#vincent taeger

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yannisandtheyaw Thank You Amsterdam

🍊⚡️🍊⚡️🍊⚡️🍊

Pics by @lindaeklovphoto

[boonesfarmsangria]

Yannis Philippakis & Vincent Taeger backstage @ Paradiso

📍Amsterdam 'Lagos Paris London' tour

[burlveneer-music]

Laurent Bardainne & Tigre d'Eau Douce - fantastic album rooted in cinematic soul-jazz with excursions into other genres. Not library music: longer tracks, some have vocals

The soundtrack of a sunny day at the Eden Beach Club! After the commercial and critical success of the album 'Hymne au soleil', Laurent Bardainne and Tigre d'Eau Douce defy the laws of attraction, aiming beyond the sun with Eden as their target in their third album 'EDEN BEACH CLUB.' A return to their successful uninhibited formula, blending lingering groove, luxurious soul, flamboyant jazz, and electronic spirals. Geographically or musically, no map can locate this place of eclecticism anymore, with each track leading to an invitation to dance and celebrate a moment. That of an eternal sunset, striped with electricity by Laurent Bardainne and Tigre d'Eau Douce." Saxophone : Laurent Bardainne Special Guests: Jeanne Added, Pupajim, Laetitia N’diaye Batterie : Vincent Taeger, Philippe Gleizes Guitare basse électrique : Sylvain Daniel Claviers : Arnaud Roulin Marimba : Vincent Taeger Percussions : Fabe Beaurel Bambi Cordes: Théo & Valentin Ceccaldi

[piasgermany]

[EP] Foals-Frontmann Yannis Philippakis veröffentlicht Aufnahmen mit Tony Allen!

Eine faszinierende und leider einmalige Kollaboration: Foals-Frontmann Yannis Philippakis hatte sich mit Schlagzeuger Tony Allen zusammengetan. Entstanden ist schlussendlich das Projekt Yannis & The Yaw, und deren 5-Track EP "Lagos Paris London", die am 30. August über Transgressive Records veröffentlicht wird. Als erste Single gibt es den Song "Walk Through Fire" zu hören.

Yannis & The Yaw ist definitiv nicht der Beginn einer Solokarriere: Das "Yaw" im Namen verweist auf die Natur eines Projekts, das sich während eines bestimmten Zeitraums völlig organisch entwickelt hat; ein musikalischer Ausflug, von dem Yannis erwartet, dass er episodisch wieder auftauchen wird, wenn Ereignisse, Umgebung und musikalische Kollaborateure zufällig zusammenpassen. Genau so ist "Lagos Paris London" entstanden. Yannis war schon seit Jahren ein Fan von Tony, und als ein gemeinsamer Freund ihm 2016 die Möglichkeit bot, mit Allen zu arbeiten, nutzte er die Gelegenheit und reiste nach Paris. Das Studio entpuppte sich als genauso, wie man sich eine Fela-Kuti-Session aus den 70ern vorstellt: Afrikanische Percussion-Instrumente und analoges Equipment an jeder Ecke, die durch den dichten Nebel des Kettenrauchens verdeckt werden. Zusammen mit Tonys Kollegen Vincent Taeger (Percussion, Marimba), Vincent Taurelle (Keyboards) und Ludovic Bruni (Bass, Gitarre) entwickelte sich die Aufnahme durch den Schlagzeuger zu einer "unbestreitbaren Verbindung durch Generationen, durch Kulturen, durch Erfahrungen".

Doch aufgrund von Terminkonflikten und Covid-Beschränkungen erwies sich die tatsächliche Umsetzung ihrer Ideen als frustrierend schwer zu erreichen. Als Tony im April 2020 im Alter von 79 Jahren verstarb, sah sich Yannis gezwungen, das Projekt zu Ende zu bringen. "Going through some of the drum takes was a moving experience because those recordings were some of the last pieces of music he ever worked on”, erzählt Yannis. “There’s an eternal quality to these drum tracks, and you feel a continuity of his life and energy through them.” Die EP mit fünf Songs geht weit über den traditionellen Afrobeat-Stil hinaus, den Yannis zu spielen erwartet hatte. Stattdessen gibt es eine Fülle von alten und neuen panafrikanischen Einflüssen, dazu ein Hauch von Foals, mit Tony als Dirigent des Ganzen.

Die erste Single "Walk Through Fire" schlägt sofort eine Brücke zwischen den beiden Kulturen des Duos: unwiderstehliche, funkige Grooves, Yannis' dröhnender Bariton und ein paar düstere Keys als Zugabe. Die lyrische Bildsprache - eine Metropole inmitten revolutionärer Unruhen - spiegelt Fela Kutis feurige Protestsongs wider und lässt sich vom Pariser Müllstreik 2016 inspirieren.

Tracklist "Lagos Paris London" EP: 1. Walk Through Fire 2. Rain Can't Reach Us 3. Night Green, Heavy Love 4. Under The Strikes 5. Clementine

Website

[nofatclips]

Neptune by Foals from the album Everything Not Saved Will Be Lost Part II - Director: David East

[souvlakispac3station]

madonna quanto mi manca jammare

[emissionlabandeoriginale]

// CHRONIQUE ALBUM //

Forever Pavot - Idiophone

La France est avec l'Angleterre la mère nourricière de la Pop, la belle Pop, celle qui parle aux tripes et à la tête, celle qui fait chanter sous la douche mais qui ravit les attentes des ��rudits de la musique et ça, le bordelais Emile Sornin, qui se cache derrière le projet Forever Pavot le sait, le défend, avec hardeur même s'offusquant quand un Yann Barthès ne prend pas au serieux un Liam Ghallagher invité sur son plateau qui lui connait la musique, française y compris, celle d'hier qu'on a oublié et celle d'aujourd'hui trop rarement ou jamais diffusée dans les médias moyens et grands, Ghallagher citant même John Lennon qui disait "la pop française c'est comme le vin anglais" traduisez dans le tête "tout le monde pense que c'est forcément mauvais mais c'est juste qu'ils ne la connaissent pas vraiment".

Tout ce préambule pour dire qu'Emile Sornin la défend cette pop et rend magnifiquement hommage à son histoire, à travers ses deux premiers albums bien sûr "Rhapsode" et "La Pantoufle" parus respectivement en 2014 et 2017 mais surtout dans ce nouvel opus "Idiophone" sorti le 3 Février sur l'excellent label Born Bad Records, faisant à travers lui une véritable déclaration d'amour au genre et rendant au passage hommage à ses plus grands ambassadeurs quand il s'agissait de la faire vivre sur grand écran, Vladimir Cosma, François de Roubaix, George Delerue ou même notre regrétté Serge Gainsbourg.

Oui sur le grand écran car Sornin ne s'est pas contenté avec Idiophone de sortir un énième album de chanson française un peu chiadée et néo rétro, il en a fait quasiment un album concept, où chaque chanson est une petite histoire, pose un décor, une ambiance et transpose immédiatement dans l'esprit de l'auditeur des images, des scènettes, pour se faire au final son propre court métrage. Pour l'ambiance Sornin nous pose tout de suite une structure temporelle qui est celle qui l'inspire le plus et fait écho à tous ces compositeurs qui l'ont inspiré, les années 60-70, de la pochette sublime qui fait penser à une vieille affiche de film type polar noir aux arrangements et samples sonores des morceaux.

Une vieille voiture qui démarre en trombe, clavecins, flutes, Farfisa, orgues, pianos cristallins, batterie au son mat, cordes petit grain type vinyle sur la production, on est catapulté dans un vieux film de la nouvelle vague avec ses orchestrations à fois classiques, élégantes mais aussi ses experimentations sonores avec ce nouveau matériel qui apparaissait alors. Car Sornin est un multi instrumentiste touche à tout, collaborateurs de nombreux groupes et artistes, de films aussi, adepte du long travail de studio à chercher le bon son, la bonne trituration avec le bon instrument, analogique si possible, pioché dans sa multitude de trouvailles chinées à droite à gauche. Il écrit, compose, bâtit une structure autour de ses idées puis va les présenter à ses comparses musiciens que sont le batteur Vincent Taeger, le bassiste Maxime Daoud ou encore Sami Ousta qui affineront musicalement le propos.

En résulte un album d'une élégance et d'une finesse d'arrangements folles, remplissant completement sa mission de rendre ses lettres de noblesse à ce genre musical qu'est la pop trop souvent assimilé à de la musique commerciale facile et bêbête, conjuguant le classicisme des vieux intruments avec l'experimental voir même l'electronique comme sur "Les informations" avec son chant au Vocoder, son modulateur, son urgence presque électro qui rappelle les dernières productions de Daft Punk ou encore l'instrumental "Les enjambées" qui avec ses accords de piano et sa flûte nous laisse voir ce générique de fin qui défile sur le plan fixe d'un Paris grisailleux de la fin des années 60, Idiophone ne souffrant que d'une certaine redondance dans son chant toujourd assez mélancolique dans le ton au fur et à mesure que l'on avance dans l'album.

Emile Sornin et Forever Pavot nous enmènent de fort belle manière ailleurs, à une autre époque, nous catapultant les images d'une époque que l'on a peut être jamais connu mais qui fait inconsciemment partie de notre "pop culture" par nos parents, par ces vieux films diffusés le soir sur TF1 qu'on avait pas le choix de regarder étant gamins et qui finalement suscitent aujourd'hui une tendre nostalgie voir un brin de "c'était mieux avant".

[vm4vm0]

Deichmann #WHATISSTYLE? from DEVEROE on Vimeo.

directed by Hauke Hilberg dop Nick Morris edit David Gesslbauer vfx Deveroe grading Marina Starke

production CZAR Berlin executive producer Thorne Mutert producer Vincent Taeger

agency GREY creative director Jörn Sonnenberg

[pidge-poetry]

yannisandtheyaw IG story

[boonesfarmsangria]

At the end of the month, Yannis & The Yaw will release the EP Lagos Paris London, a collection of songs that sees Foals frontman Yannis Philippakis team up with late Afrobeat legend Tony Allen. Sessions began back in 2016 but were uncompleted when Allen died in 2020, Philippakis getting the tracks to the finish line with Allen’s trusted team of collaborators in Paris over the past couple of years. It makes for an excellent melding of sounds, a union of Allen’s restless, toppling grooves and Philippakis’ knack for dexterous rock riffs and yearning vocals. Last week, Niall spoke to Yannis over Zoom about how rehearsals for Yannis & The Yaw’s live shows are coming along (see here for ticket and date details), his favourite memories of working with Allen, where the Yannis & The Yaw project could go next and more…

Hello Yannis, how’s it going?

Yeah, good. I got back last night after being away for two weeks, so it’s one of those where the hot water isn’t working, the internet doesn’t work, the house smells like bins…

Haha.  I saw some videos you put up from rehearsals. How are they going?

It was loosely rehearsing, it wasn’t full band. I’ve been going over to Paris semi-regularly now for a few years, obviously to finish the record and since then to explore how to do the live show because without Tony being around, we have to be thoughtful about how to do it. We’ve also got to create more material for the show, because the EP is only about 20 minutes long.

Like an early Foals show!

Yeah, exactly. It’s like when we first headlined Brixton and we played for 40 minutes, the shortest ever headline set at Brixton Academy.

I was at that gig. It wasn’t just that you didn’t have loads of material, it was that you played the songs you had really quickly too.

The nerves controlled the tempo that day.

So have you cracked that nut in terms of what you’re going to do for the Yannis & The Yaw live shows?

We jammed a bit with this Malian guitarist so we’ve got some extra material. We’re going to do some improvised sections, extend certain sections, jam out bits of the songs that people know, and then we might do a couple of Tony Allen covers as well.

We’ve got an amazing band. We’ve got Dave Okumu on guitar. We’ve got Seye Adelekan, who plays bass for lots of people and is the live bass player for Gorillaz and who’s really awesome. I’ve wanted to play with him for a long time. Then the Vincents, Vincent Taurelle and Vincent Taeger, who were the producers and musicians on the EP so I’m quite familiar with playing with those two. And Kit [Monteith, a member of Foals’ live band] on percussion. As a collective, we’ve never played together so there’s definitely a big question mark about how it’s going to come together. But it’s exciting because I have absolute faith that the other guys are going to come and elevate all of the music. There’s some nerves, I want it to do justice to the EP and to Tony and for it not to suck.

Who’s playing drums?

Vincent Taeger. He’s perfect for it. Tony really admired a couple of younger drummers. One of them is Femi from Ezra Collective and the other one was Vincent. Vincent had worked on other Tony Allen records and had been in Tony’s orbit for a long time and knew him intimately to the point where when we were mixing the record, both the Vincents could tell me exactly the frequency that Tony would want his kick drum mixed at and things like that, they know it so intimately that they almost can translate what Tony would have wanted. Because Vincent was in on the sessions, it just felt right.

I love the EP. What’s the full timeframe from when you started it to release?

How many years? I mean, do I have to say?

Yeah.

It’s probably like six or seven years, or maybe the better part of a decade. I think we first got together in 2017, I’m not that good with dates.

I read 2016.

It might well have been 2016.

What’s it like living with a piece of music like that for so long?

For a while, it was OK, because I quite liked to pull out this little trump card late at night at parties when everyone’s playing their own music and I’d be like, ‘Oh, have you heard this stuff I did with Tony Allen?’ and whack it on at three in the morning. It would most often be heard in that kind of setting.

I didn’t want that chapter to close, so part of the reason why I think we didn’t hurry to finish the tracks was that we enjoyed the collaboration with each other. And also, it wasn’t something that was driven by a record label or by an idea of completion. It was an exploration with Tony and we enjoyed jamming with each other. I think that we would have probably done a whole album had things turned out differently. We were enjoying each other’s company, we enjoyed playing so there was a part of it which was pleasant that there was this material bubbling away on the back hob for a long time while he also made other records and I was focusing on Foals. The problem with that obviously was that we didn’t get to complete it while he was alive so that’s the bit that’s the bit where now there’s a feeling of slight remorse that we just didn’t finish it.

But in terms of like having the songs living alongside you unfinished, it wasn’t something that was aggravating to me. I quite enjoyed the fact that they were just there in the ether but it does now feel awesome to have it done and have it out. I think that that needed to happen once Tony passed away. They needed to be completed.

Thinking back to when you first went to Paris to meet Tony in the studio, how did it go in terms of what you were expecting versus what actually happened?

I didn’t really know what to expect, it was all quite French in terms of the communication! Genuinely, when I got to Paris that morning, I didn’t know whether I was playing on a written piece of music that I was going to be slotting into, or if it was one tune or many. In terms of expectation, it was quite loose. All I knew was that I was going to go into a studio with Tony Allen and I was excited. I guess I was a bit anxious about how it was gonna go. I didn’t want to get there and be like, ‘Oh, this isn’t clicking’ or ‘I’m a letdown’ or something.

The not-knowing what I’m walking into would freak me out.

It didn’t freak me out but I just didn’t know. I had a guitar and a loop pedal. I knew if I needed anything, I could find it on that loop pedal. It’s quite a Luddite way of working but I had about 80 loops in this little box that I’d go around with. I went in there and it wasn’t necessarily frosty, but it was kind of quiet. It was a cold morning, pretty early, it was December, it was a bit grim outside. And Tony was sat there in this basement studio and it was already pretty smoky in there.

What was incredible about it was the realisation that we were going to build something from scratch, them saying, ‘Oh no, there’s nothing written, you’re not playing on something that’s pre-written, we’re gonna go in and we’re gonna jam and you’re gonna play with Tony’. That moment was like, ‘Alright, OK’. Once we started playing and just how natural it felt, it’s been one of the peaks of my musical life, the fact that it flowed so well with Tony and there was this innate understanding and appreciation that felt like it was a two way street.

What your favourite memory of hanging out with Tony?

Probably Café OTO because it was the first time that I hung out with him fully socially in London. He came to play a small show at Café OTO in Dalston. It was amazing to watch him onstage, post having played with him, in this intimate venue. He was beckoning me over into his roped-off area, we were drinking whiskey together all night. To see him for the first time in a social context and to remember how much of a legend he is but then also to just be hanging out drinking Chivas Regal with a single cube of ice and a plastic cup well into the night, it was good fun.

Tell me about how some of the songs on the EP came to life. What about the opening track, Walk Through Fire?

Walk Through Fire was super quick. It’s basically the riff that I was checking my set-up in the studio with, it almost felt a bit like ‘Whoa, steady there’ because Tony was already playing along to it and and the producers were recording already. One aspect of the EP was things would happen very quickly in the studio, and then there’d be long lunches. I’d always be like, ‘Guys, can we just get back into the studio now?!’ I had to slow my rhythm down to conform with that way of working. It was Tony’s way of working as well, not to force stuff. He didn’t do many takes. There’s actually audio of me asking him to play something again and him refusing, saying, ‘No!’ and leaving the room.

My voice was feeling really strong at that point as well. I’d come straight off a tour and my voice felt elastic, like the range was kind of at its best. I remember that moment of singing some vocal takes and kind of seeing Tony not expecting that to come out of me. He seemed to be more into my voice than than the guitar stuff.

That must have given you confidence.

Yeah, even though he collaborated widely, I think that’s a point of newness, where it’s a kind of rock energy meeting with his style. We had some discussions about the lyrics, I wanted to make sure that he was included in it, and also to find a point of difference with Foals, so they are less introverted and more outward looking. He wanted the songs to be engaging with the streets or society more.

How did Rain Can’t Reach Us come about? I love that tune.

I do too. It’s one of my favourite pieces of music I’ve been part of. I was basically scrolling through my loops and when we were on that one, people got interested, Tony was like, ‘Let’s try that one’. There was probably five layers of guitars, so one went to the marimba, one went to a keyboard, one went to one guitar and another guitar and there was four of us playing that those parts in the room. And then Tony came in, and then I sang over it. There was definitely work done to it afterwards in terms of all the strings and the keys and stuff, but the first time we played it with Tony, that was it.

Is part of you sad it’s completed now?

Yeah, definitely. I’m really pleased to be releasing it, but there’s also a corner of it in which there’s sadness that we’re not doing it together, even the interviews and stuff. It would’ve been fun to have done them together. I’m looking forward to people hearing the EP in full and playing the shows to celebrate it. The idea of the Yaw means that there is a possibility in the future to collaborate with other people or do a record, some sort of continuation of it. It’s not necessarily a full stop or a dead end, but obviously the material with Tony, this is it, there’s no more.

Is this somewhere you could maybe find a home for the stuff you did with Karl Hyde that’s never seen the light of day? You also once told me you wanted to make a Greek folk record…

I need to figure it out. The Karl Hyde stuff would be awesome, I don’t know where he’s at with that. I’m feeling a pull to wanting to do more with Greek music. I’m not sure where that sits, it might be with this or it might be something different. I need to think it through a bit more. I like the idea that this record is postcards from different locations from different cultures, so maybe a future record could be like that. But this pull towards Greek music is definitely happening and I need to deal with that. That’s the big thing I’ve learned from this project with Tony, it is important to throw yourself into wherever you’re being pulled and finish it as well.

What about Foals, what’s the plans for that at the moment?

It’s at the stage where I think we’re enjoying having a bit of time off, all of us individually. We’re chatting quite a lot. It’s [Foals guitarist] Jimmy’s 40th today, we’re jumping on a call later to virtually wish him happy birthday because he’s on the other side of the world right now. We’re probably going to go to Iceland to hang out towards the end of the year to and we’ll know more about what we’re doing after that. We’re going to go to a remote house in Iceland and see what happens

[musicpromoapp]

Posthumous Tony Allen Album There Is No End Announced

Posthumous Tony Allen Album There Is No End Announced

The Afrobeat legend Tony Allen died in the spring of 2020 at the age of 79. The year prior, the iconic drummer wrote and produced all of the beats for a newly announced album: There Is No End is out on April 30, the anniversary of Allen’s death, via Blue Note. There Is No End was produced by Allen, Vincent Taeger, and Vincent Taurelle. The 14-track LP features guest vocals from Danny Brown, Sampa…

[iamgabrisan]

MÉLISSA LAVEAUX Watch "RADYO SIWÈL: PARIS - HAÏTI https://youtu.be/ZZl7GwhanaY Watch "MOTHERLAND ▷ Mélissa Laveaux, Radio Sywèl [French sub] | GRIOTmag.com" https://youtu.be/jHr5SW26ses Watch "Mélissa Laveaux : blues, folk et rythmiques haïtiennes" on YouTube https://youtu.be/OsOL5LdAEeU ________________ mélissa laveaux #Read Biography Queen Creole: Mélissa Laveaux on telling Haiti's story through folksong, spirituals and Vodou | Music | The Guardian https://www.theguardian.com/music/2018/feb/01/queen-creole-melissa-laveaux-on-telling-haitis-story-through-folksong-spirituals-and-vodou ------------- Motherland ▷ Mélissa Laveaux | On Edmonia Lewis and Radio Sywèl | GRIOT http://griotmag.com/en/griot-mag-motherland-plays-melissa-laveaux-radyo-siwel/ ---------------------- #MusicVideos : Watch "Mélissa Laveaux - Nan Fon Bwa | Live Plus Près De Toi" https://youtu.be/WXGF_zTSYoQ Watch "Mélissa Laveaux - Twa Fey | Live Plus Près De Toi" https://youtu.be/Mww5nOSEg6E Nan Fon Bwa - Mélissa Laveaux https://m.youtube.com/watch?feature=youtu.be&v=BFZSXtT0sO0 Published on Dec 20, 2017a-lso.lnk.to/RadyoSiwel https://idol.lnk.to/RadioSiwelEP Nan Fon Bwa written and composed by Frantz Casséus (Haïti) adapted, arranged and performed by Mélissa Laveaux, Drew Gonsalves and ALBERT (Vincent Taurelle, Vincent Taeger et Ludovic Bruni) Watch "Mélissa Laveaux - Tolalito | Live Plus Près De Toi" https://youtu.be/YJJcicognQM Watch "Mélissa Laveaux "Piebwa" en acoustique sur Mange Disques https://youtu.be/7IFDr1ZvpWo *Radyo Siwèl : #Proverbes" https://youtu.be/lCwYQrnD0sc *🎶 and buy EP Radyo Siwèl EP by Mélissa Laveaux https://idol.lnk.to/RadioSiwelEP ------------------------ Watch "Mélissa Laveaux - Concert FIP" on YouTube https://youtu.be/E_ozAgFkWfY -------------------------- Melissa Laveaux https://melissalaveauxofficial.bandcamp.com/ Watch "Melissa Laveaux - Deezer Session" on YouTube https://youtu.be/KdfPA7X46eE HAITI⭐LEGENDS #MélissaLaveaux #MélissaMichelleMarjolecLaveaux #RadyoSiwèl #Canadian #guitarist #singersongwriter #Haitian #NoFormat #music #Vodou #blues #folk #rythmiques #haïtiennes #Canada #Paris #womeninMusic #Tourdates #Haitilegends #Concert

[nofatclips]

Down on Serpent Street by Poni Hoax from the album A State of War - Réalisé par David Barrouk

[dyingisawildnight]

FIRST STUDIO DAY FOR #RADYOSIWÈL!!! Feat. Vincent Taeger on drums that are about to get mega saturated and the world's ugliest slippers... ❤️❤️❤️🤓👩🏿‍🎤😈😎 (at Pantin)

[aronsonfilm]

Nicolas Godin "Bach Off" from La Blogotheque on Vimeo.

Shot live at Orly Ouest airport, Terminal 3, in november 2015

A film by Colin Solal Cardo Réalisation Son : François Clos et Etienne Pozzo. Avec Victoire Du Bois Collaboration mise en scène - (LA)HORDE Directeur de la photographie : Kanamé Onoyama Produit par Chryde et Matthieu Buchsenschutz

Musiciens : Nicolas Godin – Basse Vincent Taurelle – Piano et claviers Ludovic Bruni – Guitare Vincent Taeger – Batterie

Équipe technique Nicolas Godin : Madje Malki – Ingénieur du son Louis Arlette et Cédric Plancy – Techniciens Pierre-Alexandre Marie - Régisseur

Opérateur Steadicam - Guillaume Quilichini Assistant Cam - Arthur Hennequet Electricien - Laure Boyer

Prise de son : FX Delaby, Etienne Pozzo, Francois Clos, Mixage , mastering : Etienne Pozzo, Francois Clos, Montage Son : Marion Papinot Doublure son : Ondine Benetier

Etalonnage : Muriel Archambaud Post Production : Royal Post

Maquillage / Coiffure – Anja Slind Flatval Remerciements stylisme : Hassan / La Petite Fripe Mlle Du Bois porte des lunettes W/SÜN

Projet et Coordination - Marion Delemazure (Vif) avec Ondine Benetier Directeur de production : Samuel Bilboulian & Anousonne Savanchomkeo Régisseur : Jean-Baptiste Arbouch Chargé de Post-Production : Mateo Lahais Administrateur : Jonathan André

Management Nicolas Godin : Laurence Muller Marc Tessier du Cros Label : Because Music

Aéroports de Paris : Direction de l'aéroport : Franck Mereyde Direction de la communication : Benjamin Perret Pôle Opinion : Elise Hermant Pôle Marque et Design : Dounia Alno Gestion du projet : Jérôme Landras, Claire Gozlan, Corentin Marsac

Moyens techniques : Potar Hurlant RVZ DCA Studios d’enregistrement des bruitages - EFAP Studio de mixage - Stances

Nicolas Godin - Contrepoint Disponible sur iTunes : po.st/Contrepoint Et en streaming : po.st/ContrepointStream