I

2. Improvisation II

3. Improvisation III

4. Improvisation IV

5. Improvisation V

6. Improvisation VI

Apple Music, Itunes, Deezer, etc.:

https://bfan.link/free-jazz-on-a-saturday-afternoon

And on Bandcamp:

OJP085 : Miss Canine Hoe / incurable disease no.69

 

Cover art by Elly Sheena

OJP085 : Miss Canine Hoe / incurable disease no.69 

This album came to fruition through a project initiated by Elly to compile tracks previously released as singles into a single collection. She suffers from Ossification of the Posterior Longitudinal Ligament (OPLL)—an intractable disease that would make one want to grab God by the collar and beat Him to death, were He to exist—and has undergone numerous major surgeries. Yet, upon learning that this condition is designated by the government as "Intractable Disease No. 69," she found the number amusing enough to make it the album's title and even used it to guide her song selection. Her remarkable resilience and unique mindset—turning such a situation into something to laugh about—left me both chuckling and deeply impressed.

Mytyl says:

"While we often discuss the techniques behind our work—sometimes reflecting critically on our methods—we rarely speak or write about what we actually intended to convey. This stems from our belief that an artist should not impose a specific interpretation upon the audience. However, I would like to make an exception for this album. I want to explicitly state that it is imbued with prayer. Earlier this year, a friend of mine underwent major surgery for a designated intractable disease and is now working hard on rehabilitation. I am not arrogant enough to naively believe that such a prayer will simply reach its destination and be granted; yet, for the sake of those I love and hold dear, I wish from the bottom of my heart that—if there is indeed someone out there who can grant such prayers—this one reaches them, and that they choose to answer it.

We’ll be releasing new material regularly, and we hope you enjoy it. I also share updates on our creative process, recent news, and future plans—as well as our ongoing journey—on my blog (https://mch.world), so please check that out too.

And, of course, nothing would make us happier than meeting you in person at a live show someday.

I hope that you, having listened to this album, will be surrounded by beautiful sounds and always live with a smile. I pray that the message behind the song "If That Bastard God Hadn't Abandoned Me" reaches you.

With all my love and gratitude to you—and to Elly."

Miss Canine Hoe Bandcamp:

misscaninehoe.bandcamp.com

This album is a Bandcamp only release on Off but you can get the CD or USB key directly from Miss Canine Hoe here: 

misscaninehoe@gmail.com

Bandcamp only digital release on the 7th of July 2026.

Track listing:

1: SIX NINE

2: Chronicle

3: Doves

4: Turn Your Scars into Stars

5: But it went out like a lamb

6: recrystallization

7: Prayers

Bandcamp:

OUI082 : The Wrong Object / after the exhibition

 

OUI082 : The Wrong Object / after the exhibition

Belgian prog heavyweights, The Wrong Object, make a spectacular return to center stage, with a studio album of brilliant original compositions -- and epic proportions! After a five-year absence, After The Exhibition showcases a variety of fresh, powerful material, masterfully delivered by a capable, cohesive new lineup. With their aesthetics still rooted in an array of storied inspirational models, The Wrong Object ventures further into hybrid musical territories -- pushing the boundaries of progressive jazz, rock and contemporary music, yielding results that are as stunning as they are superb. ... and the evidence of this -- After The Exhibition -- is overwhelming. Perhaps the influence of the late Frank Zappa has never been more apparent. The songs continually weave, duck, dart, and 'stop on a dime,' while exhibiting the "controlled reckless abandon" and a similar zany, humorous approach to both harmony and melodic/thematic motifs, akin to that which characterized his work. This is a herculean effort; one that goes a long way in filling the very noticeable long-standing void left in the wake of Zappa's departure. After 10 years of an existence marked by extensive touring, recording and numerous collaborations with international jazz and rock luminaries (Elton Dean; Harry Beckett; Annie Whitehead; Alex Maguire; Stanley Jason Zappa; Ed Mann), the band has reinvented itself in remarkable fashion: morphing from a quintet to a sextet, while embarking on exciting new sonic destinations. The music is engrossing, featuring a more pronounced use of electronics and vocals, while preserving their trademark energies and unique conceptual continuities. The inclusion of the hugely-talented, prodigious keyboardist Antoine Guenet (who is also the leader of MoonJune's recording artists SH.TG.N, and fresh new member of the legendary Belgian rock-in-opposition and avant-jazz-rock luminaries, Univers Zero) and two fabulous sax players (Marti Melia and Francois Lourtie), has given the band’s sound an unprecedented harmonic richness and rhythmic complexity. Combined with the foundation provided by (the also new member) bassist Pierre Mottet and (one of two remaining original members) drummer Laurent Delchambre, the band's charismatic leader and founder, Michel Delville (guitar and electronics), finds himself surrounded by a tight, razor-sharp unit that seemingly knows no bounds. Every so often an album comes out which proves to be a defining moment for both a group and its respective genre; this is just such an album. Delightfully quirky, undeniably bold and adventurous, but ultimately most satisfying: After The Exhibition is a huge triumph. This incredible new release shatters the progressive music template and dances madly on its remains. The Wrong Object have cemented their position among the genre's most elite, vital -- and potent! -- voices. This superb work is immediately essential -- an "instant classic!" It gets sweeter with each listen, and it will take up permanent residence in your regular CD rotation. This is profound progressive music at its most original, ambitious and achieving. 

Originally released on Moonjune Records in 2016.

Michel Delville: guitar, Roland GR-09
Antoine Guenet: keyboards, vocals
Marti Melia: bass & tenor saxes, clarinet
François Lourtie: tenor, alto & soprano saxes, voice
Pierre Mottet: bass
Laurent Delchambre: drums, percussions, objects, samples
Special Guests:
Benoit Moerlen: marimba, electronic vibraphone (Tracks 2, 3, 5, 6, 7 & 11)
Susan Clynes: vocals (Track 8)

Mixed and mastered by David Minjauw, at Studio Simonne, Brussels, Belgium.
Produced by The Wrong Object.
Associate Producers: Guillaume Dauzou, Henri Dedeken, Kyle Reese, Matthew Wright
Executive Producer: Leonardo Pavkovic

Digital release on the 2nd of July 2026.

Track listing:

1: Detox Gruel

2: Spanish Fly

3: Yantra

4: Frank Nuts

5: Jungle Cow, Pt.1

6: Jungle Cow, Pt.2

7: Jungle Cow, Pt.3

8: Glass Cubes

9: Wrong But Not False

10: Flashing Into Black Hole

11: Stammtisch

Apple Music, Itunes, Deezer, etc.:

https://bfan.link/after-the-exhibition

And on Bandcamp:

ODG242-OUC056 : Alessandro Ciccarelli - Milena Punzi Anfossi / Improvisations for the Land

 

ODG242-OUC056 : Alessandro Ciccarelli - Milena Punzi Anfossi / Improvisations for the Land

Alessandro Ciccarelli (see also OJP083) and Milena Punzi Anfossi return with a new recording that bears witness to the depth of their musical rapport and their interplay within the field of improvisation.

Unlike their first album, "All’improvviso", the instrumentation here is deliberately reduced to its essentials: Milena’s electric cello enters into dialogue with an analog synthesizer played by Alessandro. From this minimal combination emerges an extremely mobile sonic space, where instrumental gesture and electronics intertwine in a continuous search for relationships, tensions, and resonances. The warm, tactile timbre of the cello expands, fractures, and recomposes itself in interaction with the textures of the synthesizer, generating soundscapes suspended between density, silence, and transformation.

The session was recorded in December 2024, during the ongoing genocide in Gaza, carried out with the complicity of Western governments. Faced with the horror of the images and the suffering of an entire people, the artists could not remain indifferent and began to question what role art might play in the face of events of such magnitude.

If art cannot stop violence, it cannot remain entrenched in an isolated and self-referential sphere either: instead, it must connect with the world, open spaces for listening, and invite reflection on what is happening.

For this reason, the tracks on the album take their names from three Palestinian villages in the Gaza region destroyed during the Nakba in 1948, in an attempt to place contemporary events within a broader historical perspective.

Thus "Improvisations for the Land" was born, whose cover image is a graphic reworking based on aerial photographs of the three destroyed villages.

In this work, improvisation becomes a territory of radical listening: the electric cello and the analog synthesizer trace fragile lines, tensions, and resonances, shaping a constantly shifting sonic landscape where memory and presence take form through sound.

Alessandro Ciccarelli: analog synth

Milena Punzi Anfossi: electric cello

Improvisations recorded on December 2024

Mixed and mastered by Alessandro Ciccarelli / La chambre Éliane

Cover photo by Alessandro Ciccarelli with the courtesy of palestineremembered.com

Alessandro Ciccarelli:

Organizer of sounds, brass player, and electronic musician. Over the years, he has performed in various musical settings, spanning across genres, in both small and large ensembles, performing in Italy and abroad. In recent years, he has focused his research primarily on open and aleatoric forms, improvisation in electronic and electroacoustic music.

He carries out electronic experimentation in solo with the nom de plume Elnath Project.

He has also shared and shares paths with Giovanni Di Cosimo, Theo Jörgensmann, Alessandro Sbordoni, Massimiliano Viel, Gabby Fluke-Mogul, Dirar Kalash, Barbara De Dominicis, Oshima Koshiro, Damāvand, Tetsuroh Konishi, Milena Punzi Anfossi and many other known and less known reckless experimenters of sound.

www.alessandrociccarelli.com

Milena Punzi Anfossi:

Dedicated to concert activity since she was very young, she has played in chamber groups in musical seasons and international festivals in Croatia, France, Spain, Belgium, Slovenia, China and Tasmania and collaborated with chamber and symphonic groups with names such as Ennio Morricone and the director Nanni Moretti.

She has deepened the study of the classical and romantic repertoire with historical instruments and has recently approached the world of electronic music and experimentation. She collaborated with Nicolas Jaar, Francesco Giomi, Silvia Bolognesi, Kmru, Walter Forestiere, Simone Grande, Tobia Bondesan, Ludovica Manzo, Vipera, Alberto Brutti, Alessandro Ciccarelli and other radical experimenters.

Digital release on the 26th of June 2026.

Track listing:

1. Isdud (20:30)

2. Jusayr (12:05)

3. Hulayqat (10:43)

Apple Music, Itunes, Deezer, etc.:

https://bfan.link/improvisations-for-the-land

And on Bandcamp: