The work of Pierre (Bob) Stephan, publicly evidenced.

Programs fetch the catalogue data, bring it into one consistent shape and propose which library entry belongs to which release. They may not publish anything. That boundary sits in the machinery itself: whatever an automatic comparison writes is only ever a draft, and two identical titles are never enough for a link. That takes a matching identifier — or a decision made by hand.

You can see it wherever this network shows less than it could: artwork without cleared rights stays invisible — even after the covers of our own releases were cleared — and three releases carry no publication date, because the date available for them is demonstrably wrong.

Four questions were settled on 5 August 2026. The covers of his own releases are cleared and shown here. The two spellings of the name — “Pierre Stephan” and “Pierre (Bob) Stephan” — are confirmed to mean the same person. The library catalogue may be shown publicly. And twelve releases could be matched to their catalogue entry with certainty, because the recording’s identifier was character-for-character the same in both registers.

What stays open is what cannot be decided without new evidence: one match with no second identifier to check it against; the question of which third-party profiles online really belong to him; and the rights to artwork beyond the covers. Where each stands

Three registers, three numbers: 22 releases are described editorially here, 318 are catalogued by the national library, 479 tracks sit on his own platform account. None of the three lists contains the other two — which is not sloppiness but the finding itself: each register collects something different.