Nø Førmat!

avecigrec

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Started up by Laurent Bizot in 2004, who was joined by Thibaut Mullings in 2007, Nø Førmat! Is now 10 years old.

In the thick of the music industry crisis, the label has today made a true name for itself, just like many other “small” labels, freeing new kinds of energy and letting new and diverse forms of expression thrive. The label was born out of a stubborn desire to resist any kind of formatting and started off with no other guiding principle than its sincerity and eclectic tastes.

They had the intuition that these tastes reflected much more than just current-day trends: the amazing mix of people, ideas, and shapes that defines our globalized era has generated a deep aesthetic mutation. As Nø Førmat! Released records, it formed its own identity. An identity that mirrors the world around it. Free-flowing, ever-changing, and diverse. Every single album brought its singular point of view on our reality, while simultaneously participating in this common spirit of openness, adventure and complete independence.

"You can never know what you want in advance.” Our original slogan is still valid today and continues to deeply affect our label’s editorial policy. Unfortunately, the intermediaries between the creators of content and the audience do not follow the same dynamic. There are only very few neighborhood record shops, and the internet doesn’t offer adequate solutions to finance creation even if it does give exposure to an infinite number of artists. This is where our idea of skipping the middleman comes from. We are offering an alternative and more direct formula.

In order for us to continue growing, while staying true to our original promise, Nø Førmat! Is today offering for you to swap your usual seat as a simple consumer, stuck at the very end of the chain, for that of an active partner, through the medium of an annual subscription called the Nø Førmat! Pass.
 
The first Nø Førmat! release for 2024 hit streaming on February 16th, and hit my mailbox today!

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NOF.#60 :: Natascha Rogers / Onaida
With Onaida, Natascha Rogers dares to be intimate and unveils a highly spiritual chiaroscuro record, elevating purity to the rank of an art of care and reconciliation. A liberating folk round.
Born in the Netherlands to a Dutch mother and a mystery father of Native American origins, the young Natascha Rogers broods over her four brothers, moves often and takes up the piano, a world in itself, an anchor, a landmark, when the horizon tilts too much. Breda, Belgium, California then Bordeaux... What doesn't change is this upright piano on which, one scale after another, Natascha Rogers develops her gifts as a melodist by replicating Chick Corea's Children's Songs or the repertoire oceanic by Yann Tiersen.

Until the day Natascha Rogers discovers, like a riddle to be deciphered, a pair of congas left by her father suddenly, in secret, on the steps of the house. Sensitive to the ancestral call of the drums, she then traveled the Black Atlantic for several years to receive teaching from the greatest Mandingo and Afro-Cuban percussionist masters. From then on, Natascha Rogers flourished in a humble, collective and therapeutic practice of music, increasing her rhythmic know-how according to the grooves and paths. But how to find yours? By clearing the air, inhabiting the shadows, listening to what rustles underground. Instinctively, Natascha Rogers knows: power and vulnerability go hand in hand, they require the courage to be yourself and to allow yourself to show it.

A change, a stripping bare: with Onaida, it is therefore the challenge of Natascha Rogers who returns to her first instrument. From ostinatos to incantations, Onaida reveals a very personal poetic territory populated by pianistic rivers and songs of the Earth supported by the ritual pulsations of batá drums. In English, Spanish or Yoruba, Natascha Rogers unfolds on the back of her keyboards as many intimate ballads as universal prayers, in turn inspired by the mythical serpent that visits her in dreams, the Native American poet Joy Harjo, wild women by American storyteller Clarissa Pinkola Estes and the spirits of Cuban santería.

A liberating folk song, Onaida is received as a gesture of care, love and peace for the Living ("See", "Land", "Aniafa", "The Wound"), women ("Sacred Night", "Run", "Move Echeke"), of the deceased ("Ashes"), of the divine ("O Baba", "The West" with Piers Faccini) and of the music itself ("Tambor", "Sanza "). Recorded in Pommerit-le-Vicomte in an exceptional setting with sound engineer Joachim Olaya and all the time in the world, Onaida therefore embodies a true initiatory experience,
 
These are the NØ Format albums I have. The Laveaux album it the only one I got outside of being a member. I like them all and enjoyed the experience last year as part of the club. I look forward to what they will offer this year.

Natascha Rogers – Onaida
Asynchrone – Plastic Bamboo
Msaki, Tubatsi – Synthetic Hearts
Sissoko, Segal, Parisien, Peirani – Les Égarés
Lucas Santtana – O Paraíso
Mélissa Laveaux – Radyo Siwèl
 
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