NEWSLETTER OCTOBER 2026

Hello everyone!

October is here, and we have no weather forecast to share with you, nor anything to add that you don’t already know about the state of the world. And yet, there is still something to be happy about: a few musicians we are deeply attached to, and whom we are always delighted to tell you about, again and again, every month. Have a listen:

#01 A fine run of dates for Zoe Heselton, an artist capable of unleashing, in a single riff, the combined forces of the disorder inherent to blues, free jazz, rock’n’roll and flamenco. Catch her solo or as a duo, raw, abrasive and fiercely haunted, or in a sextet with Sister Outsider, more opulent and harmonically intricate, yet always fiercely haunted.

#02 Radio Hito plays and sings stark, hypnotic, deeply unsettling songs, where everything seems to reveal itself by telepathy, lingering in the listener long, long, long after.

#03 Raphael Loher plays a piano stripped down to almost nothing, open to everything, drawing from it a music that is anything but talkative, yet endlessly varied.

#04 Danse Musique Rhône-Alpes, a notorious conceptual delinquent of soapy house music, will be spinning at the anniversary of one of the most singular and cheeky independent comics publishers, Super Loto Éditions. Nitrous oxide balloons are everywhere, and we’re dying to be there.

#05 As its name suggests, Vincent Moon’s Live Cinema brings together live cinema and live music, alchemically intertwined in pursuit of transcendence, with dozens of revelations and jolts in its sights.

#06 Stranded Horse & Boubacar Cissokho, troubadours and griots, weave together on two koras ringing ballads and crystalline verses, moving and breathless, deeply luminous.

#07Nina Garcia plays the kind of music you love when almost everything has been stripped away, leaving nothing but a badly connected jack plugged into a haunted amp, a skeletal guitar, and all the ghosts of the most mangled rock and darkest noise.

#08 Marion Cousin & Eloïse Decazes submit a handful of timeless songs to the joys of chance and rhythmic and harmonic disruption, making this so-called traditional repertoire sound as though it were eternally rewinding itself.

#09 Incantatory and rickety, Milkweed takes folk music back to the Stone Age and sets it melting. The result is a wealth of hallucinations, pleasures and frights.

#10 Das Kinn turns dance music, krautrock, post-punk and everything that happens in clubs, takes shape in labs or erupts in riots upside down, for nights that make you laugh and shake everything to the ground.

#11 Sourdurehas suddenly stripped back all the music he has been imagining, inventing and piling up over the past few years into a great melting pot of disparate, bubbling languages, now stamping his feet to an utterly personal idiom — even if it is Occitan, even if it is traditional music, even if it is electronics, hip-hop or techno. It is sharply drawn, pared down, essential. Let’s go!

#12 A magnetic guitar and four amps, an unamplified magnetic drum kit, a power socket and two bulbs that keep heating up and heating up: this is Chevreuil, a band that feels like a performance installation, making their long-awaited return after 20 years away. As they say, not to be missed UNDER ANY CIRCUMSTANCES.

#13 Eric Chenaux writes fluid love songs that go wha-wha-wha and woooo-ouh-ouh-ouh, full of weird soap bubbles and the gentle rise of drugs filling you with chlorophyll, strange flickers, and brand-new ideas. In his music, everything is fast and slowed down at the same time.

#14 From Warsaw to Krakow, eight hours of an extraordinary train journey through the Polish landscape, punctuated by seven concerts lasting between 5 and 15 minutes each, with our unlikely hero Julien Desprez. We’ll catch up with him on his return to Montreuil for one of those atomic tap-dancing numbers he’s known for—and that we can’t get enough of.

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