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... happy spring everyone !!! to commemorate our favorite season (and to help get this place back to some sort of workable condition) we're having a "spring cleaning" sale !!! please visit the spring (2013) cleaning page to view a list of (recent, mostly 2012) releases that we're now offering at reduced prices (while supplies last, no rainchecks, etc) ...
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there are 9 titles featuring bernard parmegiani in stock.
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threads:
printed-matter
musique-concrète
electro-acoustic-composition

ina-grm (france) #ina pp 04 book
portraits polychromes (france) #ina pp 04 book

bernard parmegianiportraits polychromes nº 4 (french)” book

  • portraits polychromes de bernard parmegiani (118 pages)
ina-grm press release...
bernard parmegiani
portraits polychromes

pensés comme un guide monographique pouvant servir à tous les acteurs de la vie artistique d'aujourd'hui, les portraits polychromes édités par le cdmc (centre de documentation de la musique contemporaine) et le grm (groupe de recherches musicales) sont élaborés de la manière suivante : un propos général sur la biographie et/ou l'esthétique d'un compositeur de notre temps, un texte du musicien lui-même, une analyse d'une œuvre phare suivie in fine d'un catalogue commenté.

associée à un site internet, la série des portraits polychromes permet ainsi de cerner l’œuvre et la pensée d'un compositeur, tant dans le domaine des sciences humaines et artistiques que sur le plan de la documentation multimedia.

portraits polychromes nº4 : bernard parmegiani

  • avant-propos, par pierre-albert castanet
  • bernard parmegiani, matière et continuité, par régis renouard larivière
  • mots de l'immédiat, entretien de bernard parmegiani avec evelyne gayou
  • l 'œil écoute, commentaires analytiques de philippe mion
  • a propos de de natura sonorum, par guy reibel
  • bernard parmegiani au service de la recherche, par philippe langlois
  • la crême des hommes, par bernard fort
  • l 's-pace vide de sens, l'écho du miroir, démons et des mots, e pericoloso sporgersi, textes originaux de bernard parmegiani
  • catalogue des musiques pour l'image, par philippe langlois
  • catalogue des musiques, par régis renouard larivière
  • discographie

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    threads:
    electro-acoustic-composition
    musique-concrète

    ina-grm (france) #ina e 5203 cd

    bernard parmegianisonare” compact disc

    • sonare (25:23) 1996
    2002 release ; an ep-length composition from 1996 from master p ... from the opening strains of “für elise” to the cheesy polysynth drippings and endless grm-tools plug-in application, it’s clear that this isn’t exactly his finest hour, nor his most timeless setting ; but for every mid-90sof the momentdigital timbre, there’s a sublime segment of muted atmosphere (such as the bit in the sound-sample after the initial delay-line jam) that makes it alright ...
    ina-grm press release...
    sonare - 2523 - (1996)

    a state / cirm commissioned work

    there is already music ... of an italian an character in this title !

    sonare: l love this word because it is italian and because upon hearing it, music simply springs forth from within it.

    for each of the 5 movements, i have chosen a pseudo-instrumental or synthesis sound which i sense will allow me to bring out its very essence to develop it until it is within the deepest levels of the soul, if the soul can at all be rendered accessible to such acoustic resonance !!!

    i had to imagine the most suitable interplay to bring out such 'intrinsic resonance'. now of course, no interplay can be genuine unless certain freedoms are present within or inherent to it, the rule being that such an interplay should remain musical whilst the sounds, 'in a real context' become linked to or opposed to each other. no combat, just interplay for its own sake, for itself alone, and at the same time, changes in contour, an opening or closing in the tone, range, patterns of rhythm, as if the work were a living being in itself which these creations in sound so often closely resemble, these same creations in sound, intended firstly for our ears but not only for our ears.

    - bernard parmegiani.

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    threads:
    electro-acoustic-composition
    digital-musics
    musique-concrète

    ina-grm (france) #ina c 2027 cd

    bernard parmegianiplain temps” compact disc

    • le présent composé (23:50) 1991
    • entre-temps (22:29) 1992
    • plain temps (24:29) 1993
    october 2006 release ; a single, three-part early 90s suite by bernard parmegiani, centered around his perception of events in time/space ...

    while the quieter bits of the last “movement”echo the “ambient” electronic music of the decade in an eerily prescient manner (listen to the sound-sample) & the density / complexity of sound-arrangement on offer here is classic parmegiani, the pieces are somewhat bogged down with tell-tale early 90s granular & digital resonance timbres that haven’t exactly aged well (unlike the timeless coupigny modular bleep that dots his 70s work) ...

    but then again, complaining about lesser parmegiani work is akin to criticizing the westvleteren 8 ; it’s still entirely remarkable and worthy of your full attention / investigation ...
    ina-grm press release...
    le présent composé
    1991 - version 2006

    this piece is the first of the suite entitled plain temps

    a title that could applied to a good many works. here i shall be more radical : the present mentionned on the title is, in fact, the instant. that instant which bachelard describes as being the only reality of time, and which, in large numbers, forms the duration, a duration that we make intimately our own by the way we experience it, compose it. « i » compose the instant, the instant composes me. things we do automatically or deliberately, the aim of which is the inflect the instant towards a composed continuity. death and resurrection of the instant ! intertwining of actions and reactions. another aspect of this instant/present that of the daily reality of sound.

    from familiar sounds to the most anonymous, those we make or are subjected to, we are a place of resonance for both sorts. we should like this resonance to continue indifinitely. we would ask time to stop its advance, to immobilise the future, as vladimir jankelevitch would say, the bathe in this illusory situation in which time is « frozen ». frozen time consumes time but we must go on. on the other hand, the ephemeral, the flesh of the present, the kernel of the instant. its strength lies in its brevity. like a spike, it unconsciously makes its way inside us, and at the same time revealing to us, large underground expanses, from which, the past burst forth, a paradoxical echo of the present.

    entre-temps
    1992

    second part of the plain-temps series

    the gradual slowing down of the tick-tock sound of a pendulum with which this piece opens provides us with not only the most symbolic but also the most illusory image of the passing of time. this is followed by a constantly changing continuum, apparently homogenous and harmonious yet ultimately fragile. in the ever wider intervals that open up between these carefully-timed happenings, soundscapes appear. these resemble certain image-memories of everyday events, some close, some distant. these images are often somewhat misty, like the ones our memory throws up when we grow weary of an immediate reality that holds no interest for us and from which we are trying to escape.

    in contrast, the playing in the second movement of a body of sound that is constantly bouncing back and forth fastens itself to what is immediate, in spite of the silences that separate the stylistic devices and the trajectories. these constant variations no longer allow us the chance to escape from the development that is «already underway». expectation attends every silence and the times in-between seem to dissolve.

    a counterpoint is then introduced to vary this game, a kind of distraction created by bodies of sound cast adrift.

    harmonic meanderings, their movements distended and slow, momentarily shift away from their context before reintegrating themselves in the form of a rhythmic counterpoint, propelled towards a space beyond time. these happenings (more familiar when their meaning, if they turn out to have one, goes beyond the purely musical), i would call sound-symbols. the combined game, where those elements that have been introduced up until now are melded, where tiny moments blend together in an attempt to conjugate themselves ... now constitute those in-between times that are ultimately - and all the more - determinant in the uninterrupted, irreducible and irreversible unfolding of time.

    this work was awarded the "golden nica", price ars electronica, 1993

    b.p.

    plain-temps
    1993 - version 2006

    plain temps ..... plenitude?
    plenitude ..... pleine étude?

    this work is the third section of a trilogy in which i sought to show how my sounds, which have become living beings over the years, are now linked to my perception of the times of my life - present, past as well as the times to come.

    i first spent time, then, gathering the noises that punctuate my working day as a composer. taking moments from everyday life, i thus drew on the audial symbols of a familiar ritual and used them in my compositions with the sole aim of prolonging their immediacy.

    then «in the meantime» i opened sound brackets which, being outside the present, feel like memories that are beyond any time frame. they surge up from the regular impulses that mark out the length of the notes by from time to time playing with the first sound that happens to be made: the sound, for example, of a teasing ball as it returns in a series of bounces.

    in retrospect, i noticed that the first two sections constitute a sort of intimate sound diary made up of living sound beings mine - as i would have wanted them to have been perceived at that time. but, with the passing of time, it strikes me that some of them could have been a rough draft for other forms. in fact, it was a time when the real interest in the play of sounds resided in its topicality. certain sounds, already heard in the two previous pieces, reappear but their development is halted, «paused» in the same way as an image is paused on the cinema screen. it is as if they have been «frozen». and the fact that they are not developed tends to make the listener forget for a second that there is any uncertainty about how they might evolve. time passes, but the act of listening is fixed; by giving the illusion of abandoning what comes next, the act of listening seeks to extend time, to stretch it, so why not hold it back?

    i experience this sense of plenitude when i listen to certain sounds that suddenly change my temporal perception - does this not stem from the energy that endows the often inert body of sound while in return, and on the rebound, adding to our own? the encounter is made exquisite. it is enough to savour this game which involves neither winners nor losers, but which instead allows each to share their field of action with the other. is this not another way of achieving plain temps?

    plenitude - pleine ecoute. these sounds used to be, they are and they will be; for me they are what shapes the conjugation of sounds.

    b.p.

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    threads:
    1960s-electornic
    1960s-electronic
    1980s-electronic
    electro-acoustic-composition
    musique-concrète

    ina-grm (france) #ina c 2019 cd

    bernard parmegianila mémoire de sons” compact disc

    • capture ephemere (11:57) 1967

    • sons-jeu (21:10) 1987

    • le memoire des sons (24:40) 2001
    2002 release ; one classic and 2 contemporary pieces from parmegiani ...

    first up is the outstanding “capture éphémère(first released in 1969 via the prospective 21e siècle “violostries / bidule en ré / capture éphemere” lp) - 12 minutes of expert-level inter-channel interplay, rife with insanely detailed buzzing synths & ramshackle multi-speed concrète micro-explosions(easily in all-time my top 5 concrète pieces) ... skipping forward 20 years to “sons-jeu” the frenetic pace has lessened, but not the density / complexity of overlaid sonorities ... finally the contemporary “le memoire des sons” dials it back considerably with a more meditative take involving long, held tones & bubbling hand-percussion (with a nice middle section involving raw, amplified electricity) ...

    ... but seriously, no home should be without an archival-quality reference master of “capture éphémère” ; highly recommended for that alone !!!
    ina-grm press release...
    capture éphémère (fleeting capture) 11' 57 (1967)

    a rustling, a fluttering of wings: so fleeting ; micro-sounds streaking across space: resonant markings, free falls, snapshots forever congealed amidst their fall, all of them symbols, intrinsically leaving in their wake the everlasting trace of their fleeting passing, only just touching upon our ears. one day ... a sound ... and since then "nevermore" ...

    somewhere in my mind and my body there is something which still resounds ... resonance, what could be less fleeting. "being is a place of resonance" (bachelard).

    sons/jeu (sounds/play) 21'10 (1987)

    to forget everything, in particular everything learned. to make out “as if” nothing until then had become established. but this "as if" is a mere façade. because beyond this forgetting, knowledge remains as a "task in the background", like that similarly-named noise which once used to infest the sounds in any act of purified listening to long-playing records. at the invitation of the poet jean cocteau, let us cross through the façade, and return to this “as if”, which itself will then become the great game of forgetting, placing us in a situation of abstraction where words are not to be found.

    it is then that an encounter between our ears and the sound becomes a necessity, without any external or internal infesting static. to empty oneself, for once, of all the questions asked time and time again.

    so let us play with the sound. positioned now like a pawn on a chessboard, it is the sound which is the first to ask me the question or questions. to this game thus established, i must now find a reply. whilst unfolding, the game would take on a saddening banality if the sound only played to make itself understood, and even more, if it played only to make itself heard.

    commonplace? no, not really. because, as is the case sometimes with sounds, so too it is with certain things which, it would appear, must be taken as they are. it must be concluded that the sound plays to make itself known. my reply then, despite their resistance, will be to transform them (a cruel game, if ever there were one), to metamophose them into something else which will be mine. the rhythmic noise of the train - a living example of the closed groove - will now run at 33 revolutions per minute, just like the grooves which were thought to be closed forever and which will soon open, metamorphosing whilst taking flight like insects which in turn ... and so on and so forth.

    so i dream, in a sound-game, because, are the sounds or am "i" calling the tune in the game of forgetting?

    la memoire des sons (memory of sounds) 24'40 (2001)

    from time to time, sounds of long ago return like an echo within my mind: do they wish to reawaken my memory to their presence? the taste of life can endure throughout a whole lifetime. i imagine that they wish to again reveal that they are present. their very insistence confirms that for me. they will return again to the trails, in a guise recalling themselves. but could they possibly accept to be made up, transformed or metamorphosed and be plunged as such straight into a new context, thereby giving rise to new associates with similarly resonating qualities?

    we are of course allowed to recognise them as they pass ... sounds deep within but not engulfed by memory: who are they? ... where do they come from? where are they going? ... ordinary in origin and yet endearing, sounds of nature spiral forth from childhood or adolescence, spreading throughout and within my ears and clearing a path before them ... bells nearby, and especially distant, sounding in crescendo and decrescendo, depending on the direction and speed of the wind ... pebbles rolling over the bed of a river pushing them along ... the clinking jangle of the chain of a well when an overflowing pale is hoisted up ...

    no less present are the sounds "created all as one", contrived so as to express all, those from my past productions, more or less recent creations. sounds which are not always identifiable, but what's the point of trying to reproduce them? they have lived, but can live again in yet another way. sounds are not congealed and must not remain so eternally. they can be recognised without it being necessary to relocate them in an identical context.

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    threads:
    1970s-electronic
    musique-concrète
    analogue-synth
    electro-acoustic-composition

     best of 2012 !!! 
    recollection grm (austria) #regrm 003 lp

    bernard parmegianil'œil écoute b/w dedans-dehors” long playing record

    • l'œil écoute (19:03) 1970

    • dedans-dehors (22:22) 1977
    september 2012 release ; ... needless to say, but the prospect of a new, high-spec pressing of two of parmegiani’s most celebrated early works has me (and, most of you, i’m guessing) foaming at the mouth like some hypoglycemic child post piñata-destruction & content-consumption ... holding this thing in my hands (absolutely gorgeous re-imagining of the ina-grm lp-spec & artwork c/o the spot-on stephen o’malley) & listening to the absolutely immaculate pressing (it’s unbelievably dynamic, whisper-quiet in the spots where it needs to be ... listen to the sound-sample) is literally bringing tears to my eyes - it’s totally fucking perfect ...

    ... anyways, the two pieces included herein (the former originally issued in 1971 via the philips prospective 21e siècle series as part of “chronos” alongside “la roue ferris” & “l’instant mobile” ... the latter on the titular 1979 / 1983 ina-grm pressing b/w “pour en finir avec le pouvoir d’orphee) rate amongst parmegiani’s finest moments ... the relentless stereo flittering & plunderphonic tendencies of the former dive bomb through an epileptic maze of turn-on-a-dime tangents, finally erupting into a haze of squeaking, tonal, electronic beds that is simply sublime ... the latter’s bouncing, gated, filtered punctuations and water-drip antics, peppered with crisp concrète events & endlessly flitting synthesized crackle ... ending in (again) a gorgeous row of subdued automations, offering the ultimate master-class in “cinema pour l’oreilleconventions ...

    ... aside from my personal frustrations at the fact that ... a). nothing i will ever do will ever be this good and ... b). that, despite the fact that these pieces were both made over 35 years ago, no one has been able to touch parmegiani’s legacy ... i’m absolutely thrilled that we, as an audience, have been given this rare chance to wallow in his superlativity in such a nice / covetable / attractive way ... anyone interested in electronic music (any electronic music ; even that -metal stadium-rock dubstep 0.2a stuff) owes themselves the privilege of being able to acutely memorize these works while repeatedly flipping the record over & over again, rolling joints on the full-color sleeve ... highest recommendation allowable by law !!!
    recollection grm press release...

    regrm 003 / bernard parmegiani
    l'œil écoute / dedans-dehors
    lp

    release date 04.09.2012

    digital transfer: jonathan fitoussi
    cut by rashad becker at dubplates & mastering, berlin, june 2012
    layout: stephen o'malley
    translations: valérie vivancos
    coordination grm: christian zanési & françois bonnet
    executive production: peter rehberg

    l'œil écoute (1970)

    from the very first moment, caught by the musical tone heard from inside a train, the trip offered by this piece, woven with different materials, triggers in us various climates able to give our imagination power over sounds: the power to guide them through our secret mazes rather than to blindly follow them like panurge. this form of (auditory) contemplation thus attempts to enable us to lose ourselves outside our far too familiar and usual territories. perhaps, in looking too hard, man eventually stops listening. and, as i said when creating the piece in 1970, the eye, now a "solitary wanderer" only has ears for what assaults it.

    dedans-dehors (1977)

    when listening to the sound material, we metamorphose the inside into an outside. this notion of metamorphosis is one of the principles that leads the course of the musical suite, reflecting changes (fluid-solid passages: water / ice / fire) or movements (ebb / flow / wave, inspiration / expiration) or inside-outside passages (door / individual / crowd). thus, the perceived object is not entirely what we would have liked it to be. our music brings us closer to some whilst it takes us away from others: each with their own inside.

    © 2012 recollection grm.
    released in association with editions mego
    courtesy of ina-grm.

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    threads:
    1960s-electornic
    1970s-electronic
    1980s-electronic
    electro-acoustic-composition
    musique-concrète

    ina-grm (france) #ina c 1035 cd

    archives grm (5) - le grm sans le savoir” compact disc

    • bernard parmegiani - indicatif roissy (1971) 0'07"
    • françois bayle & robert wyatt - l’expérience acoustique: la preuve par le sens: it (1971) 3'38"
    • bernard parmegiani - indicatif france culture (1972) 1'14"
    • alain savouret - valse molle (1973) 10'14"
    • bernard parmegiani - indicatif stade 2 (1975) 0'26"
    • jean schwarz - il était une fois (excerpt) (1974) 7'41"
    • jean schwarz - sonal france culture (1982) 0'17"
    • jean schwarz - chantakoa (excerpt) (1986) 4'51"
    • bernard parmegiani & boris vian - l’alcool tue (1962) 4'13"
    • robert cohen-solal - les shadoks (1968) 7'58"
    • guy reibel - canon sur une trompe africaine (1971) 2'57"
    • edgardo canton - rengaine à pleurer (excerpt) (1967) 2'51"
    • bernard parmegiani - la roue ferris (1971) 10'48"
    • christian zanési - sonal voyageurs ratp (1996) 0'04"
    fifth and final disc of the “archives grm” set ...

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    threads:
    1980s-electronic
    electro-acoustic-composition
    musique-concrète

    ina-grm (france) #ina c 1034 cd

    archives grm (4) - le temps du reel” compact disc

    • bernard parmegiani - exercisme 3 (excerpt) (1986) 6'28"
    • åke parmerud - les objets obscurs (excerpt) (1991) 5'03"
    • denis dufour - pli de perversion (excerpt) 7'12"
    • horacio vaggione - ash (excerpt) 7'34"
    • alain savouret - la complainte du bossué (excerpt) 9'36"
    • françois bayle - mimaméta (excerpt) (1989) 6'36"
    • gilles racot - subgestuel (excerpt) (1991) 5'23"
    • daniel teruggi - instants d’hiver (excerpt) (1993) 7'11"
    • ramon gonzales-arroyo - de la distance (excerpt) 6'01"
    • michel redolfi - appel d’air (excerpt) (1991) 3'40"
    fourth disc of the “archives grm” set...

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    july 28th, 2008

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    threads:
    1950s-electronic
    1960s-electornic
    musique-concrète
    film-video

    new england electric music company (usa) #neemc 02 cd

    archival series. musique concrète soundtracks to experimental short films 1957-1964. volume two.” three inch compact disc recordable

    • jeux des anges (dir: borowczyk 1964)
      music: bernard parmegiani

    • dom (dir: borowczyk & lenica 1957)
      music: wlodzimierz kotonski
    second volume, focusing on the soundtracks to walerian borowczyk's early short films. one gem each by bernard parmegiani (a 10 minute hiss-noise extravaganza) and wlodzimierz kotonski (brilliant piano-themes and raw tones) ...
    new england electric music company press release...
    archival series.
    musique concrète soundtracks
    to experimental short films 1957-1964.

    volume two.

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    threads:
    1950s-electronic
    1960s-electronic
    1970s-electronic
    1980s-electronic
    electro-acoustic-composition
    musique-concrète
    digital-musics

     best of 2005 !!! 
    sub rosa (belgium) #sr 220 cd

    an anthology of noise & electronic music • third a-chronology 1952-2004” double compact disc set

    • bernard parmegiani de natura sonorum : matières induites (1975) 3:44
    • hugh le caine short presentation of the 1948 sackbutthe sackbut blues (1953) followed by a noisome pestilence (1958) 3:25
    • keith fullerton whitman / hrvatski stereo music for serge modular prototype (2003) 5:30
    • ilhan mimaroglu the last largo (1989) 9:33
    • michael j. schumacher room pieces excerpt (2003) 4:41
    • justin bennett ovipool (2003) 3:25
    • scott gibbons / lilith stone : reciprocal (1992) 3:30
    • fred szymanski / modular flume (2003) 6:41
    • francisco lopez untitled #148 (2003) 10:03
    • zbigniew karkowski execution of intelligence (2004) 8:20
    • masami akita / merzbow birds and warhorse (2004) 11:30
    • michel chion requiem : dies irae (1973) 6:00

    • erkki kurenniemi sähkösoittimen ääniä #4 + #1 (1971) 5:26
    • carsten nicolai / alva noto time..dot (3) (2000) 4:26
    • peter rehberg / pita early work 6 (1984) 3:00
    • herbert eimert + robert beyer klangstudies ii (1952) 4:43
    • günther rabl eve (1987) 6:00
    • asmus tietchens teilmenge 35 c (2004) 4:40
    • michael rother feuerland (1976) 7:20
    • faust the faust tapes: untitled #16 + #17 (1973) 2:55
    • to rococo rot contacte (2004) 4:30
    • rune lindblad till zakynthos (op. 205) (1988) 13:39
    • cm von hausswolff + erik pauser / phauss eternal love #3 (1993) 13:07
    third volume in this series... as always a great way to learn about the splendour of the early electronic music construction modus while being tipped off to the present-day candle-holders; all while not interrupting too many of the butterflies nestling in your wallet. i’m both psyched and mortified to have a piece on here alongside my idols; parmegiani, mimaroglu, le caine, eimert + beyer, faust, etc... just about everything is unreleased or an alternate version/mix/out-take to the previously available. quality all around...
    sub rosa press release...
    an anthology of noise & electronic music vol. 3 - third a-chronology 1952-2004
    bernard parmegiani - hugh le caine -faust - to rococo rot - keith fullerton whitman aka hrvatski - ilhan mmaroglu - michael j. schumacher - justin bennett - scott gibbons aka lilith - fred szymanski - francisco lopez - zbigniew karkowski - masami akita aka merzbow - michel chion - erkki kurenniemi - carlsten nicolai aka alva noto - peter rehberg aka pita - herbert eimert + robert beyer - gunther rabl - asmus tietchens - michael rother - cm von hausswolff + erik pauser > phauss - rune lindgrad
    digipack 2 cd + 40 pages booklet / sr220

    this 3th volume continue to show all the aspects of electronic music from the early beginning until now - including 2 pieces of historical concrete music (of the 70's), several piece of american tape music (columbia university) with a special focus on all the electronic music from germany - wdr early works - krautrock - electronic from 90's...

    featuring too some recent work of the greatest noise artists + several unsung electronic pioneers ....

    previous artist:
     rosy parlane 
    ...and that's everything in stock featuring bernard parmegiani.
    (why not take a look at the previous and next artists?)
    next artist:
     parmentier 
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    ... this page was last updated on sunday, may 19th, 2013 @ 8:04 pm