Unlimited streaming and revenue share

We put all our records on our Bandcamp for free and unlimited listening.
All proceeds from digital sales on Bandcamp are set aside to be paid in full to our artists.
And think about that Friday when Bandcamp will not charge any fees on the sale of the records in support of the artists.

https://wearethreefour.bandcamp.com/ (2020-03-18)

Delphine Dora - L'inattingible // pre orders now open!

We are very excited to announce Delphine Dora's new album "L'inattingible".
Pre orders are now open!
Official release date: feb. 21st, 2020
Co-released with Meakusma.

With L’Inattingible, Delphine Dora’s music unfolds by drawing upon a new palette of colors. It will not escape anyone, that after having sung, in foreign, invented languages, or through extended vocal techniques, the musician resorts for the first time, to solely using the French language; and that after having often set texts and poems by other authors to music, she authorizes herself here to sing her own texts and fragments.

But beyond these formal enrichments, the new musical ambitions developed through L'Inattingible are to be found in the very fabric of the record. If the previous albums had been conceived through improvisations or spontaneous compositions, the new pieces have found their definitive incarnations through a lengthy process of collation, rewriting, and a multitude of transformations. Moreover, the composition process now involves a complex montage of texts, sounds and instruments. If the keyboard remains the inextinguishable lung of the record, it is no longer rare to come upon Delphine's sung lines and have them echo into a lush instrumentation - where in voices and instruments create a language, and develop dialogues that have never been heard before.

The new charm of her music seems to lie in the many participations that punctuate the album, giving her pieces their very particular colourations. We can hear no less than thirty instruments with configurations that differ from one piece to another: wind and string instruments, electronic instruments, a multitude of keyboard sounds, unusual instruments and all kinds of incongruous sonorities. Among them are Aby Vulliamy’s viola, accordion and musical saw (Nalle, The One Ensemble...), Adam Cadell’s violin, Susan Matthews’ harmonium, Taralie Peterson’s saxophone (Spires That In The Sunset Rise), Le Fruit Vert’s analog synthesizers, Valérie Leclercq’s percussion and flute (Half Asleep), Paulo Chagas' oboe and clarinet, the voices of Laura Naukkkarinen (Lau Nau), Caity Shaffer (Olden Yolk) and Jackie McDowell, Tom James Scott's ghostly piano, Sylvia Hallett's bicycle wheel or hurdy-gurdy, or Gayle Brogan's sculpted sounds (Pefkin). That is: a constellation of musicians who have never ceased to expand their sonic territories, experimenting throughout the years since the 2000s, drawing inspiration from folk or psychedelic music as well as from the field of improvised or experimental music.

It must be highlighted, the extent to which this record could only come into being through the presence of these different participants. Incidentally, all of its strength lies in a paradox that gives shape to this "inattingible”, which is all the more elusive because it seems to only assert itself only through a series of actions engaged in a continual flux between presence and absence. Constantly brushing against each other, these sound bodies come to trace, as we listen, the contours of an "other" space that is both familiar and foreign to us. Thus, and contrary to what might be suggested by the participation of such a large number of musicians in the elaboration of the album, it finds its energy in this constantly renewed capacity to make the absent heard. This absence is certainly not played, but acts as a presence, a kind of “horizon inconnu” (unknown horizon) situated at the edge of our perception, abounding in unpredictable potentialities.

"How to describe what has never appeared to us," Delphine asks herself on the piece entitled "Loin" (Far). There is, of course, no definitive answer to this question. Perhaps only the belief in a collective that is in the process of becoming, that, through the forms of engagement requires that everyone (musicians and listeners) unearths all of the “sensations enfouies” (buried sensations) that allow us to catch a glimpse of other forms of life that are all the more fascinating, because they remain on the threshold of the “l’inexplicable". (2020-01-15)

Early Abstractions, vol. 1 out today!

"Early Abstractions, Vol. I" is now available and can be streamed online!!

Three years after releasing "Late Superimpositions", three:four records join forces with Feeding Tube records and keep exploring the repertoire of legendary Supreme Dicks co-founder, guitarist and singer Danny Oxenberg, along with his mysterious acolyte Bear Galvin.

With "Early Abstractions, Vol. I", Danny Oxenberg, Bear Galvin & friends (Pillow Mt. Conspiracy)―that's how they call themselves―, dug into their archives since most of the tracks chosen for this new album date back from recordings made by Danny on Azalia Snail's Tascam cassette fourtrack between 1992 and 1998 in New York City, occasionally joined by Supreme Dicks members or friends gravitating in the band's galaxy.

After quite a few stages of work and successive song incarnations, "Early Abstractions" underwent a slimming cure by shrinking from a 2xLP format to a simple LP (while gaining the words "Vol. I": an omen). At the same time, the record was also enriched with six songs composed in the 2000's with Bear.

Supreme Dicks exegetes will appreciate the record's credits, funny puns, misuse of titles and other winks to old obsessions in the likes of Harry Smith, Wilhelm Reich, Phil Ochs, Leonard Cohen, Fernando Rey, etc.

Like its predecessor, "Early Abstractions, Vol. I" was produced by Maxime Guitton, with an original front cover and inside art by Hippolyte Hentgen and a design and layout by Darryl Norsen.

The album, available in vinyl and digital version, is released today. And it is now fully available for listening on Bandcamp.

In conjunction with the release date, Danny and Bear are on tour in France and Italy (other possible dates to be announced):

Wed Oct 9th: Espace B (Paris) w/ Trumans Water
Fri Oct 11th: Avant Scène (Bordeaux)
Sat Oct 12th: Les Pavillon Sauvages (Toulouse)
Sun Oct 13th: Black Out (Montpellier) w/ Cats Hats Gowns
Tues Oct 15th: Sissi club (Marseille) w/ film program
Fri Oct 18th: La Posa (Porlezza, Italy)
Sat Oct 19th: Living Room (Turin, Italy) w/ Yuko Araki


three:four records au festival de la Cité de Lausanne (9 au 13 juillet)

Le Festival de la Cité Lausanne offre une carte blanche dans le Jardin du Petit Théâtre à three:four records pour fêter ses dix ans, aux côtés de Hummus records, du 9 au 14 juillet. Pour cette occasion, nous avons la grande joie d'inviter des artistes du label : Norberto Lobo, Manuel Troller, Le fruit vert et Delphine Dora et d'autres qui lui sont proches : Midget et Tresque (projet de techno minimale de D'incise de La Tène).
Le fruit vert et Delphine Dora présenteront une création exclusive (résultat d'une courte résidence à La Becque) le vendredi 12 juillet.

Le programme complet se trouve ici.
Venez nous voir, ça va être super !

"Sur le papier, l'un et l'autre ne sont pas là pour emballer les radios. Hummus Records d'un côté, label chaudefonnier dans les forges telluriques de guitares plombées et de chant d'acier fondu. Three:four de l'autre, maison de disques lausannoise oeuvrant dans la musique instrumentale, abstraite, souvent acoustique. Le chemin entre les tripes et le cerveau passe par le coeur, et c'est un même battement passionné qui anime ces deux vaillantes entreprises, à qui la Cité offre les jardins du Petit Théâtre tout le long de son édition.

"On partage un même esprit d'indépendance et de curiosité, et une certaine longévité", résume pour Hummus Louis Jucker, fondateur du label et aussi musicien sous son propre nom. L'infatigable avait déjà reçu carte blanche il y a deux ans, orchestrant sur le pavé lausannois son univers et ses coups de coeur. Cette année, il sera parmi les artistes des deux catalogues réunis dans cette aire de jeu(x) pour des concerts, des animations musicales, des lectures, des discussions et autres expérimentations bricolées. "Les artistes les plus bruyants du label ne joueront pas en électrique, rassure le hurleur de chez Coilguns, trio de post-hardcore stakhanoviste. Les 105db ne sont pas encore acceptés à la Cité...". Du coup, Hummus y développera son versant songwriting et expérimental, avec notamment la présence d'Emilie Zoé, étoile sombre du label.

De son côté, Three:four profite de cette cohabitation pour fêter ses dix ans d'activité à la manière d'une grande opération portes ouvertes sur son artisanat tenace, confidentiel et international. Moins barrée qu'elle ne paraît, la musique de Noberto Lobo, Tresque, Midget ou Manuel Troller est à découvrir par le plus grand nombre. L'occasion, respectivement, de chavirer pour une guitare portugaise passant de la bossa à l'americana, de tester de la techno répétitive, de goûter de la chanson française ne boudant ni la pop ni la musique contemporaine, de s'initier enfin aux joies de la guitare minimaliste, sous les doigts d'un virtuose ayant autant de goût pour les rythmiques electro que les sonorités boisées. Cerise sur le gâteau, ce jardin des plaisirs accueille le bien nommé Fruit Vert, duo féminin enjôleur, décrit par Gaëtan Seguin, patron de Three:four, comme "deux prêtresses de la mélancolie". Amen." (2019-06-06)