The musical loves we conceive in adolescence remain at the center of our preferences throughout our lives. In adulthood, we may discover a variety of extraordinary and fascinating music - but it will always be hard to compete with the music that shook us up, made us evolve and built us up during puberty. What if we were to turn a musical ear to melodies that are buried, rare and belong to a time that is no longer, or never was?

Marco Bertoni - My Easy Piano Pieces (A Ridiculous Legacy) - 13
Marco Bertoni is an Italian musician and producer still active today. As a young teenager, he began his career in 1977 by founding the avant-garde rock group Confusional Quartet (still active), then working as an arranger and producer for various variety groups. This album brings together piano works composed before he was 15 and abandoned in a drawer throughout his life. We can hear the rock influence, a dancing vision of Satie and a concern for concision. These nuggets were rescued from oblivion and recorded last year. On this occasion, Bertoni says: "I like the idea of collecting my easy piano pieces, pieces of music I've been making since I was a kid. Short, odd pieces that have always remained somewhere in my memory. I also like the idea of publishing something so simple, stripped back and radical in its own way - that has the courage of melody and tonality, in indefinable limbo between cabaret and classical."

Gia Margaret - Romantic Piano - Jagjaguwar
The piano is the instrument of choice for nostalgic intimacy. Who hasn't abandoned themselves to resting their fingers on a rarely opened family piano and tried to recapture a melody from their childhood - from the days when learning music was still possible? Chicago-based composer Gia Margaret offers us here an ambient piano album of great beauty and sincerity. A few nocturnal ambiances captured here and there on her travels (Washington, Frankfurt) lend this nostalgic piano sound a very romantic touch (to be true to the title). In a way, this album is her way of looking back on her aborted musical studies, which did not prevent her from blazing her own musical trail.

Hanno Leichtmann - Outerlands -Discreet
In Los Angeles, in a villa frequented by the eccentric Marta Feuchtwanger, conductor Bruno Walther and composers Ernst Toch and Hanns Eisler, lies a very special organ. Built in 1928 by the Artcraft Organ Company, it consists of 34 organ pipes, a wall-mounted marimba and a two-octave set of tubular bells and chimes, which today can be controlled remotely via MIDI. Its rich palette of unheard-of, virtually infinite sounds is much appreciated by experimental musicians with a passion for electronics. Hanno Leichtmann is a good example: since the end of the 90s, this Berlin artist has fascinated and composed music at the crossroads of today's aesthetics. A sound universe made up of collages, minimalist sound layers, brutal techno and musical memories from his vast culture. This album pays homage to the bygone but never outdated sonorities of an organ that had its hour of glory in its day, and made cinema's finest hours.

Spectra Ex Machina - A Sound Anthology Of Occult Phenomena - Vol. 2- Sub Rosa
This anthology gathers together rare documents on so-called occult phenomena, mostly from little-known or almost forgotten archives. The best-known example is the English composer and medium Rosemary Brown, who throughout her life received dictation of works directly from the composers themselves: Liszt, Bach, Beethoven, Rachmaninov etc. (note that they all spoke English). Here, Sub Rosa pays tribute to him with one of his most fascinating "pieces dictated by": Grubeleï (Meditation) dictated by Franz Liszt, a piece written under the watchful eye of BBC cameras intrigued by Rosemary Brown and her alleged occult powers. In this compilation, we hear American medium David Behr go into a trance to deliver the King's last words (meaning Elvis Presley, of course); we disturbingly hear Robert still at the piano playing music in a trance state and, once back in our world, having forgotten everything he'd just done. This record is as much an encyclopedia of the musical paranormal as it is a listening record.
You can hear Chopin's voice through the vocal cords of medium Leslie Flint and, in the 50s, American Howard Menger sharing with us, at the piano, melodies directly transmitted by beings from another planet, Saturn in this case...
This is a fascinating and disturbing record - whether you believe in it or not.

Philip Glass Solo - Orange Mountain Music
At the age of 87, Philip Glass releases an album of musical introspection. He, the composer who alone bears the label of minimalist(repetitive for the French of the 2000s) and whose contribution to the music of the last century will never be forgotten by music history - just like Pierre Boulez. These two composers, whose music is at opposite ends of the spectrum (Boulez vomited him, Glass admired him), have one undeniable thing in common: they generate the most contrasting feelings among music lovers and the general public, leaving no one indifferent: either you love them, or you hate them!
If you don't like Boulez (and you don't listen to much of him at home), you'll have to admire his conducting skills; on the other hand, to love Glass is clearly an admission of weakness (it's easy to recognize the importance ofEinstein on the Beach but we tend to overlook the rest of his works), and to add here the famous joke that we still hear: Glass repeats himself.
But on this disc, repetition is at its worst.
He plays his most emblematic works(Metamorphosis, Opening, Mad Rush and Truman Sleeps), most of which were already recorded in 1989 on his first solo piano album, at his home in New York, in his apartment and on his piano. The pianistic fluidity is absent, but what we have here is a musician's testament to his music. A music that founded a worldwide aesthetic movement. Philip Glass speaks to himself, persists and signs with his two hands, a musical gesture that is still being written about.

François Mardirossian