L'Articho
Cha Cha Cha Miam Miam // Mini-album de Jean-François Biguet

This issue focuses on an aspect of experimental electronic music that might be rather obvious: bringing anything to life usually is a collective effort. Our world and its culture thrives on collaboration, be it between artists or the number of people involved to get a release ready and out into the world. Given the abundance of collaborations, a deep(er) dive into their internal structures is warranted. For example, a recent EP by Phillip Jondo, which features Maxwell Sterling and DJ Plead, clearly designates these collaborations as such. However, the details of how this three-way-constellation developed into a shared practice are not as obvious. With the new issue of zweikommasieben, these details are being addressed in a conversation. Despite being a common practice in the scene, the modus operandi of collaboration is far from clear or pre-determined. :3LON explains in an interview that they often rely on intuition in choosing how to go about working together with others instead of deliberately weighing up interests. Bonaventure goes one step further by questioning the differentiation between solo and collaborative efforts: “Everything I share as a ‘solo project’ is in fact never experienced as such,” she explains in the pages of this magazine. The things we do are as much enabled by as they facilitate the connections we share with other people. zweikommasieben #24 highlights the conditions, intricacies, and consequences of collective efforts in the featured interviews, essays, columns, and artist contributions. All-English issue, 114pages, 165x235mm, zweikommasieben is a magazine that has been devoted to the documentation of contemporary music and sound since the summer of 2011. The magazine features artist interviews, essays, and columns as well as photography, illustration, and graphics.

Livre sur les grands groupes de Rock n Roll.

Palmiers et Pyramides-Joseph GhosnSun Ra est un des musiciens les plus remarquables de l’histoire du jazz, son style englobant autant le swing de Fletcher Henderson que le free jazz, parfois dans un seul et même titre. Il fait ses débuts à Chicago, en 1950, et devient un des premiers jazzmen à enregistrer et à vendre ses propres disques – via son label Saturn – mais également à utiliser des instruments électroniques, ce qui fait de lui un acteur indispensable de la scène jazz d’avant-garde.Sun Ra se considérait comme un produit du cosmos, voyageant à travers l’espace avec une troupe de musiciens hauts en couleur qui regroupaient autour de lui une multitude de percussions et d’instruments inhabituels, des chanteurs, des danseurs et des pratiquants d’arts martiaux, le tout dans des costumes faits maison. Joseph Ghosn nous présente la vie de ce personnage unique et analyse la discographie de ce pionnier, montrant sa double tentation : entre pop et avant-garde, exotisme et expérimentation.