Labels
Born Bad
- 01. Antitaxi
02. Amour Dans Le Motu
03. Packshot
04. La Femme
05. Hypsoline
06. Saisis La Corde
07. Le Blues De Françoise
08. T's Time To Wake Up 2023
09. Nous Étions Deux
10. La Femme Ressort
11. Si Un Jour
12. From Tchernobyl With Love
13. Sur La Planche 2013
14. Welcome AmericaLA FEMME
Psycho Tropical Berlin
[engl] La femme is a conundrum. A resounding expression. An episodic band with various faces. La Femme shows up and it’s all of her grimy spleen that stains the city’s grey pavement, in a synthetic rain beamed by livid burstings. La femme was born during the X years in Biarritz, when Sasha and Marlon started composing on their guitars music they recorded on Garage Band. Together they ride surfboards, pianos and synthetiseur as they gave a try to various styles, from 60s yéyé French pop to Californian surf music. Marlon moved to Paris, and there he met Sam, who played bass. Together they formed SOS Mademoiselle along with Olivier Peynot, and played vintage French rock, as Sasha was practising his scales in reverb feed surf band « Les redoutables! » After getting his grade, Sasha joined his friends in Paris, where they discovered French cold wave and synth pop, Marie & Les Garcons being one of their favourite. They polished a style that could be described as one of these following : Surf wave, Bizarre wave, strange wave, weird witch wave, silly mental wave or Psycho tropical Berlin ». In fact anything you want as long as it ends with « wave ». And the boys created LA FEMME. La Femme has no frontier, neither in her style nor in her voice. She’s always on a quest for new sounds, images and sensations. Joined in 2010 by drummer Noé and female singer Clémence, La femme formed its first live roster in few days after French rider and artist Pandora Decoster asks them to play on stage for a big surf contest in Biarritz. From her hazy and changing background, La femme takes shape and release that same year its first anthem « Sur la Planche », a song that was made to be hummed and whistled while ridding a board. La femme uncovers, boys, girls, plenty of option, a bit of mystery, loads of energy. Later she released her second EP, Paris 2012. In the music video she produced for this song, she blows down the effeil tower as a symbol, it’s time to go ans see something else. After swilling Paris bars, La femme goes for a tour in USA, en mode journey, and come back in France with improved reputation where they play for various festival. Soon joined by fancy rhythm drummer Nunez Ritter Von Merguez aka « La Sauterelle » and gorgeous singer Clara Luciani, La femme takes for a ride around Europe : from beyond the grave to Berlin, by London, Bruxelles and Roubaix. Cryptic and Mysterious, La femme is in perpetual motion and the band, based around full time and up-to-date boys (Sasha, Marlon, Sam), invites over the course of its wish and needs in studio a whole cast of female singer : Clémence, Clara, Marilu, Jeanne… Sooner this year, La femme released a self titled EP, that went by along with a 11 minutes long psychedelic music video, an epic and baroque short film for tracks « La femme, Hypsoline », preceding the release of her first album in April : « Psycho Tropical Berlin »: It’s the story of a couple who slipped chaos and survives by watching each other. Le Danger est partout - Peril is all around as written in the booklet. Rock and pop, rococo bahaus, fed from multiples influences (Krafwerk, Elli & Jacno) La Femme just want to please you. Generous and welcoming, she stretches you her white hand in the dark, if you grasp it, it could be the shiver of you life.- Format
- DoLP
- Release-Datum
- 20.04.2013
- EAN
- EAN 3521381523522
- 01. Ghost of the Water
02. Les Huitres a CancaleLE VILLEJUIF UNDERGROUND
Les Huitres a Cancale
[engl] LE VILLEJUIF UNDERGROUND are back, with a 2-song single out on the only home that will have them, Born Bad Records LISTENERS: THIS IS VILLEJUIF IN SURROUND SOUND HIGH DEFINITION! “Ghost Of The Water” , is a hallucination of alcoholism, from different shaky view points and sounds like a sci-fi space/opera Lee Hazlewood western if soundtracked by a collaboration between The UV Race/The Strokes 2001: Space Odyssey “Les Huitres a Cancale”, is a Kenneth Koch-like animal call to stalkers, and strangers out there on the lose in the “moi aussi” generation and rolls like an ageing Gainsbourg slow dancing on codeine, a druggy ballad for the tranquillised. And just when you thought the world of music had ended, Le Villejuif Underground is BACK from retirement!- Format
- 7''
- Release-Datum
- 31.07.2020
- EAN
- EAN 3521381562033
- 01. John Forbes
02. Sorry JC
03. Postmaster Failure
04. Wuhan Girl
05. Backpackers
06. Bataclan
07. Subterranean
08. Come back
09. Can you vote for me ?
10. Pernety
11. Haunted ChateauLE VILLEJUIF UNDERGROUND
When will the flies in Deauville Drop?
[engl] bass player looking like the main character of a surf movie shot in Chernobyl. A guitar player who’ll take french rap or thaï music over the Stooges, anytime. A keyboard player invited at reharsal by mistake who got the job cause he felt asleep on his synth. An australian poet-singer lost in France with no papers, sleeping in a cabin in the backyard of the Villejuif house where the whole band lives, sets up shows and records the most vital, exciting and enthralling records heard in France for a long, long time. 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 3521381550825
- Format
- CD
- Release-Datum
- 07.12.2018
- EAN
- EAN 3521383450819
LES CAVALIERS
s/t
Die Pariser Surfkapelle ist wieder am Start und meldet mit ihrem Full-Lenght Anspruch auf den Titel der heissesten Surfattraktion der Neuzeit an. Wilde Gitarren, treibende Drums und diesmal auch immer wieder Gesang bzw. Gekreische. Sexy, smooth und unwiederstehlich!- Format
- CD
- Release-Datum
- 06.01.2010
- Format
- LP
- Release-Datum
- 06.01.2010
- 1.
01. Complaints
02. Common sense
03. Coverage
04. Pretty Good Looking (PGL)
05. ROSIE
06. Burial Tomb
07. Interlude 1
08. Licked by the flames
09. War
10. Judgement Night
11. Wait & See
12. Black Dragonfish
13. Interlude 2LONELY WALK
Teen
[engl] In the beginning, Lonely Walk was a post-apocalyptic and personal digression created by Mickael Appollinaire, AKA Monsieur Crane, being also a dark preacher in the band Strasbourg. The record label Satanic Royalty released V.I.H.S., Lonely Walk's first LP in stores in 2013, which was well received by the critics. Then followed the NGHTMR EP, then a more personal album called BORE in 2014. All these secluded compositions came on stage radically changed with the addition of a 5-piece live band, which counted Alice from JC Satàn on the bass guitar and Johan Gustafsson from Black Bug in its ranks. The label BORN BAD RECORDS will release the album TEEN at the end of 2015, Lonely Walk's first album recorded with the live band in the studio Mikrokosm in Lyon, France. What can we hear on this record ? Eleven dark and addictive songs. A hypnotic post-punk slumming it with pop and making a few psychedelic stops, led by an obsessive singing with catchy slogans.Happy innocent children shout because school's out (Burial Tomb), the epic violin of Tamara Goukassova shreds the toxic atmosphere (War, Black Dragonfish). To cut a long story short, Lonely Walk takes us right to Doomsday, but not the one we dread. The one we crave for, eyes wide open and dilated pupils, drinking a nice and cheap cocktail of liquid nitrogen. One can think of Clinic, Soft Moon or A-Frames, but you must look towards Australia to find cousins to Lonely Walk, with bands like Eddy Current Suppression Ring or Total Control.- Format
- LP
- Release-Datum
- 25.11.2015
- EAN
- EAN 3521381534313
- Format
- CD
- Release-Datum
- 25.11.2015
- EAN
- EAN 3521383434307
MAGNETIX
Positively negative
Die Könige des französischen Garagenpunk sind back und präsentieren mit Positively Negative ihr bislang coolstes Album! Die Mischung aus Punkrock mit 77er Elementen und Surf funktioniert erneut grandios. Schauderhaft schöne Gitarrenriffs werden von lässigem Schlagwerk und der fiesen Stimme der männlichen Hälfte des Duos zum Höhepunkt des möglichen Wohlklangs getrieben! Irgendwo zwischen Twistin Rumble und den Monsters hat die Band ihren Verstand verloren, was uns eindeutig zu Gute kommt.- Format
- LP
- Release-Datum
- 06.01.2010
- Format
- CD
- Release-Datum
- 06.01.2010
MARIETTA
Basement dreams are the bedroom cream
[engl] Marietta is the new project of Guillaume Marietta after The Feeling Of Love.- Format
- LP
- Release-Datum
- 19.05.2015
- EAN
- EAN 3521381532050
- Format
- CD
- Release-Datum
- 19.05.2015
- EAN
- EAN 3521383432044
- 01. La Carte
02. Nos Ventre Nus
03. La Grande Ville Malade
04. L'électricité
06. La Boucle Du Vent
07. L'insecte Dans Ma Bouche
08. Livide Est La Nuit
09. La Passagère
10. Maud La NuitMARIETTA
La passagère
[engl] Sophomore album by Marietta, La Passagère follows Basement Dreams Are The Bedroom Cream (Born Bad Records, 2015), which was lauded by French daily newspaper Liberation, magazines Les Inrockuptibles, Magic, New Noise and online magazine Noisey. After touring with his band for two years and playing well-received concerts at Villette Sonique, Rock en Seine, Levitation Festival, Musiques Volantes, Bars en Trans, laureate of leading French development prize Fair 2017 Guillaume Marietta has come back with nine songs written in French for the first time. The album was recorded in Los Angeles by Chris Cohen, singer-songwriter and producer extraordinaire, with two albums signed on Captured Tracks and past member of Deerhoof and The Curtains. Mixed by Kenneth Gilmore, permanent member of Ariel Pink’s Haunted Graffiti, who counts in his mixing catalogue Front Row Seat To Earth by Weyes Blood and My Dreams Dictate My Reality by SOKO. A carnal, sensual, hallucinating and melancholic record, fed by representations of the woman, the modern city, self-abandon, paranoia and redemption. La Passagère is inhabited by the ghosts of Syd Barret and Lou Reed, and nods to contemporary productions by Kurt Vile, Cate Lebon, Tim Presley, Kevin Morby, and of course Chris Cohen.- Format
- LP
- Release-Datum
- 25.08.2017
- EAN
- EAN 3521381544435
- Format
- CD
- Release-Datum
- 25.08.2017
- EAN
- EAN 3521383444429
- 01. Aluminium
02. Ether Ok
03. Hump Bump Dump Jumpin
04. Ellie Jane #2
05. Dmpa
06. Hey Void
07. Prazepam Street
08. The Jordan's Rules
09. Pajo
10. Cablé Au PlastiqueMARIETTA
Prazepam St.
[engl] In 20 or 30 years, we’ll talk about Guillaume Marietta the same way we talk about Arthur Russell or Robert Johnson today – people ignored by their contemporaries and rediscovered later in prestigious anthologies or picaresque documentaries. Future being rather incertain these days, it would maybe be better if you didn’t lose any time and enjoy Marietta right away. Sure, it won’t be easy to map Marietta’s journey – one of the key players of the GrandeTriple Alliance De l’Est, an anarchic scene which exploded between Metz and Strasbourg in the early 2000s, fronting bands such as A.H. Kraken, Plastobe?ton and The Feeling Of Love. In 2015 he released his first solo album, Basement Dreams Are The Bedroom Cream, an amazing collection of 4-track twisted lullabies who got him comparisons with Syd Barrett and John Frusciante. Then comes his second LP and suddenly you lose the track – footprints have been covered – no more of that sweet demo sounding folky weirdness : La Passage?re is recorded in Los Angeles with Chris Cohen and it’s a lush and mesmerizing record, like Berlin with windows wide open or a sun-drenched The Idiot. A record that gives Marietta’s music new layers of depth and complexity – even if he loses part of his audience in the process. Following this would be tough – and hazardous No studio sessions in LA, no 4-track demos, Prazepam St. has been recorded with cracked computer music software. Richer and fuller than the two previous records, this new LP is also, paradoxically, unbashed and easier to grasp. “I wanted to have fun,” says Marietta. Build a dark and bright world with my little hands and raw material, like David Lynch when he did Eraserhead “- one of the main keys to the album. It is also, more involuntarily a synthesis – there’s the raw side of the first album, that more flamboyant and ambitious of the second, but also small pieces of AH Kraken, Feeling Of Love and even Funk Police. Marietta went back to some of his teenage years fovorite records – Sonic Youth, Beck, Nirvana, the Beastie Boys, but also Jim O’Rourke or David Pajo – “Pajo” is a nod to te guitarist from Slint whose solo project Papa M is a mainstay on Guillaume’s record collection. Prazepam St. is also a dark and twisted record, as its title shows – a reference to an anxiolitic used for severe depression. “I have often tried to speak in my lyrics of the way the human mind works, of our contradictions, of our inner darkness, explains Marietta. And this time I wanted to bring the lexical field of drugs into my texts. Our body and mind are shaped by these substances that we use and abuse and I wanted to play with that. It’s a chemical album. » Proof made with « Dmpa », a molecule used as a chemical castrator on American sex offenders, transformed here into a battered folk song crushed by samples, rhythm machines and breaks from outer space. Or « Aluminum”, a solid and shiny but highly harmful element, like the incandescent ride full of rumbling synths, which opens the album – not an innocent choice: “Aluminum fairly well reflects our ability to accept all the things that we are presented with as being necessary for our daily life, concludes Marietta. Despite the experience, we always do the opposite of what is good for us. ” Like ignoring Marietta records, for exemple. Awaiting for 20 or 30 years to praise them. But you know what? He’s here. Right now. Enjoy.- Format
- LP
- Release-Datum
- 19.06.2020
- EAN
- EAN 3521381560466
- Format
- CD
- Release-Datum
- 15.07.2020
- EAN
- EAN 3521383460450
- 01. Mon amour il est gentil
02. Ecoute moi camarade
03. Je n'aime pas le jour je n'aime pas la nuit
04. Daag Dagui
05. Je pense a celle
06. Si massoud (je t'aime et je t'aimerai)
07. L'amour Mâak
08. Tu n'es plus comme avant
09. 20 ans en France
10. Je suis seul
11. La Madrague
12. Clichy
13. Cherie Madame
14. Dis moi c'est pas vrai
15. Adieu la France
16. Mini jupeMAZOUNI
Un Dandy En Exil - Algerie/France - 1969/1983
[engl] 1958, in the middle of the liberation war. While the rattle of machine guns could be heard in the maquis, in the city, the population listened at low volume to Algerian patriotic songs broadcast by the powerful Egyptian radio: "The Voice of the Arabs". These artists all belonged to a troupe created by the self-proclaimed management of the National Liberation Front (FLN), based in Tunis and claiming to gather a "representative" sample of the Algerian musical movement of the time, among which Ahmed Wahby (who sang Wahran Wahran, a song popularized by Khaled) and Wafia from Oran, Farid Aly the Kabyle, and H'sissen, the champion of Algiers’ Chaâbi. The same year, singer Ben Achour was killed in conditions that have never been elucidated. Algiers, by a summer evening in 1960. Cafe terraces were crowded and glasses of anisette kept coming with metronomic regularity, despite the alarming music of police sirens heard at intervals and the silhouettes of soldiers marching in the streets. The mood was good, united by a tune escaping from everywhere: balconies, where laundry was finishing drying, windows wide open from apartments or restaurants serving the famous Algiers shrimps along with copious rosé wine. Couples spontaneously joined the party upon hearing "Ya Mustafa", punctuated by improvised choirs screaming "Chérie je t’aime, chérie je t’adore". The song, as played by Sétif-born Alberto Staïffi, was a phenomenal success, to the point that even FLN fighters adopted it unanimously. Hence an unfortunate misunderstanding that would trick colonial authorities into believing Mustafa was an ode to the glory of Fellaghas. In 1961, Cheikh Raymond Leyris, a Jewish grand master of ma’luf (one of Algeria’s three Andalusian waves) who was Enrico Macias’ professor, was killed in Constantine, making him the first victim of a terrorist wave that would catch up with Algeria at the dawn of the 1990s by attacking anything that thought, wrote or sang. Mohamed Mazouni, born January 4, 1940 in Blida – “The City of Roses" both known for its beautiful ‘Blueberry Square’ (saht ettout) in the middle of which a majestic bandstand took center stage, and its brothels – had just turned twenty. He was rather handsome and his memory dragged around a lot of catchy refrains by Rabah Driassa and Abderrahmane Aziz, also natives of Blida, or by 'asri (modern music) masters Bentir or Lamari. He would make good use of all these influences and many others stemming from the Algerian heritage. The young Mohamed was certainly aware of his vocal limits, as he used to underline them: "I had a small voice, I came to terms with it!". But it didn’t lack charm nor authenticity, and it was to improve with age. He began his singing career in those years, chosing bedoui as a style (a Saharan genre popularized among others by the great Khelifi Ahmed). July 1962. The last French soldiers were preparing their pack. A jubilant crowd was proclaiming its joy of an independent Algeria. Remembering the impact of popular music to galvanize the "working classes", the new authorities in office rewarded the former members of the FLN troupe by appointing them at the head of national orchestras. In widespread euphoria, the government encouraged odes to the recovered independence, and refrains to the glory of "restored dignity" sprung from everywhere. Abderrahmane Aziz, a star of 'asri (Algiers’ yé-yé) was a favorite with Mabrouk Alik ("Congratulations, Mohamed / Algeria came back to you"); Blaoui Houari, a precursor of Raï music, praised the courage of Zabana the hero; Kamel Hamadi recalled in Kabyle the experience of Amirouche the chahid (martyr), and even the venerable Remitti had her own song for the Children of Algeria. All this under the benevolent eye (and ear) of the regime led by Ahmed Ben Bella, the herald of the single party and vigilant guardian of the "Arab-Islamic values" established as a code of conduct. Singers were praised the Egyptian model, as well as Andalusian art intended for a nascent petty bourgeoisie and decreed a "national classic"; some did not hesitate to sell out. These Khobzists – an Algerian humorous term mocking those who put “putting-food-on-the-table” reasons forward to justify their allegiance to the system – were to monopolize all programs and stages, while on the fringes, popular music settled for animating wedding or circumcision celebrations. Its absence in the media further strengthened its regionalization: each genre (chaâbi, chaouï, Kabyle, Oranian...) stayed confined within its local boundaries, and its "national representatives" were those whose tunes didn’t bother anyone. The first criticisms would emanate from France, where many Algerian artists went to tackle other styles. During the Kabyle-expression time slot on Radio Paris, Slimane Azem – once accused of "collaboration" – sang, evoking animals, the first political lines denouncing the dictatorship and preconceived thinking prevailing in his country. The reaction was swift: under pressure from the Algerian government, the Kabyle minute was cancelled. Even in Algeria, Ahmed Baghdadi aka Saber, an idol for fans of Raï music (still called "Oranian folklore"), was imprisoned for denouncing the bureaucracy of El Khedma (work). For his part, Mazouni was to be noticed through a very committed song: Rebtouh Fel Mechnak (“They tied him to the guillotine”). But above all, the general public discovered him through a performance at the Ibn Khaldoun Theater (formerly Pierre Bordes Theater, in the heart of Algiers), broadcast by the Algerian Radio Broadcasting, later renamed ENTV. This would enable him to integrate the Algerian National Theater’s artistic troupe. Then, to pay tribute to independence, he sang “Farewell France, Hello Algeria”. June 19, 1965: Boumediene's coup only made matters worse. Algeria adopted a Soviet-style profile where everything was planned, even music. Associations devoted to Arab-Andalusian music proliferated and some sycophantic music movement emerged, in charge of spreading the message about "fundamental options". Not so far from the real-fake lyricism epitomized by Djamel Amrani, the poet who evoked a “woman as beautiful as a self-managed farm". The power glorified itself through cultural weeks abroad or official events, summoning troubadours rallied to its cause. On the other hand, popular music kept surviving through wedding, banquets and 45s recorded for private companies, undergoing censorship and increased surveillance from the military. As for Mazouni, he followed his path, recording a few popular tunes, but he also was in the mood for traveling beyond the Mediterranean: "In 1969 I left Algeria to settle in France. I wanted to get a change of air, to discover new artistic worlds". He, then, had no idea that he was about to become an idolized star within the immigrant community. France. During the 1950s and 1960s, when parents were hugging the walls, almost apologizing for existing, a few Maghrebi artists assumed Western names to hide their origins. This was the case of Laïd Hamani, an Algerian from Kabylia, better known as Victor Leed, a rocker from the Golf Drouot’s heyday, or of Moroccan Berber Abdelghafour Mociane, the self-proclaimed “Vigon”, a hack of a r&b voice. Others, far more numerous, made careers in the shadow of cafes run by their compatriots, performing on makeshift stages: a few chairs around a table with two or three microphones on it, with terrible feedback occasionally interfering. Their names were Ahmed Wahby or Dahmane El Harrachi. Between the Bastille, Nation, Saint-Michel, Belleville and Barbès districts, an exclusively communitarian, generally male audience previously informed by a few words written on a slate, came to applaud the announced singers. It happened on Friday and Saturday nights, plus on extra Sunday afternoons. In a nostalgia-clouded atmosphere heated by draft beers, customers – from this isolated population, a part of the French people nevertheless – hung on the words of these musicians who resembled them so much. Like many of them, they worked hard all week, impatiently waiting for the weekend to get intoxicated with some tunes from the village. Sometimes, they spent Saturday afternoons at movie theaters such as the Delta or the Louxor, with extra mini-concerts during intermissions, dreaming, eyes open, to the sound of Abdel Halim Hafez’ voice whispering melancholic songs or Indian laments made in Bombay on full screen. And the radio or records were also there for people to be touched to the rhythm of Oum Kalsoum’s songs, and scopitones as well to watch one’s favorite star’s videos again and again. Dumbfounded, Mohamed received this atmosphere of culture of exile and much more in the face. Fully immersed in it, he soaked up the songs of Dahmane El Harrachi (the creator of Ya Rayah), Slimane Azem, Akli Yahiaten or Cheikh El Hasnaoui, but also those from the crazy years of twist and rock’n’roll as embodied by Johnny Hallyday, Les Chaussettes Noires or Les Chats Sauvages, not to mention Elvis Presley and the triumphant beginnings of Anglo-Saxon pop music. Between 1970 and 1990, he had a series of hits such bearing such titles as “Miniskirt”, “Darling Lady”, “20 years in France”, “Faded Blue”, Clichy, Daag Dagui, “Comrade”, “Tell me it’s not true” or “I’m the Chaoui”, some kind of unifying anthem for all regions of Algeria, as he explained: "I sang for people who, like me, experienced exile. I was and have always remained very attached to my country, Algeria. To me, it’s not about people from Constantine, Oran or Algiers, it’s just about Algerians. I sing in classical or dialectal Arabic as much as in French and Kabyle”. Mazouni, a dandy shattered by his century and always all spruced up who barely performed on stage, had greatly benefited from the impact of scopitones, the ancestors of music videos – those image and sound machines inevitably found in many bars held by immigrants. His strength lay in Arabic lyrics all his compatriots could understand, and catchy melodies accompanied by violin, goblet drum, qanun, tar (a small tambourine with jingles), lute, and sometimes electric guitar on yé-yé compositions. Like a politician, Mazouni drew on all themes knowing that he would nail it each time. This earned him the nickname "Polaroid singer" – let’s add "kaleidoscope" to it. Both a conformist (his lectures on infidelity or mixed-race marriage) and disturbing singer (his lyrics about the agitation upon seeing a mini-skirt or being on the make in high school…), Mohamed Mazouni crossed the 1960s and 1970s with his dark humor and unifying mix of local styles. Besides his trivial topics, he also denounced racism and the appalling condition of immigrant workers. However, his way of telling of high school girls, cars and pleasure places earned him the favors of France’s young migrant zazous. But by casting his net too wide, he made a mistake in 1991, during the interactive Gulf War, supporting Saddam Hussein’s position through his provocative title Zadam Ya Saddam (“Go Saddam”). He was banned from residing in France for five years, only returning in 2013 for a concert at the Arab World Institute where he appeared dressed as the Bedouin of his beginnings. At the end of the 1990s, the very wide distribution of Michèle Collery and Anaïs Prosaïc's documentary on Arabic and Berber scopitones (first on Canal+, then in many theaters with debates following about singing exile), highlighted Mazouni’s important role, giving new impetus to his career. Rachid Taha, who covered Ecoute-moi camarade, Zebda’s Mouss and Hakim with Adieu la France, Bonjour l’Algérie, as well as the Orchestre National de Barbès who played Tu n’es plus comme avant (Les roses), also contributed to the recognition of Mazouni by a new generation. Living in Algeria, Mohamed Mazouni did not stop singing and even had a few local hits, always driven by a “wide targeting” ambition. This compilation, the first one dedicated to him, includes all of his never-reissued “hits” with, as a bonus, unobtainable songs such as L’amour Maâk, Bleu Délavé or Daag Dagui.- Format
- DoLP
- Release-Datum
- 25.04.2019
- EAN
- EAN 3521381553604
- Format
- CD
- Release-Datum
- 25.04.2019
- EAN
- EAN 3521383453599
- 01. DORIAN PIMPERNEL (+ Forever Pavot) = Echolana
02. JULIEN GASC ( + Forever Pavot + Chassol) = Léger léger
03. FOREVER PAVOT ( +Julien Gasc) = Nos vélos sous la pluie
04. FOREVER PAVOT (+ Dorian Pimpernel) = C'est de L'or
05. DORIAN PIMPERNEL (+ Julien Gasc) = Minor NippleMOONSHINE
EP feat FOREVER PAVOT, JULIEN GASC, DORIAN PIMPERNEL & CHASSOL
- Format
- 12''
- Release-Datum
- 19.04.2016
- EAN
- EAN 3521381535990
- 01. Fier De Ne Rien Faire
02. Euthanasie
03. Je Suis Négatif
04. Patrick Henry Est Innocent
05. Je Hais Les Fils De Riches
06. J'ai Craché Mes Amygdales
07. Fier De Ne Rien Faire (Démo)
08. Euthanasie (Démo Killer!!!)
09. Le Spécialiste
10. La Nuit Tragique
11. Olivenstein Je T'ai Dans Les Veines (Live)
12. Vivement Que Je Sois Vieux (Live)
13. Je Hais Les Fils De Riches (Live)OLIVENSTEINS, THE
30ème anniversaire
Feinster Killed by Death Punk dieser Franzosen. Neuveröffentlicht von Born Bad.- Format
- LP
- Release-Datum
- 13.01.2011
- Format
- CD
- Release-Datum
- 13.01.2011
- EAN
- EAN 5414939062322
- 01. Coupure Générale
02. Les Oubliés
03. Coeur de Verre
04. Mémoire de Forme
05. À Ma Décharge
06. Locus Solus
07. Dopamine
08. Antipodes
09. Désastres Et CompagnieORVAL CARLOS SIBELIUS
Ordre et Progrès
[engl] Recording the most luminous and conquering music there is, in order to conjure up melancholic depths. This could be the definition of the pop music made during the golden age, during which the The Beach Boys and The Left Banke allowed themselves to be as orchestral as they could be, to transcend the vital energy of what it meant to be a young, whilst Pink Floyd and The Soft Machine were breaking down the doors of perception. The music that Orval Carlos Sibelius returns to, almost to a default position. “I try to go off on tangents, but I always end up on the same road,” he admits. In a world of joyful amnesia, artists can be recognised via their consistency. Obsessions betray authors. When you’ve inherited a gift for luxurious melodies and psychedelic heights, why look for other ways to feel alive? You can believe Orval Carlos Sibelius when he says that his music would be the same if no one had the inclination to listen to it. And he would’ve carried on this way until his last breath if his album Super Forma hadn’t been met with some success in 2013. Three years after this exploit, with the Ascension LP, Orval Carlos Sibelius took the risk of making an instrumental escape, a streamlined sidestep made to fit with the images from an almost impossible-to-find documentary, « The Devil’s Blast » by Haroun Tazieff. But when Orval Carlos Sibelius veers from his usual path, he soon returns to the fray. In this case, it’s a real Ride of the Walkyries that’s to be discovered behind a title that’s as heroic as it is ironic: Ordre et Progrès (Order and Progress). Something like an intimate superproduction, an existential peplum. His most uninhibited album, and also the hardest, as if Led Zeppelin and Shellac had turned up to help reinforce the flamboyant melodies. Now that this baroque art is set in wax, Orval Carlos Sibelius can now return towards further intimate adventures. After the studio-based storm, back to the calmness of his bedroom where his music regenerates. “What I prefer in life is to dream about the track I’m working on, while it’s not set in stone. A bit like a love story that’s just begun, when everything still seems possible.” While we wait for the next step of the perpetual pop romance, let’s be knocked down by the epic maestria of Ordre et Progrès.- Format
- LP
- Release-Datum
- 04.06.2017
- EAN
- EAN 3521381542561
- Format
- CD
- Release-Datum
- 04.06.2017
- EAN
- EAN 3521383442555
OST
ILS PIERRE VASSIULIU
[engl] KILLER JAZZ FUNK OST BY PIERRE VASSILIU ( MAN BEHIND LES MASQUES, and tons of other cool project) of Jean-Daniel Simon Movie A great soundtrack to tidy next your « Mariage collectif » , « un homme est mort », or « L’homme orchestre » record. A must have- Format
- 7''
- Release-Datum
- 19.04.2016
- 01. Together
02. Sexopolis
03. Tivoli Garden
04. Ulla Et Georgie
05. Karin On The Ryke
06. Lovers Party
07. Tivoli By Night
08. Scène Du Port
09. Tandoori DanceOST
Le Mariage Collectif / Jean-Pierre Mirouze
Die Geschichte zu dieser Platte ist absurd und deswegen will ich sie auch nicht zu lange ausweiten, Schaut nach im Netz und ihr werdet erstaunt sein. Nur soviel das Acetat zu dieser Platte wurde 2010 auf einer Müllhalde gefunden und jetzt keinen wir von Glück sagen, das Born Bad uns dieses Stück Kultur erhält. Ein großes Stück Soundtrack aus den 60er Jahren, mehr gibt es da eigentlich nicht zu sagen, außer vielleicht kaufen und glücklich sein!- Format
- LP
- Release-Datum
- 15.04.2012
- Format
- CD
- Release-Datum
- 16.09.2012
- 01. J'attends la bombe
02. Dernier homme
03. #1
04. Venera 16
05. La jungle
06. The Pleasure Principle
07. Mariposa
08. A l'ombre du Coolangata géant
09. #2
10. The Fur
11. Videolife
12. Les Adieux au plaisir
13. The Drowning (Bonus)PLEASURE PRINCIPLE
s/t
[engl] I’m going to say “I” because I think I can’t write about my music other than in the first person. I’ve been playing drums since I was fifteen years old and I’ve always had bands since. Even if I always contribute artistically, to different degrees, my latitude of action, from a creative point of view, has always been limited by the fact that I am a drummer. Like many people, I learned to play very approximately the guitar and keyboard, and I spent years going over obsessions and recurring patterns, in my room and in my head, without doing any of that, and knowing that even though I was and still am extremely involved in my past and present bands (Skategang, La Secte du Futur, Marietta to a lesser extent, and ), the music we were making was only partially representative of me. I’ve always listened to a lot of reggae, dancehall, music from Ghana, Nigeria, Congo, and overall music that is based more on repetition and intention than composition, and that’s something I could never really develop in there. In 2015 my brother and friend Benjamin Dupont, the human behind Bryan’s Magic Tears, moved into my flat share / Noah’s Ark at 35 rue Clignancourt, in the 18th arrondissement, and it was him who unlocked everything by showing me how to record music by myself ; and one September morning, lying on my back, I saw the light. It’s really a new world that’s opened up to me, I started recording at a pretty intensive pace, just letting myself be carried away by what I’ve had in my head and fingers for years; I’ve accumulated a lot of material, including a lot of unfinished pieces, and I’ve tried – I’m still trying – to understand for myself what my point really is and to learn how to systematize and channel my obsessions to make it something personal. Recording a lot, without any constraints of format, group or expectations, by letting myself be totally carried away by what was coming out in the moment, it allowed me to give myself a certain insight into myself; I am not one of the people who compose music by having an idea of where they want to go, but by repeating the exercise, something coherent ends up taking shape. I would say that it oscillates, for the music, between synthetic krautrock, dancehall lo-fi, Manchester sound recorded with toys, rock à la Velvet and Memphis rap for children; and between Les Négresses Vertes and Julien Gracq for the texts. I still write the basis of my lyrics without music, and I attach a lot of importance to it; French has become obvious because I want to say something true and I would not be able to do it otherwise – even if the text of “The Fur” is in English, but it was to seduce a girl (it didn’t work), and it won’t happen again. This is my friend Paula from J.C. Satan and Succhiamo, who sings on “Mariposa” and “Venera 16”, because I had no idea what to do about it; I sent her the songs and she sang on her phone, it was great so we recorded it. This first album is a kind of best-of from 2015 to 2018, the songs that held up best, the ones I had lyrics on, the best finished drafts, basically. I owe its existence to my friends at the Megattera micro-label who, after hearing my songs at home at night, decided to release them confidentially on tape first; without them, they would still be on my hard drive. Under the spell, Born Bad Records then entrusted Olivier Demeaux de Cheveu/ Heimat with the mission of mixing the “best” tracks to give them the lustre they deserve and make these few crazy and scattered tracks a full-fledged album. I asked Adam Karakos, from Villejuif Underground, Guillaume Rottier, from Rendez-Vous, Nikolaj Boursniev, from Quetzal Snakes, and Milia Colombani, who plays in half the bands in Paris, to play live with me. Pleasure Principle is located somewhere within a triangle formed by Francis Bebey, Add (n) To X and Ludwig Von 88; it is a solitary race to the outside, an ode to the forward flight, a way to escape in the peaceful expectation of the great liberating flash. I often find myself dancing like a monkey who forgets the world when I record at night in my room, and I hope to provoke the same reaction in people. Paul Speedy Ramon- Format
- LP
- Release-Datum
- 25.11.2019
- EAN
- EAN 3521381557985
- Format
- CD
- Release-Datum
- 26.11.2019
- EAN
- EAN 3521383457979
- 01. Uptown
02. Invitations
03. Coke machines
04. Parties
05. Hate
06. Haunt my trash
07. Teenage Death
08. Moonlight
09. Skeletons
10. Nature calls
11. DowntownPUBERTY
s/t
[engl] Puberty (the band, the lifestyle, the etc.) though, belongs entirely to Susanna Welbourneand Lars Finberg. The band was hatched during a pocket of uncertainty, a time when signals seemed to point toward the half-promised oblivion of this duo’s day-job in The Intelligence, a favorite Whip-Wave unit and guardians of The Underground’s coveted Golden Drink Tickets. During these uncertain 2010 evenings, the tag team launchedTrainwreck, a monthly musical happening held at Seattle’s deepest, dankest karaoke dive, The Orient Express. Dance, dress-up (drag?) and debauchery were of principal concern, with a soundtrack tailored to exalt such values. Guess there’s really something to all of that revolting gonad-signaling after all. The by-now-trad’ Art-Punk that most would associate with These Intelligence Kids negated their mere insertion as house-band at Trainwreck, so The Intelligence’s assumed influences were swiftly replaced in Puberty by (as confirmed by Finberg) Trainwreck playlist regulars like U-Roy, Tones On Tail, Fun Boy Three, prime sleaze Roxy Music and other grandiose splatterings. This was to be the inverse of what the duo had been doing musically in terms of mood and motivation. The Intelligence’s air-tight guitar jerking delivered with (ahem) casual professionalism was to be largely displaced by big-band arrangements with wildly unexpected turns, delivered via eccentric theatrics and playing upon classically sexual, sultry and moody Rock’N’Roll with odd atmospherics. Plus pink outfits.- Format
- LP
- Release-Datum
- 19.04.2016
- EAN
- EAN 3521381535952
- Format
- CD
- Release-Datum
- 19.04.2016
- EAN
- EAN 3521383435946
- 1.
01. Big smoke
02. Tar rush
03. Each to their own
04. Refuge
05. Inconstant time
06. A Fascist ballad
07. Hot to cold
08. Influenced by the influenced
09. Fuk out
10. Yaking life
11. Mos Eisley Revenant
12. Oh scarsREGAL
Two cycles & a little more
[engl] Regal is probably the only french garage band whose members met on World of Warcraft. Very quickly confronted to their own limits of skill on banjo, Xavier (drummer from “The Last Rapes” and “Le Pécheur”) and Caelan (Toulousain and New Zealander) put their folk aspirations aside and called upon Maxime to play bass guitar. The trio asked Antoine Marchalot, the “living good of comical comic strips” still unknown at the time. His sense of humor,equal to his sense of rhythm -personal and unexpected- doesn’t stop the band from organizing several tours in Europe and release two albums, “Possible Endings” in 2012 (Frantic City/Azbin) and “Misery, Redemption & Love” (Azbin) in 2013 (Azbin Records being the label that Xavier erected in 2011). It is during the end of the year’s festivities that Maxime retires from Regal and from his bass amp to pursue other passions: the observation of the cosmos. The band then turns to Fadi, a Syro-Lillois metallurgist often present in “La Barrière”, thick and aging building in the ghost town of Chercq (Belgium) where Xavier and Caelan live.After a tour of 30 gigs in 31 days in May, Caelan and Xavier go back to the studio to record the band’s 3rd album- Format
- LP
- Release-Datum
- 31.03.2015
- EAN
- EAN 3521381531701
- Format
- CD
- Release-Datum
- 31.03.2015
- EAN
- EAN 3521383431696
- 01. I Call On One's Muse
02. Rob Jo Star Band
03. Lovings Machine
04. Not The Crazy Man
05. Story Dangerous
06. Acid Revolution
07. Black Sun
08. Blood Flower
09. Stone Away
10. Le Démon Du Rythme
11. La CigaleROB JO STAR BAND
s/t
Laut Info eine der seltsamsten Scheiben, die in Frankreich je veröffentlicht wurden! Ursprünglich 1975 erschienen, treffen hier acidgetränkte 70s Psychedelia, auf "ultra-weird" elektronische sci-fi Sounds und ultra-rohen lo-fi Garage-Protopunk, eine Kombination, die, so disharmonisch sie zeitweise wirkt (und wie oft sie einen Fragen lässt: WTF?), einfach großartig ist! Abgespaced, fuzzzig, übersteuert und durchgeknallt, einfach mal wieder ein tolles Release von Born Bad. Kommt inklusive Bonus-7", mit zwei bisher unveröffentlichten Tracks.- Format
- LP+7''
- Release-Datum
- 20.06.2013
- EAN
- EAN 3521381525687
- 01. L'Ultima Canzone
02. Ho provato di tutto
03. L'Ultima Canzone Remix (di Arnaud Pilard)ROSSI, ALEX
L’ultima Canzone
Mit diesem Release hiefen die Franzosen vom Pariser Label den klassischen Italo-Pop aus seinem Grab und schicken ihn direkt auf die schillerndsten Tanzflächen dieser Welt zurück. Ok, böse Zungen mögen behaupten, zu Alex Rossi schunkeln auch meine Mutti und Omi gerne mit, aber mal ehrlich - ist das so schlimm?? Freddy Fischer hats gezeigt, dass mit der nötigen Prise Witz und Charme auch der härteste Punker-Lümmel sich vor überschwappenden Herzschmerz-Schunkel-Schnulzen nicht retten kann. Hier kommen 2 Nummern, die gerade als Single 1a funktionieren. Also Tanzlatschen ausgepackt und Mutti untern Arm geklemmt - es gibt eine Sause!- Format
- 7''
- Release-Datum
- 01.02.2013
- 01.Fils du Sahel
02. Boy Cuisinier
03. Mariétou
04. Je suis un Salaud
05. Ouaga affaires
06. Mam ti fou
07. Lucie
08. Missé issa
09. Je demande ma démission
10. Tond Yabramba
11. Yamb ney capitaleSANDWIDI, PIERRE
Le Troubadour de la Savane - 1978/1982
[engl] For many decades until quite recently, little was known about music from Burkina Faso (which was formerly known as the Upper Volta). It is still one of the lesser known forms of popular music from West Africa. A few years before the country changed its name to Burkina Faso, thanks to Thomas Sankara’s dream of a new society, Voltaic music emerged as some kind of true cultural revolution in the wake of the country’s independence in 1960. Remote, poor and isolated, Upper Volta musicians coveted the orchestras and artists from abroad while creating a music of their own, based on rich cultural traditions. Popular music that sprung up from Burkina Faso owed much to the music from neighboring countries like Mali, Ghana, Ivory Coast or Benin, and to the longing for “cultural authenticity” conveyed through Guinean music. In capital city Ouagadougou, as well as in Bobo-Dioulasso (Burkina’s cultural capital until the 1980s), the first two decades of independence saw the upcoming of such orchestras and artists as Amadou Balaké, Georges Ouedraogo, Volta Jazz, l’Harmonie Voltaïque, Les Imbattables Léopards, Abdoulaye Cissé, Tidiane Coulibaly or Pierre Sandwidi. Nicknamed “the troubadour from the bush”, Pierre Sandwidi stands as one of the finest Voltaic artists from the 1970s. He belonged to an unsung elite of Francophone artists such as Francis Bebey, G.G. Vickey, Amédée Pierre, André-Marie Tala, Pierre Tchana or Mamo Lagbema. His entire released output consists of less than ten 7 inches, two LPs and a bunch of cassettes. A man from the provinces, he always favored social engagement and carefully crafted lyrics over instant fame. His words and music challenged General Lamizana’s dreary presidency, which ruled the country from 1966 to 1980. Born in 1947 in Boulsa, a small village in central Upper Volta, Pierre Sandwidi studied at the Zinda Kaboré high school in Ouaga in the early 60s. He learned to play the guitar, like many other young men of his generation, influenced, among others, by pioneer Beninese folk singer G.G. Vickey. After graduating, he worked for some time as a nurse, before applying for a job at the national radio – while developing his guitar abilities. Along with his friends Jean-Bernard Samboué, Abdoulaye Cissé, Oger Kaboré, Joseph Salambéré or Richard Seydou Traoré, he was part of the “vedettes en herbe” movement. Their songs were played on the national radio before even getting the chance to be released on a single, recorded live in the studio – a straightforward technique favored by most Voltaic musicians over the decade. In 1970, Pierre Sandwidi traveled across the country, working for the state and learning much from the Upper Volta’s many cultures and history. Involved in trade unions, he followed his own musical path. He observed changes at stake in his native country. In 1971, he won the first prize in the ‘modern singers’ category of a national competition. He also joined as a guitar player the National Ballet of Upper Volta, modeled after Guinea’s “African Ballets”. With them, he traveled to Niger, Ivory Coast and Benin, before visiting Canada in 1973. Back home, he met Bobo-Dioulasso cultural entrepreneur and Volta Jazz boss Idrissa Koné, who offered him to record a few songs for his own imprint, Disques Paysans Noirs. Sandwidi then delivered Lucie, a romantic song in the classic mandingo vein (‘diarabi’ or ‘love song’), while combining Afro-Cuban influences (by way of Congo) with French songs. He only had his bicycle and a guitar to conquer his young love, while others drove cars or rode motorbikes. Penniless but full of love, he walked in the steps of both Abdoulaye Cissé’s L’homme à la guitare and Amadou Balaké’s Bar Konon Mousso. As a trade unionist and a member of the African Independence Party, he opposed General Lamizana’s politics, denouncing the lack of morality and the corrupted new administration in Ouagadougou, while praising the virtues of the working class and the wisdom of farmers. In 1975, Pierre Sandwidi recorded two more singles at the Maison du Peuple for CVD (Compagnie Voltaïque du Disque). Using an Akai recorder as a soundboard, he was backed by Super Volta’s mighty guitar player Désiré Traoré. In spite of such a raw recording environment, his mature voice revealed new harmonic possibilities. In 1976, he recorded 3 more 45s with L’Harmonie Voltaïque as a backing band. Tond yabramba (“Our ancestors”) was the peak of this fruitful collaboration. A sinuous organ allowed Sandwidi to reach new heights, with a stunning melody that became instantly familiar. Recounting his country’s chaotic history, it stood as one of the continent’s best political songs. A true lesson of history, this song has been played enough on the radio to gain cult status. On his next single, Sandwidi sang about rural migration to the city, especially Ouagadougou. A true anthem, Ouaga affaires was another instant classic favored by the Voltaic audience. In the same vein, Je demande ma démission is one of his most beloved songs. A fine observer, Sandwidi tackled the fast evolution and modernization of the Voltaic society. In 1977, he delivered the amazing Yamb ney capitale (“You and your capital”), one of his best songs, with masterful guitar by Super Volta’s Désiré Traoré. Once again, he fought against ailing morality and rising individualism in the country’s capital. Sandwidi praised the virtues of country dwellers, enhanced by Ghanaian lo-fi keyboards wiz Father Ben. The b-side Mam ti fou is another instant classic, dealing with the loss of identity and an ever-increasing race for profit. This single sold over 3,000 copies, a true achievement in one of the world’s most destitute countries. In 1979, while in Abidjan, Pierre Sandwidi recorded his first full length LP with the help of Voltaic Prince Edouard Ouedraogo. It confronted once again his country’s true state of affairs. He launched his own ‘callao’ dance, as a homage to this Sahelian bird that bounces instead of walking. A standout track, Boy cuisinier dealt with the adventures of a cook confronted to European stark realities, with synths on the brink of collapsing, in a Bebey or Onyeabor mode. Confronted with many temptations, Sandwidi sang about his will to stay true to his values, being first and foremost an African; a genuine plea in those harsh years. A true callao song, Marietou sounds like genuine French Sahelian pop. It was released on Kouri Productions, his own label. The b-side Missie Issa denounced nepotism and corruption. With the help of his Super Volta friends, among which guitar player Zon Boukary, rhythm guitar player Tiemoko ‘Pacheco’ Traoré and Father Ben on keyboards, Sandwidi produced his second LP in Ouagadougou. Troubadour de la savane is a vibrant testimony of the Upper Volta, just before Thomas Sankara’s revolution changed the country’s name to Burkina Faso. On Fils du Sahel, Sandwidi delivered a true political slogan : “Friendship and solidarity in peace and justice.” On a more romantic note, Je suis un salaud is a deep, heartfelt Sahelian ballad – one of the key tracks from this album and one of his most cherished songs to this day. During the Sankara years (1983-1987), Sandwidi took part in the cultural animation of his neighborhood as a militant of the mighty CDR (Comité de Défense de la Révolution). After Sankara’s fall in 1987, Sandwidi distanced himself from politics, focusing on writing new songs and plays. In 1995, he delivered his last piece of music: Cousin Halidou, released through Moussa Kaboré’s Bazaar Music. Being of fragile health, Pierre Sandwidi passed away in 1998, leaving a beloved and dedicated family behind. His funeral had a national echo, while new generations are slowly rediscovering a great body of work. Sandwidi used to tell his family that one day, some interest would come from abroad regarding his artistic legacy. Twenty years after he died, this compilation stands as a vibrant tribute to one of West Africa’s most outstanding and adamant artist.- Format
- LP
- Release-Datum
- 18.04.2018
- EAN
- EAN 3521381546644
- Format
- CD
- Release-Datum
- 18.04.2018
- EAN
- EAN 3521383446638
- 01. Artifice Percussion
02. Cha Tatch Ka
03. Asiatic Dream
04. Pussy Ring
05. Implacable ring
06. Super Angoisse
07. Phasing Round
08. Sexy Soxy
09. Gang Train
10. Rallye Du Diable
11. Percussionnistement Votre
12. Emeute à Tokyo
13. Coeur Polaire
14. Pussy Cacatoes
15. Angoisse au Coeur
16. Marionnettes ClubSPACE ODDITIES - STUDIO GANARO
Feat BERNARD ESTARDY
- Format
- LP
- Release-Datum
- 01.03.2018
- EAN
- EAN 3521381544046
- Format
- CD
- Release-Datum
- 01.03.2018
- EAN
- EAN 3521383444030