Labels

Born Bad

  • BEBEY, FRANCIS

    African Electronic Music 1975-82

    Erstaunlich aktuell klingende Zusammenstellung von zwischen 1975 und 1982 entstandenen Songs des 2001 verstorbenen Multiinstrumentalisten aus Kamerun. Francis Bebey nannte man "Renaissance Man", er war nicht nur Sänger, Songwriter und Musiker, sondern auch Dichter, Autor und Journalist und spielte mit Manu Dibango in einer Band. Ein faszinierend-hypnotischer Sound, der auf Wiederholungen und die Nutzung elektronischer Instrumente (Synthies, Drummachine), aber auch der Sanza (afrikanisches Daumenklavier) oder der Pygmy-Flöte aufbaut. Bebey singt oder spricht französisch zu diesen eigenartigen klingenden Soundpanorama, das afrikanische Polyrythmik mit typischen Früh-80er-Sounds verbindet und als eine Inspiration für Shangaan Electro und andere neue elektronische afrikanische Spielarten verstanden werden kann.
    Format
    DoLP
    Release-Datum
    08.12.2011
    Format
    CD
    Release-Datum
    08.12.2011
     
  • 01. Sanza nocturne
    02. Bissau
    03. Sanza Tristesse
    04. Africa Sanza
    05. Forest Nativity
    06. Sunny Crypt
    07. Binta Madiallo
    08. Tumu Pakara
    09. Di Saegri
    10. Ngoma likembe
    11. Guinée

    BEBEY, FRANCIS

    Psychedelic Sanza 1982-1984

    Der Kameruner Francis Bebey war nicht nur ein Pionier der Afrobeat in den 70ern mit Electronica zusammenführte, sondern auch ein stilsicherer Experimentator, der traditionelle Instrumente aufnahm und in einen fremden, unüblichen Kontext stellte. Sanza ist ein kleines, afrikanisches Daumenpiano, im Klang einer metallischen Marimba ähnlich und geignet rhythmisch-harmonische Strukturen zu erschaffen. Die Innovation von Bebey war es seinen Afrobeat mit diesem kleinen Instrument zu psychedelisieren, hypnotische Bässe, stoische,dichte Percussion und vereinzelte Stimme hinzuzufügen und dies als wahrhaft transzendentes Hörerlebnis anzubieten.
    Format
    DoLP
    Release-Datum
    21.10.2014
    EAN
    EAN 3521381530322
    Format
    CD
    Release-Datum
    21.10.2014
    EAN
    EAN 3521381530322
     
  • 01. Bissao (Pilooski Edit)
    02. Forrest Whistle (Daphni Edit)
    03. Le Domaine Reserve Du Colonel (It's A Fine Line Mix )
    04. Coffee Cola (Young Marco Mix)
    cover

    BEBEY, FRANCIS

    Remixed

    Auf 150 Copys limitierte 4-Track Maxi mit Remixen von Pilooski, Daphni, It´s A Fine Line und Young Marco!
    Format
    12''
    Release-Datum
    01.07.2013
     
  • cover

    BLOUSONS NOIRS, LES

    Special Rock

    Total wilde 60's Twist Band aus Frankreich. Auf der Platte finden sich unter anderem 2 rare gesucht orginal 7".
    Format
    LP
    Release-Datum
    07.08.2007
    Format
    CD
    Release-Datum
    06.01.2010
     
  • 01. Ghetto Blaster
    02. CEO
    03. Marry me
    04. Lilac Tree
    05. Change
    06. 4 AM
    07. Sweet Jesus
    08. Slamino Day
    09. Oscillo Trail
    cover

    BRYAN MAGIC TEARS

    4 AM

    [engl] Remember those moth-eaten American bands on unreachable Midwest labels that, in the mid-1990s, would drop choruses that would make the Smashing Pumpkins green with envy, with the crummiest sound in the history of electricity? Maybe not. Well, Bryan's Magic Tears could have been one of them. This project launched four years ago by Benjamin Dupont (Dame Blanche), which features members and ex-members of La Secte Du Futur and Marietta, indeed has it all to occupy this niche, which, by the way, has quite fallen into disuse these days: toxic melodies, guitars oscillating between whiplashes and caresses, ghostly sonorities and a convoluted name referring to some obscure Parisian acid dealer. But wait: this is not about a vain stylistic exercise put together by some gifted kids who fantasize about a time they missed, nor a sad revivalist meeting of old farts who still haven’t gotten over turning 40. If listening to Bryan's Magic Tears brings the 90s to mind, it's not because of the sound – which, as it happens, is very close to that of their tour partners Le Villejuif Underground or Jessica93 – but because of a state of mind that was peculiar to the time and to this particular moment in adolescence, when the last illusions aroused by the fall of the Berlin Wall were slowly fading away, when the dark clouds of the first Gulf War were piling up; this carefree, jaded spleen perfectly depicted in Gregg Araki's films or in songs by Sebadoh, Beat Happening or Nirvana – or even in this famous line from Lou Reed's "Romeo Had Juliet": "It's hard to give a shit these days ". A state of mind that remains pure, intact, limpid in Bryan's Magic Tears music, free from any posture or cynicism, at the service of insane titles – real hazy hits forged in some triumphant fire – which made their first album, released late 2016 on XVIII Records, one of the most beautiful records to come out of the French independent scene in the 2010-2020 season. And we find it again today, even more intense and precise on xxxx, a collection of insane hits – “Ghetto Blaster", "CEO", "Changes", the whole album could actually be mentioned. A record made for those clear and cool days of spring when everything suddenly looks brighter, clearer and more intense. A record that recalls what it feels like to miss the last train of the day and realize you are just short of what it would cost to buy a ticket for the next day. An obvious, indestructible, lunar, romantic, arrogant, phlegmatic, disillusioned record. In short, a record that makes you wish you were 18 again. How many bands could be talked about like that, these days? PRs & managers would kill for such a story - this one is 100 % accurate and happened just like any great story : by chance. Just like the music of the Villejuif Underground, the result of happy accidents and unholy alliances, something that was never meant to be but became an astonishing fandango of sorts. Think Fat White Family covering Oingo Boingo with Beat Happening’s gear. Think Beck’s One Foot In The Grave remixed by Daniel Johnston and Brian Wilson. Think Ausmuteants, the Spits, the Feeling Of Love or A Frames when they really nailed it. Actually, you shouldn’t think about any of this cause whatever you do, you’ll still be far from reality. Way too far. Especially now with the release of When Will The Flies In Deauville Drop?, their second album and the first one on Born Bad Records. 11 tracks in a bit less than 40 minutes. 11 clumsy love letters to heavy backpacks, haunted castles, sleepy parisian districts and tours in China - which happened by total chance, thanks to some girl found asleep on their couch on new years eve. 11 reasons to think there’s a way out of 2019 - already. Your stormy love story with the Villejuif Underground starts here. Be sure to enjoy it. To the max.
    Format
    LP
    Release-Datum
    07.12.2018
    EAN
    EAN 3521381550061
    Format
    CD
    Release-Datum
    07.12.2018
    EAN
    EAN 3521383450055
     
  • 01. No Mercy For Love
    02. Mama
    03. Hidden Wealth
    04. Choppy Night
    05. Caribbean Dream
    06. Diabolic Prank
    07. Rays Of Light
    08. Speck Of Dust
    09. Caterpillar
    10. Rythm Of Fire
    11. Three Minute God
    12. Hoodoo Me
    cover

    CANNIBALE

    No mercy for love

    [engl] Still unknown in rock territory, French band Cannibale gets its name from its «kind of exotic garage» music whose humid tropical groove is slowly eating up all the stereotypes about Born Bad releases. If there’s cannibalism to be found in «No Mercy for Love», it’s in reference to the Caribbean rhythms here and there, and to the psychedelic sound from the backwoods that make this first album a peculiar occurrence in the land of strikes and wine drinkers. There’s never any silence with Cannibale and, as for the lambs, we’ll stick to the village in the middle of nowhere where the band members reside—a hamlet in Normandy with a total population of 300 including the cows. Rather than human flesh, these guys have been feeding on their own impatience. Their tale, just like their music, doesn’t fit any usual standards: lead guitarist Manuel and singer Nicolas met in junior high (which is the case for 99% of rock bands so far), but the members of Cannibale have a Frustration type profile—almost all of them are over forty. What happened during the last twenty years? With unbending faith, these guys played in loads of bands that never made it to the top (Amib, De Rien, 7Questions, Kouyaté Neerman, Renza Bo, Blast…) and even ended up playing as session musicians alongside Camile Bazbaz or Johnny Halliday. After winning the Inrocks Labs contest with Bow Low, their penultimate band, and releasing two albums with Because Editions, the Norman guys finally decided to create Cannibale in 2016. In theory, considering the beginning of their career, or lack thereof, you couldn’t imagine you’d end up hearing the sounds from «No Mercy for Love»: a surprising mixture of cumbia, African rhythms and garage music. Or, if you will, a kind of missing link between Fela Kuti, The Doors, and The Seeds. So as to climb the ladder of success, Cannibale eventually had the good idea to add a seat to the table and contact JB from Born Bad. That’s when the story turns into a remake of The Wild One, the Brando movie: «JB told us he liked what he heard, so he drove his motorcycle to our place, tried to impress us with a controlled skid, and then we had mashed potatoes. He helped himself to two more servings and said ‘’This mash is totally fuucked!’’ Later on, on his way out, he said: ‘’Let’s hit the road to glory!’’ So now we wait.» With such tracks as Hidden Wealth, Carribean Dream, or Mama, stay patient guys, success shouldn’t be too late to come now. Following other recent releases such as El Blaszyck’s «The Quirky Lost Tapes» and «Rhapsode» by Forever Pavot—whom Cannibale resembles at times—this album is yet another testimony of the label’s open-mindedness, a proof of the boss’s passion for uncommon destinies. Who else would have betted on a bunch of forty year-olds whose origins are as white as their soul is black? No one, in theory. «Releasing the album in our forties, we think it’s a laugh. Of course we keep on believing, it’s all we do, it’s what’s keeping us alive.» Goes to show you can be called Cannibale and still believe in resurrections.
    Format
    LP
    Release-Datum
    27.03.2017
    EAN
    EAN 3521381542561
    Format
    CD
    Release-Datum
    27.03.2017
    EAN
    EAN 3521383442555
     
  • 01. Frogs
    02. Do not love me too much
    03. Machine gets old
    04. The Ugliest Rabbit of the Seventies
    05. Ghost
    06. Not easy to cook
    07. Sirens call
    08. Pendejo
    09. Au Revoir
    10. Frogs Outro
    cover

    CANNIBALE

    Not Easy To Cook

    [engl] If Cannibale’s members brought their breakfast back up when talking about “Not easy to cook”, their listeners would be surprised. These fortysomethings being signed by Born Bad Records, the image of greaser-looking garage rockers would come to mind, but with bits of exotica stuck between the teeth, Nino Nardini & Roger Roger’s “Jungle Obsession” spilled on the table, and plastic-bottled tropical glam puked by some even more stupid incarnation than Wayne’s World’‘s Mike Myers. The stage is set, now you have to clean up everything. Why mention all this? Because there’s a world of difference between the beginning of Cannibale’s success story and this second album. It wouldn’t take much to feel as if Freddie Mercury showed up in a Renault 16 supersport to play marimba for old oafish rock fans. And actually, that’s about it: The Rocky Horror Picture Show meets Fela Kuti in rain boots. And though the amount of cows hasn’t increased in the Normandy hole these guys hail from, the number of their shows did. Between “No Mercy For Love” (their 2017 debut album), and the new one “Not easy to cook”, these Frogs – to quote the title of the opening track – did not switch from psyche cumbia to coarse-grained autotune, but rather roamed roads like doped cyclists: more than 100 dates in less than a year (including quite a few with Frustration and the Villejuif Underground), festivals such as Rock en Seine, and a eulogistic press review: “Indolent rhythms invoking Latin America and Africa.” (Mowno) “Nomadic, willingly sunny garage rock.” (Libération) “Songs that provoke visions or hallucinations.” (France Inter) See, Johnny Hallyday himself did not get such media coverage! So what’s Cannibale’s secret? Being old and giving 19-year-old kids who just discovered marimba tutorials on YouTube a thrashing? Certainly, but it’s a little more than a band of old fogeys. “The band learned it all on the road in less than two years,” says Born Bad’s Jean-Baptiste Guillot. Songwriting-wise, they’ve known how to do for a long time. The members – survivors of various screwed-up musical projects – finally succeeded because nothing else than music mattered anymore. In that, the band’s deviant trajectory is not so different from Vox Low’s, another in-house signing. But the most surprising thing about “Not easy to cook” is the sultriness that emerges. It’s hard to sum it up other than by comparing these 10 songs with some pressure cooker in which bits of dancehall, London ska and Hawaiian dub would have cooked together. Here’s the small miracle achieved by this LP recorded by the band in its remote French village: sounding French, but Polynesian French. With “Not easy to cook”, frogs, birds, sounds from the jungle can be heard in a living room. Those already traumatized by Arthur Lyman’s vibraphone and Les Baxter‘s Lounge music should feel at home; novices will finally discover something other than Saturdays at the Whole Foods Market store.
    Format
    LP
    Release-Datum
    18.11.2018
    EAN
    EAN 3521381550382
    Format
    CD
    Release-Datum
    18.11.2018
    EAN
    EAN 3521383450376
     
  • 01. Hustling in Barbes
    02. Masterchief of the foxes
    03. Plane crash
    04. # Black cat
    05. Krokodile dandies
    06. UPN 160
    07. Youth can suck my dick
    08. Bet that song sounds cool on TV
    09. Drift with Satan
    10. I stand still
    cover

    CATHOLIC SPRAY

    Earth slime

    [engl] In the days of conscious jazz (music done by those who know way too much about it) & pale idols (Bon Iver, James Blake, Kendrick Lamar, people nobody wants to look like), sorting through the new releases is a dirty job. Then comes the day you stumble upon Amazon Hunt, Catholic Spray’s first album, and everything suddenly gets faster, louder and weirder. The year was 2011, the record label was Teenage Menopause, and the record sounded like one of those days made of nothing but raw, naked truth when you wake up shirtless at 5.am, stuck in a building devastated by flames, slowly remembering the atrocious rumble between two transsexuals in the lobby hall that started it all. You know that kind of record. You also know the kind of band who makes such records: their story usually ends in ugly fights after 6 or 8 months and you’re left with rage, regrets and infinite blabbering. Well, it appeared Catholic Spray wasn’t one of those bands. Reminding the indie peasants they are the band responsible for making the 18th district of Paris cool again (“Hustling In Barbès”), Catholic Spray charges right on with an array of mongoloïd hooks thrown at maximum speed (“Masterchief Of The Foxes”, “Drift With Satan”), hitting harder and meaner when necessary (“Black Cat”), just to remind they definitely own the race, even though they still drive with eyes closed, guided only by Pierre and Cyprien’s voices, both singing like rats fighting against the wind, screaming for a smoke and a piece of ass, legal or not. The kind of guys who, when you meet them face to face, pass their whole life on to you, just like a disease. And with a record like Earth Slime, that shit could spread faster than rabies. ”Youth can suck my dick”, they say.
    Format
    LP
    Release-Datum
    10.03.2013
    EAN
    EAN 3521381523232
     
  • 01. Non non non
    02. Art nègre
    03. Les yeux ouverts
    04. Tête de bois
    05. Paris Paris
    06. Rue Jacques Tati
    07. Beau rivage
    08. Monsieur Madame
    09. La lumière est blanche...
    10. Et la terre est rouge
    11. 1938 Les petits nains
    12. Hymne au confort
    13. La Joncque chinoise

    CHA CHA GUITRI

    FRENCH SYNTH WAVE - SYNTH ETIENNE 1981

    [engl] Unless you are a monomaniacal specialist of the 80s, there is very little chance that Cha Cha Guitry will ring any bell. And yet this band, buried away in Saint-Etienne – at the very heart of France – could have rivalled easily with Elli & Jacno or Telex. Emblematic of that French touch which tinged new-wave with a bit of sunshine, their electro, retro-futuristic songs have that slight sweet and sour flavour between casualness and sophistication. The birth of Cha Cha Guitry in 1981 was a landmark for its members, Serge, Dominique, Charly and Marie. High-school friendships and love stories helping, it is in a most spontaneous way that these art lovers formed their band. Once their hippie phase was over, the guitar, sax and flute were abandoned in the closet while machines took over: an EMS AKS synth, a Roland SH101, a Roland TR808 rhythm-box. The two couples met in the congenial atmosphere of their “home studio” to record their songs. The boys composed and sang, the girls sang and designed minimal costumes, the elegance of which was enhanced by some DIY touches: no need for fabric, paper will perfectly do. As deceivingly offhanded stylists, the Cha Cha crew carefully crafted a music that was both studied and charmingly quirky, making collages of pop raw materials and avant-garde stuff. Scissors in hand, they took what they wanted from the Bauhaus, Moholy Nagy, or Sonia Delaunay’s dresses, taping these iconic bits onto the sounds of Kraftwerk and what remained of pop culture (comics, movies, songs of the 30s or easy listening). Cha Cha Guitry, wisely ingenious, modelled tropical landscapes out of cellophane, thus elaborating its own synthetic surrealism. We’ll offer as evidence the title “Les Yeux Ouverts sur les Beautés d’Aujourd’hui” (“Opening Our Eyes to the Beauties of Our Days”), borrowed from a handbook about mechanics. “We were aware of the beauties of the decade, both visual and aural. That was the spirit of Cha Cha. It was like living in an inspiring utopia: we were at the wheel of a bubble, driving at full speed through the 80s!!!” The adventure would not last more than a few years, just long enough to record two cassettes on Kronchtadt Tapes (a local label central to the underground scene that was more into punk) and give three concerts. “It was difficult to play our music on stage with studio synths, so we figured out a system in which the fifth member was a Revox. It throned among us on stage, playing the soundtrack as we sang live.” As isolated as they were in Saint-Etienne, they got nevertheless noticed by Alain Maneval who programmed them regularly on Europe 1, and they could even be heard on Radio Gay. So they went to Paris to meet a manager from Virgin, but they never got the luck, rare in those days, to release a vinyl. Their arty, pop style was also too DIY for Agnès B’s freshly opened shop: their second cassette, though wonderfully packed in a Plexiglas case resembling an icicle, was not to the brand’s taste. Serge has been living in the same flat since 1975 and never got rid of his synthesizer. The studio where Cha Cha would record its songs has not changed a bit. Everything has been kept, ordered, archived, from the piles of magnetic tapes to the hundreds of Polaroid shots. We are happy to offer you a selection of them.
    Format
    LP
    Release-Datum
    07.07.2014
    EAN
    EAN 3521381529708
    Format
    CD
    Release-Datum
    07.07.2014
    EAN
    EAN 3521383429693
     
  • 01. Pirate Bay
    02. Slap And Shot
    03. Polonia
    04. Juan In A Million
    05. Stadium
    06. Albinos
    07. Madame Pompidou
    08. Monsieur Perrier
    09. Blood And Gore
    10. Johnny Hurry Up

    CHEVEU

    Bum

    [engl] On their first four albums, most bands go by the Wagner handbook, roughly drafted according to the Ring des Nibelungen : birth, conquest, war, destruction. They usually give it all on their first record, keep on trucking at a higher speed on the second, start back from scratch on third effort -most preferably in a totally opposite way- and gamble it all on a fourth album, for a sad epitaph or a one-way ticket to Valhalla. Cheveu has now reached album #3 and since they totally fucked-up the first two steps, there’s nothing surprising in seeing them come back at full speed on a countryside road stuck in a beat-up van on fire, with BUM, their most incredible piece of work to date. After a quick introduction (the promising but sketchy Cheveu), the parisian trio blew up on the world’s face with their second LP, 1000, a record thrown at the bored masses in full ragged glory. Cheveu now enters 2014 heavy-hearted and red-eyed, just like those wrecks of humanity blinded by the lights at closing time, their misery, bad skin and unachieved schemes exposed before dawn. Cheveu built its third LP on the ashes of those unholy hours, around the majestic « Polonia », a track on which David Lemoine recites a few lines from Bertrand Blier’s Buffet Froid with the set expression of a man empowered by the fact he just shit his pants, while Etienne Nicolas and Olivier Demeaux slowly unwind the rapturous scenery of a theologian western. The song is beautiful, grotesque, heart-rending, just like a scene out of Jean Ray’s Malpertuis backed by a funeral choir of angelwitches, and is definitely one of the most amazing things you’ll hear this year. BUM, just like « Polonia », is an inner trip, an odyssey bordered by the walls of an antique mansion, full of baroque embroidery and padded club chairs, perfect aural counterpart for the paintings, of Rousseau, master of the exotic which –paradoxically- never ventured out of France. Cheveu’s third record is full-on excess and absurdity, but is also much more legible and effective than their previous efforts (see « Juan In A Million » or the sure-fire hit « Albinos », which lyrics are taken from a monologue in Harmony Korine’s Gummo), even traditional at times (« Pirate Bay » seems like the very first Cheveu song where guitars sound like guitars). This time, the band opted for a much more live-based, organic and fully-produced sound, replacing 1000’s messy cut-ups and Cheveu’s shitgaze blur by throbbing organs (played by Xavier Klaine and recorded at Saint Merri Church) and wall-of-sound choirs (arranged in Tel-Aviv by Maya Dunietz, already in charge of the lush string arrangements on 1000). The result : 10 tracks drier and sharper than anything Cheveu has done before, definitely out-of-this-world but elegantly mannered, veined with unaltered genius and ending with the spectacular « Johnny Hurry Up », an unreal track which owes Wall Of Voodoo and X as much as François de Roubaix and crowns Cheveu as the masters of a new world where love burns over piles of rotting meat and shit.
    Format
    LP
    Release-Datum
    04.02.2014
    EAN
    EAN 3521381528336
    Format
    CD
    Release-Datum
    04.02.2014
    EAN
    EAN 3521383428320
     
  • cover

    CHEVEU

    cheveu

    Die Franzosen habens wieder getan. Unser Born Bad bringt die neue Single von Cheveu, die mit ihrem kanntigen Franzosen-Postpunk erneut Fans wie Byron Coley (Wire) zu Begeisterungsstürmen hinreißen dürfte! 2 neue Songs die abermals französischen Underground ins heute adaptieren gibts auf die Ohren. Warum Joe, Guerre Froid und Swell Maps fällt mir dazu ein!
    Format
    7''
    Release-Datum
    06.01.2010
     
  • cover

    CHEVEU

    Debut Album

    [engl] Established transatlantic ambassadors of the "Shitgaze" movement, CHEVEU are the defenders of a primitive electro sound, in which filthy garage punk and decrepit machines fornicate to produce a terrifying chaos. A few lo-fi synthesizers on their last legs, a simple, mechanical beat, some delta blues riffs for extra colour, and a singer who appears trance-like and possessed, with his mental faculties not at their best - these seem to have been enough to produce an explosive effect and for CHEVEU to make their mark as one of the underground's most inventive groups.
    Format
    LP
    Release-Datum
    19.03.2008
    Format
    CD
    Release-Datum
    06.01.2010
     
  • cover

    CHEVEU

    Mille

    [engl] The new CHEVEU album "Mille" Think SUICIDE meet RUN DMC meet VIVALDI!!
    Format
    LP
    Release-Datum
    18.11.2010
    Format
    CD
    Release-Datum
    21.12.2010
     
  • 01. burn out
    02. mefiez vous du boogaloo
    03. tss tss
    04. meche
    05. interlude
    06. fantome
    07. apocalypse
    08. gobekli tepe
    cover

    CHOCOLAT

    Tss Tss

    [engl] In 2006, Jimmy Hunt (then a proverbial punk-troubadour usually found in bars) and Ysael Pepin (bassist for Demon’s Claws) started to jam here and there in one of the rooms of an apartment located above the late Zoobizarre in Montreal. Brian, Martin, and Dale eventually joined and the quintet recorded their first garage EP in two winter afternoons. Going against the ebb and flow of indie-pop, receiving praise in both languages all over Canada (La Presse, Exclaim!, Voir), Chocolat participated in the Francofolies de Montréal in 2007 and, in 2008, they were one of the first bands signed on a new label named Grosse Boîte, the French section of Dare To Care Records. They went on to release their first album, Piano élégant, which was met with great acclaim. It featured Beatle- esque melodies, a clearer sound and an addictive chanson side. During the two years that followed, between disheveled yet jolly efficient performances, Chocolat strung together shows and insolence, and even performed at the Vancouver Winter Olympic Games. Then, wanting to try something new, the band decided to take a break in the middle of 2010 and Jimmy Hunt eventually released his first solo album. Jimmy and Ysael kept contact and kept playing together, laying the foundations of an abstract project named Fantôme. Then, at the end of 2013, during the Holidays, while on a break from the tour promoting his second solo album, Maladie d’amour, Jimmy Hunt pitched some ideas on his tablet. The few demos he recorded consisted of linear sequences with drawling riffs interspersed with rhythmic breaks and rudimentary electronic effects. Realizing that Chocolat represented the ideal band to play these, Jimmy got the members together and invited his close friend Emmanuel Ethier (Jimmy Hunt, Cœur de pirate) to replace Dale who had left for Europe. After only 3 practices, Jimmy booked the Victor studio in January 2014. For a few days, the guys recorded live and full band. In general, they stuck to the second or third take for each of the tracks. This allowed them to take advantage of the spontaneity of Ysael and Brian’s garage games played on the mechanical tracks composed by Jimmy. As spring blossomed and schedules filled up, the guys managed to remotely mix what would become Tss tss, an album recorded between friends, a pop dump of white heat, a discharge of hypnotic rock, and, still under the Grosse Boîte label, an essential tool to hit the roads and travel across Quebec again.
    Format
    LP
    Release-Datum
    05.02.2015
    EAN
    EAN 3521381531299
    Format
    CD
    Release-Datum
    05.02.2015
    EAN
    EAN 3521383431283
     
  • 01. Fallait pas ecraser la queue du chat
    02. Je t'ai voulu et je t'ai bien eu
    03. La chanson bete et mechante
    04. Le boa
    05. Saperlipopette
    06. La ballade du bossu
    07. 102 - 103
    08. La verite toute la verite
    09. Des garçons faciles feat Les Charlots
    10. A ora sos'e
    cover

    CLOTHILDE

    Queen of the french swinging Mademoiselle 1967

    Auch wenn sie nie denselben Bekanntheitsgrad erreichte, wie andere französische Chanteusen der 60er, zählt Clothilde trotzdem als die Queen der "Swingin´ Madmoiselles" und eine der charakteristischsten und urbildlichsten Vertreterinnen des French Sixties Pop. Diese Compilation enthält insgesamt elf Songs aus dem Jahr 1967 und damit all ihre Releases (im Original heute kaum mehr erhältlichen), zwei EPs (Clothilde und Saperlipopette) und die damals nur in Italien erschienene Single (Clothilde). Zudem gibt's noch ausführliche Linernotes und ein Interview mit der Madmoiselle und ihrem damaligen Manager Germinal Tenas.
    Format
    LP
    Release-Datum
    10.03.2013
    EAN
    EAN 3521381523119
    Format
    CD
    Release-Datum
    10.03.2013
    EAN
    EAN 3521383423103
     
  • 01. Kinder Country
    02. Ice Forest
    03. There Is A Man In There
    04. That Selfish Dog Does Not Share It's Bone
    05. Empty Glass
    06. Chicken Pox
    07. Your Body Got A Land
    08. Easy Girl
    09. Moon Food
    10. You Can Still Run (It's A Long Race)
    11. Watching In The Water
    cover

    CRASH NORMAL

    Your body got a land

    Französischer Postpunk zwischen Garage und Electrotrash. Gespielt von einem Duo.
    Format
    LP
    Release-Datum
    15.04.2012
     
  • 01. Colosse De Rhodes
    02. Sous La Mer C'est Calme
    03. Samarcande
    04. Sayyara
    05. La Ville
    06. Le Vide
    07. Tamam
    08. El Bahr
    09. Ultra Moderne Solitude 2
    10. Yaaa Yaaa Yaaa

    CYRIL CYRIL

    Certaines Ruines

    [engl] Of all the Cyrils born in the city of Calvin at the dawn of the 80s, these two were bound to find each other. Two Cyrils like two dizygotic souls whose contingencies have brought their meeting forward. Cyril Cyril. A liberated hydra, born in this city of diplomats where Borges duplicated his rejuvenated ego in “The Other”. On the ruins of their worn out bands, they put together an innately cosmopolitan empire. Because these Cyrils have devoured miles, away from their Genovese haven. A muezzin without borders, Cyril Yeterian came to the disheveled world through Mama Rosin, a three-piece that stirred the ghosts of the rogue bayou, the clammy Mardi Gras of some electric Louisiana. Soon, the world fell in love with their flair. The BBC celebrated them, Jon Spencer produced them, records proliferated. And then in 2017, the honeymoon period passed. Cyril was alone. Well, not quite: music kept popping up around him. Inside his Bongo Joe record store, on the label of the same name, in the underground DJ sets he stirred up, Yeterian explored like crazy, in a binge of exiled grooves. Within the same space-time, Cyril Bondi hit the road. Diatribes, La Tène, Insub Meta Orchestra, the most adventurous projects of the Geneva scene all had a bone to pick with this percussionist in search of unheard beats. He, as well, traveled, experienced the ascent, the euphoria of the peaks and then the fall. Plaistow, his mediumistic, hypnotic jazz band, heckled the saturated world of piano-bass-drums trios and won hearts through Europe and the East. Until the breaking point. So Bondi started looking for premises to drop his equipment. He found better: an accomplice for musical prospecting, another Cyril in tune with his rebellious instinct. Enough with leaning upon solid piers like a Colossus of Rhodes. This adventure required new baggage, a new language. Cyril and Cyril were in the same boat, and both took the plunge. A guitarist and an accordionist, Cyril Y. took on the banjo, adding effect pedals to it to turn it into a puny bouzouki, an epic ba?lama or a krar. Cyril B. cobbled some cannibal drum kit together, with massive jingle bells and tropical nut shells embedded in his marching bass drum. You should have seen these two, on a populous festival night, bringing a narrow club to fever pitch by summoning utopian Neguses. Playing new Berbers, provoking unlikely seismic soukous in a trance that has as much to do with the hippie giddiness as with Fraggle Rock. Indeed, for Cyril Cyril, music is a way of the world, a joyful decentration offering new keys to comprehend chaos. The point here has nothing to do with some globalized country excursion nor some gluten-free exoticism. Beneath the beach lie the paving stones. Politics always end up showing on the surface of these exhilarating chants, of these skeletal grooves. Apart from tracing back the family pathway of some belatedly-adopted Lebanese dialect, Cyril Yeterian chants rhapsodies in French, the merciless terms of which say it all about coming insurrections. Thus, “La ville”, a Doorsian declamation in which the epic eloquence of a Goncourt Prizewinner – Texaco by Patrick Chamoiseau – meets the Invisible Commitee’s poetic prophecies. Thus, “Ultra moderne solitude 2”, that has more to do with Alain Péters than Alain Souchon, with this question "Where are the souls / to take up arms with”. Nothing yet likely to make Certaines Ruines a wordy lampoon of hoaxers, of neo-post-everything killjoys. Since, let’s face it, “the leviathan is intimidating” (“Sous la mer c’est calme”), Cyril Cyril knows the superior power of suggestion, of temperance, of happy sobriety. A single word, a single cry can say a lot, as long as it is soulful. The sound of a duo reduced to its simplest expression – rhythm, a riff, a voice – can bear within itself an infinitely luxuriant musical organism – the double helix of DNA. Cyril Cyril, so real, so rich.
    Format
    LP
    Release-Datum
    18.09.2018
    EAN
    EAN 3521381549904
    Format
    CD
    Release-Datum
    18.09.2018
    EAN
    EAN 3521383449899
     
  • 01. Surrounding seas
    02. Light fligt
    03. Blazing Skyline
    04. Leavin' my place
    05. The cool brain
    06. Black safari
    07. Panorama
    08. Gates of pop
    09. Dreams in the wind
    10. Touch as much
    11. Strange form
    12. The orion belt
    13. Rainbow rays
    14. Like the wind you are
    15. Litha

    DECERF, JEAN-PIERRE

    Space Oddities - 1975/1978

    [engl] Jean-Pierre Decerf, born in Neuilly (a western suburb of Paris) in 1948, lived in Paris until 2003. From the early 70s to the mid-80s, this self-taught musician composed about twenty albums of production and library music with generic cover art and titles (Out of the Way, Magical Ring, Keys of the Future, Pulsations, More and More, etc.) that evoke interstellar travel. These experimental discs, made with love, humility and rudimentary means, had no ambition other than to accompany other peoples' images. By exhuming these obscurities from the dustbin of history, BORN BAD have decided otherwise. Archaeologists with an agenda, they seek to give Jean Pierre Decerf the renown he deserves: that of an innovator whose rhythmic, synthetic compositions inspired the harbingers of the French Touch (Air comes to mind), not to mention some East Coast rappers. On a warm Indian summer day, we visited him at home in a remote village in Touraine (central France), where he lives as a hermit. Sometimes he runs into Mick Jagger, who has a castle nearby, at the local supermarket. Most of the time, he speaks English with his British neighbors. [Many small villages in rural France have numerous British residents, in particular retirees.] That day, he made an exception for us and discussed his past
    Format
    LP
    Release-Datum
    06.02.2015
    EAN
    EAN 3521381531374
    Format
    CD
    Release-Datum
    05.02.2015
    EAN
    EAN 3521383431368
     
  • 01. Paralipomonon
    02. Ovlar E
    03. Existential Suit
    04. Coodooce Melopoia
    05. The Mechanical Eardrum
    06. Alflafa
    07. October Lane
    08. Alephant
    09. Teorema
    10. A Drowsy Wallz
    cover

    DORIAN PIMPERNE

    Allombon

    Überirdisches Album einer Pariser Formation die mit ihrem zweiten Album beim französischen Qualitätslabel Born Bad gelandet sind. Der Sound setzt sich hauptsächlich aus 60s Beat, Pop und Psychedelia zusammen, was mich an einen Mix aus Belle & Sebastian, Rocko Schamoni und den Beatles erinnert.
    Format
    LP
    Release-Datum
    24.03.2014
    EAN
    EAN 3521381528787
    Format
    CD
    Release-Datum
    24.03.2014
    EAN
    EAN 3521383428771
     
  • 01. Taqui Oualqui
    02. Tapfex
    03. Quand tu m'caresses
    05. James Bond Girls
    06. Prisonnier Beatnik
    07. Hully Gully Neurasthénique
    08. Piquouze Jerk
    09. J'ai Pas d'Sante
    10. Radiographie
    11. Tentative Disco-Thérapeutique
    12. Cocktailo-Therapie
    13. Etablissement Spécialisé
    14. Une Clinilkenu (Tu vas où?)
    15. Elle est horrible
    cover

    EL BLASZCZYK

    Rock band himself The Quirky lost Tapes 1993-95

    Format
    LP
    Release-Datum
    27.09.2016
    EAN
    EAN 3521381537413
    Format
    CD
    Release-Datum
    27.09.2016
    EAN
    EAN 3521383437407
     
  • 01. Cellophane Face
    02. Dissolve Me
    03. Funk Police
    04. I Am The Road
    05. We Are Out Of Tune
    06. Là-Bas C'est Naturel
    07. 666 Blank Girls
    08. Empty Trash Bag
    09. I Am Right, You Are Wrong
    10. Numboy
    11. White Smoke Rising
    cover

    FEELING OF LOVE

    Dissolve me

    2006 eigentlich als Soloprojekt vom A.H. Kraken-Gitarristen G.Marietta in Metz ins Leben gerufen und über die Jahre zu einem Dreier-Outfit mutiert (mit Members von Crash Normal, Vingt Mill Punks). Hier gibts den dritten Langspieler der Jungs, die erneut zeigen, dass sie nicht nur ein Faible für experimentellen Postpunk haben, sondern auch liebend gern an psychodelischen Krautrock schrauben. Eine eigenwillige Mischung aus Faust, Kraftwerk auf der einen Seite und The Fall auf der anderen machen die Platte so interessant und gut! Tipp an alle die es gern mal psychodelisch mögen!
    Format
    CD
    Release-Datum
    10.04.2011
    EAN
    EAN 5414939111129
    Format
    LP
    Release-Datum
    10.04.2011
    EAN
    EAN 5414939111112
     
  • 01. Hustling in Barbes
    02. Masterchief of the foxes
    03. Plane crash
    04. # Black cat
    05. Krokodile dandies
    06. UPN 160
    07. Youth can suck my dick
    08. Bet that song sounds cool on TV
    09. Drift with Satan
    10. I stand still
    cover

    FEELING OF LOVE

    Reward your grace

    Mit ihrem sechsten Album kehren die 3 Franzosen wieder zum Paris based Born Bad-Label zurück. Wie man von Release zu Release sanfter wurde und weniger verstörende Soundexperimente präsentierte konnte man auf den vergangenen Scheiben gut mitverfolgen. Hier ändert sich daran auch nichts und die Parallelen zu A.H. Kraken und Crash Normal fallen mittlerweile kaum mehr auf. Man legt mehr Wert auf Eigängigkeit und dreht nur noch selten am Distortionknöpfle. Trotzdem schafft man es auch hier nicht zu enttäuschen. Fans von Lollipop Shoppe, Weeds, The Answer und dem ganzen 60er Jahre Psychedelic Garagerock werden die Platte lieben.
    Format
    CD
    Release-Datum
    10.03.2013
    EAN
    EAN 3521383423158
    Format
    LP
    Release-Datum
    10.03.2013
    EAN
    EAN 3521381523164
     
  • 01. Le Beefteak
    02. La Soupe A La Grolle
    03. The Most Expensive Chocolate Eggs
    04. Jonathan Et Rosalie
    05. La Pantoufle Est Dans Le Puits
    06. Les Cagouilles
    07. Hutre
    08. Père
    09. Les Cordes
    10. Cancre
    11. Au Pas De L'assassin
    12. Ca Lance
    13. La Belle Affaire
    cover

    FOREVER PAVOT

    La pantoufle

    [engl] We used to know Émile Sornin as the son, the pupil, who saw fathers of his among the pioneers of baroque, progressive and psychedelic pop; who found big brothers by heart and aesthetics in Aquaserge; the (nearly) solitary creator of the “fine retro-maniac piece of work” (The Drone), Rhapsode, in 2014. After experiences in metal, garage, hip hop, he had spent a lot of time exploring, mixing together, digging, getting to the roots with the seriousness of a young man on a quest for territories to occupy. An insatiable jack-of-all-trades, he directed delirious videos for Dizzee Rascal or Disclosure when he wasn’t combing the countryside to discover new instruments (the movie Le Bon Coin Forever). Here is Émile Sornin the (new) father, the dubbed artist, the one-man-studio fully aware of his essential influences (French 70s movie soundtracks – Philippe Sarde, François De Roubaix, Francis Lai – rather than Italian giallo soundtracks, synth pioneers such as Wendy Carlos or Mort Garson, library music à la Camille Sauvage, Claude Vasori and Roger Roger); the captain of a dense, tight live band. The man called by producer Sebastian to the bedside of – scoop – Charlotte Gainsbourg’s next album. The man who just gave birth to La Pantoufle. From shore to shore, Émile Sornin incorporated into his music the humor and self-mockery he didn’t dare to embrace in the past. He dropped English to explore sideways his mother tongue, the tongue that says “ça lance”, “ça m’est égal”, and “c’est pas si dégueu”. He unleashed his instrumental eloquence – more obsessive than ever arrangement-wise, more jazz and nervous execution-wise, not balking at any dramatic effect to seize our perceptions. Most importantly, he drew on his own memories and blanks (“La pantoufle dans le puits”, “La soupe à la grolle”, “Les groseilles au fond du jardin”) to give rise to suspense, fiction and interpretations. Built as an imaginary movie in which genres collide from one scene to the next (crime film, romance, comedy, erotica, slasher – you name it), La Pantoufle draws on childhood joys and terrors, only to reenchant them. This is how Forever Pavot takes on its role as a “Father”, laying the foundations for a bright future.
    Format
    LP
    Release-Datum
    10.11.2017
    EAN
    EAN 3521381544947
    Format
    CD
    Release-Datum
    25.08.2017
    EAN
    EAN 3521383444931
     
  • 01. Electric Mami
    02. Miguel el Salam
    03. Joe and Rose
    04. Rhapsode
    05. Les naufragés de Nieul
    06. La Rabla
    07. Le passeur d'armes
    08. Les cigognes nenuphars
    09. Ivresse de Pacotille
    10. Green Nap
    11. Magic Helicopter
    12. The sound of Chehery Bell
    cover

    FOREVER PAVOT

    Rhapsode

    [engl] The pop world is divided into two categories. On the one hand, groups that create new things out of old ones. We know them, we have the names. Yawn, yawn. On the other, those who create old things with old ones, left behind by the wars they have not lived, in search of times they have not known and consoles on eBay in the hope of sounding like Velvet Underground. Just as pathetic as the first, the whole thing coupled with an obsession for imitation which gives their future a taste of an old biscuit dipped in formalin. “Fashion is what goes out of fashion”, used to say Cocteau. Although he died without having been able to listen to the first Forever Pavot’s album, we must grant the poet the gift of prophecy: the classical opposition between past and future is completely stupid. On these grounds, Forever Pavot has done honourably. Create new things with old ones, or rather make something beautiful with the old, it is the ambition of “Rhapsode”, record where Ennio Morricone, Francis Lai and other film music composers from the 60′s find at last the singer they were missing. But beware, under the cobblestones of these 68′s composers, no plagiarism. In the same way that old stone is a long term investment, one is tempted to describe Emile Sornin, Forever Pavot’s leader, as a maker of things solid, expert in both messing around and demolishing walls. His got his trainingwithin a first group – defunct Arun Tazieff – where the desire to be the conductor is already being felt. Emile is already developing techniques dear to François de Roubaix: dreaming his songs, fiddling them solo track by track to eventually produce them in his closest buddies studio, the Aquaserge from Toulouse. The result is worth all these sleepless nights: where others merely copy the past, Emile stacks up sound, rehabilitates the harpsichord in this narrow world that has become pop music. He composes arranged pieces (Electric Mami) that give the impression of hearing Strawberry Fields Forever sung by Zombies. After an initial 45 rpm, “Christophe Columb”, which he produced in the spring of 2013, and which was”distributed free with chocolates” and then repressed by Frantic City, the story of Forever Pavot begins to take shape around a new group. Then will come two EPs (the first with the English from Sound of Salvation in January 2014, the second in April in Requiem for a Twister), all released in such limited numbers that already the word CULT writes itself in large letters on this long-haired Emile’s forehead. So there is a new tenant in the Jean-Claude Vannier residence. The discreet type, but rather noisy. Fuzz guitars, wild farfisa, bass lines mixed well ahead in the Burgalat tradition, flutes playing, horse cavalcades on Miguel El Salam, “Rhapsode” is such a huge indoor Western shot by the ORTF ( 64′s to 74′s French Broadcasting Authority TV) that sometimes we expect to see Jean-Christophe Averty spring out from an enclosure, holding both a camera and a joint. But again, clothes don’t make the man. The name Forever Pavot was not born of an apology of drugs: “It started as a joke. One day I read too fast a “flower power” poorly written on a school pencil case. It made me laugh“, said Emile. Fan of Jazz programming and of Turkish psyche, he is also shooting video clip for others (Disclosure’s videos or Dizzee Rascal’s) and proves at every moment that appearances are often misleading. “I feel a bit like Stereolab or Broadcast, artists who draw from the past to make something new (…) Ten years ago or so, I was doing hardcore punk, then I did chiptune, pop, compos garage / folk recorded on K7, and now things inspired from the 60′s movie music … the only guideline are my desires. Nobody will be able to get in my way if I want to make a reggae album in three years or an album of French songs. Because I’m the one who decides.” Being modern is being master of one’s time. As for Emile’s paradise, it is obviously paved with good intentions.
    Format
    LP
    Release-Datum
    01.11.2014
    EAN
    EAN 3521381530629
    Format
    CD
    Release-Datum
    01.11.2014
    EAN
    EAN 3521383430613