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VINYL FOR FLYING OVER NEW YORK

Following the magnificent adventures of Night Bus at Spacecraft, the time has come to open a brand-new chapter and make a dream come true. For this new trio project, Gary Brunton wanted to return to the very source of his inspiration: New York, where the greatest jazz musicians he admires have recorded, and where he met the pianist Jeremy Manasia in 1992.

With Jeremy on piano and the formidable Charles Goold on drums, Gary Brunton has created a new repertoire. And to immortalise this music, the trio thought big: they recently recorded at the absolute sanctuary of jazz, the legendary Rudy Van Gelder studio in New Jersey.

For over five decades, this studio has been the favourite haunt of jazz’s greatest names, hosting the recording of monumental albums by John Coltrane (A Love Supreme), Herbie Hancock, Wayne Shorter, Sonny Rollins and many others. The studio’s vast space and architectural design provided a rich natural reverberation that has become the hallmark of many Blue Note recordings.

Recording at Van Gelder Studio is the ultimate dream for all jazz musicians. Now that it’s been achieved, Gary Brunton wants to share this dream with the public.

Why this crowdfunding campaign?
A session like this, steeped in history and emotion, cannot exist solely on streaming platforms. This music was conceived, performed and recorded to come alive on a 33rpm vinyl record. Vinyl is the only format capable of faithfully reproducing the unique acoustics of Van Gelder Studio, its texture and its atmosphere. But producing a limited-edition vinyl record involves significant production costs for an independent project.

That’s where you come in.

By pre-ordering your copy today, you become much more than just a listener: you become magicians and angels, people who bring joy and share it with others. Your direct support will help fund the specialised mastering, pressing and printing of this exclusive vinyl edition.

THE BAGDAD RODEO MILITARY SYMPHONY

Whilst the roar of bombs shows no sign of abating, Bagdad Rodeo today moves away from its usual satire to deliver a piece of great depth. With ‘Symphonie Militaire’, taken from PART.2 of their epic project QUATRE, the band has produced a serious, stripped-back and terribly topical work. Behind the rebellious rock energy, the band presents a humanist track that strips war of its glorious trappings, leaving only its tragic nakedness.

A voice for those forgotten on the front line
Far from warmongering slogans, ‘Symphonie Militaire’ gives a voice to those who are never heard: the sacrificed. The track opens with a sensitive introduction, driven by the chemistry between the two co-founders, Christobal Sanchez Del Rodeo and MGR Delatourette. The band delivers a melancholic grunge composition in which the tension builds like a storm over a battlefield.

A poem in the tradition of Boris Vian
The lyrics, co-written by Ludovic Dufour and Christophe Sanchez, evoke the tragic absurdity of combat and the shattered lives of soldiers in uniform.
Bagdad Rodeo revives the tradition of poignant, socially conscious songwriting, reminiscent of Boris Vian’s writing. The lyrics highlight the stark contrast between the ‘old military fanatics’ and the young people sent to their deaths, between medals of honour and the reality of a body wrapped in a sheet.
The narrator is no cinema hero; he is a man under duress. Here, Bagdad Rodeo deconstructs the myth of the idealised soldier to reveal the reality of conscription or the social necessity that drives men to the front. The word ‘forced’ refers to the loss of free will: war is not a choice, it is an inescapable fate.

‘Why is the world made of stone / Only to end up as rubble?’

This metaphor highlights the futility of human constructions (borders, monuments, empires). Stone evokes the rigidity and inflexibility of dogmas and hearts. Rubble, for its part, symbolises the inevitable outcome of any warlike endeavour: total destruction. It is a cyclical and disillusioned vision in which humanity stubbornly persists in building what it will ultimately reduce to dust.

A music video that acts as a mirror
The music video, unveiled on 27 April, illustrates this inevitable downfall. It captures the contrast between the stench of death on the battlefield and the memory of a life flashing before one’s eyes. It is clearly an invitation to reflect, a necessary pause amidst the media frenzy to observe, alongside Bagdad Rodeo, the ruins of our humanity.

‘I didn’t choose this war, nor the stench of hatred that hangs in the air…’
‘Symphonie Militaire’ is more than just a song; it is a lucid observation that leaves us pensive, long after the final note has faded away.
‘Symphonie Militaire’ is not really a partisan anthem; it is, rather, a cry of empathy. Here, Bagdad Rodeo have created a song that refuses to celebrate victory, choosing instead to mourn the defeated on all sides. The choice of grunge to convey these words is no coincidence: it is a genre which, by its very nature, expresses raw pain and a rejection of established structures.
The band pulls off the remarkable feat of being both poetic in form and brutally realistic in substance.

SINGLES AND A DEBUT ALBUM FOR COURANT D’AIR

Behind the Courant d’air project lies Célestine de Williencourt, a sound explorer. This versatile musician approaches the voice as an instrument in its own right, a malleable texture that blends with flutes, the Balkan kaval, percussion and synthetic soundscapes.

Alone on stage with her machines and looper, she crafts a unique aesthetic guided by instinct and improvisation. Her approach, at the crossroads of alternative pop, jazz and chanson, echoes the boldness of artists such as Björk and Camille. Through distinctive rhythmic structures and meticulous attention to breathing, Courant d’air offers a constantly evolving musical journey, unbound by traditional formats.

Virevol: a manifesto of freedom
The artist’s debut album, entitled Virevol (due for release on 25 September 2026), has a resolutely independent identity. This neologism evokes a tipping point – the precise moment when one chooses to break free from the rules to face the unknown. Across ten original tracks, the project unfolds a strong identity in which the vocals oscillate between pure improvisation and whispered confidences.

A sound that straddles the intimate and the wild
This album is built around contrasts. Courant d’air lays bare its vulnerabilities and certainties within a raw creation, influenced by the work of Björk, Camille and Leïla Martial. The vocals serve as the backbone of the whole, guiding the listener from stripped-back ambient pieces to more intimate or incisive pop tracks. A dialogue thus emerges between the acoustic elements — percussion, breaths and flutes — and the electronic arrangements, where the synthesiser gains in depth.

JAY AND THE COOKS: THE ELECTRIC URGENCY OF “SUCH A NICE PLACE”

Juste Une Trace is proud to present the new album from Jay and The Cooks, SUCH A NICE PLACE. A raw, spontaneous, and deeply human record where rock music serves as a mirror to our modern urban legends.

After more than forty years living in France, American-born Jay Ryan has lost none of his New York flair for sniffing out stories with an edge. For this new album, the leader of Jay and The Cooks leaves the beaten path to explore what he calls “urban legends”: fragments of life, news items, and social observations that he transforms into electric anthems.

An “Unapologetic Old-School” Sound
Recorded with the urgency and truth of the moment, SUCH A NICE PLACE claims an unvarnished sonic aesthetic. It channels the raw energy of the 1970s CBGB scene, where the brilliance of Chuck Berry flirts with the gravelly poetry of Tom Waits. This is “uninhibited” rock, driven by a relentless rhythm section and guitars that bite exactly where they should. Analog tracking (on tape) and mixing were handled by the brilliant Arnaud Bascuñana.

Bittersweet Chronicles
From the biting irony of “Digital Dude” (a portrait of today’s youth lost behind their screens) to the touching confession of “Mom liked Bad Boys,” Jay Ryan delivers his most personal work to date. The album revisits his lifelong obsessions: hunger (the high-energy “I’m Hungry,” a new version of a 2015 cult track), travels born from broken hearts (“I Was in Love”), and the absurdity of our new digital cults.

The Art of Cooking Rock
For Jay, music is shared like a good meal: with generosity and no fuss. Surrounded by his faithful “Cooks,” he delivers with SUCH A NICE PLACE an album that doesn't seek to please algorithms, but to speak to the gut. It’s swampy blues, straight-ahead punk, and alternative country—all served with the signature coolness and dose of humor that define Jay and The Cooks.

HEAR YE, HEAR YE – 10 DAYS UNTIL BAGDAD RODEO’S “MESSAGE ESSENTIEL”

As the second installment of a massive project, QUATRE - PART.2, the "endless album" by Bagdad Rodeo, is a ruthless, snarling, and resolutely politically incorrect rock opus. True to their sarcastic DNA, the band delivers ten timely tracks driven by an implacable rhythm section, offering a vital outlet for both teenagers and adults thirsting for freedom. The first single, titled MESSAGE ESSENTIEL, drops on February 27, 2026, just to set the tone.

Single Release Schedule:

February 27, 2026 – Message Essentiel

March 06, 2026 – Punk Charmant

March 13, 2026 – Rock N’ Roll Loser

March 20, 2026 – Super Baltringue

March 27, 2026 – Climatocomplotiste + Full Album Launch…

The immersion begins with Message Essentiel, a radical first single that subverts the softness of "cuddles" (papouilles) into a screaming rage against the corruption of the powerful. On the album, the band follows up with Réac Man, a scorching parody of the reactionary, misogynistic male in a style somewhere between Souchon and Faith No More, before taking aim at unbridled obscurantism with Climatocomplotiste. Lucidity reclaims its rights on Rock N' Roll Loser, where self-deprecation dismantles the rockstar myth, before sliding into the distress of Quand Tu T'en Vas, a pathetic ballad on emotional dependency with sounds worthy of The Stranglers.

The album then solidifies its identity with Punk Charmant, a generational manifesto refusing the obligations of the docile adult, then explodes with Super Baltringue, a ferocious charge against the hypocrisy of political elites. The tension peaks on the visceral Liberté, Égalité, Sécurité, which denounces police repression with an energy reminiscent of London Calling. Facing digital dehumanization, Idiocratie Artificielle casts an anxious gaze on our hyper-connected world, before Symphonie Militaire brings the album to a close. This poignant, grunge-inflected conclusion on the absurdity of war—recalling the likes of Trust or Boris Vian—leaves the listener pensive in the face of the soldiers' sacrifice. While the album ends in a moment of reflection, hope remains: the QUATRE adventure is, by definition, endless.