Born Bad Indierock | Alternative 27 Items

A holy grail of French classic new wave!Thierry Müller, who initiated the French RUTH project, is not at his first try when the album POLAROID/ROMAN/PHOTO including the eponymous title track is released in 1985, but already a known name in underground experimental/electronic music with ARCANE, ILITCH (albums "Periodmindtrouble", "10 Suicides") as well as the more punky RUTH M.ELLIYERI (cult track "Mescalito"). Together with Philippe Doray, quite a big name of French experimental music at the times, Müller started RUTH.As early as 1982, a first instrumental version of the track Polaroïd/Roman/Photo is out under the name of the project RUTH. "I wanted to write a piece to make the girls dance and make fun of the boys. I plugged a small handmade clock on my Farfisa organ as a sequencer. I had a small Roland synth-guitar, I put the organ in it and that's how it started." Next came Frédérique Lapierre, who contributed original vocals on the track in 1984 as well as wrote lyrics and sung two more album tracks.Thierry asks some friends to write texts for the album and then recording tracks with Phillipe as well as Frédérique. But when the sessions are over, both musicians are not too happy with the results of the Polaroïd/Roman/Photo version: according to them, it lacks "flamboyance". They decide then to record a new female voice with a professional singer (Frédérique Cambon), sound engineer Patrick Chevalot offers to mix the track "so that it blows out". The whole album was finally released in 1985 with Paris Album, a small independant label, barely selling 50 copies in 1985, despite its eponymous title as a potential success.A first limited CD version was issued in 2001 via Fractal, but In 2004, DJs Marc Colin and Ivan Smagghe discover the track Polaroïd/Roman/Photo and decide to exhume it from oblvion. They released it on a compilation called So Young but so cold (Tigersushi) and then with Born Bad records on the BIPPP compilation in 2008. Thanks to them, the track (remixed and released vi...

Gwendoline is an ex-underdog duo on the indie scene in France. Micka and Pierre, sensitive losers and big blowhards of the start-up generation, create their very special brand of electro wave with haunting and poetic spoken word, their main source of inspiration being the conversations at the bar and the people they observe aro...

First album of French band La Femme released in 2013 with which they won Best New Band of the year at the French Music Awards and god certified gold. It marked also the beginning of their international recognition, confirmed since with their 2nd album Mystère in 2016 and their brand new album Paradigmes today.Includes the hits Sur La Planche, It's Time to Wake Up and Antitaxi!La Femmes's debut LP, is a mix of surf revival, updated cold wave (in a similar vein to countryman Lescop), 1960s yéyé and psychedelia. "Psycho Tropical Berlin: is apparently also their self-penned genre, they have also said "strange wave, new Motown, witch wave, silly mental wave"... whatever, aach term makes for a pillar to describe their music.Psycho Tropical Berlin is the story of a couple who slipped into chaos and survives by watching each other. Le Danger est partout - Peril is all around - as written in the booklet. Rock and pop, rococo bauhaus, 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 your life.

This is a time for punk urgency, for depressed minimal Krautrock, for the great shamanic
hypnosis. This bunch of greasers from the Porte de St Ouen area now perform as Vox
Low, with Jean-Christophe Couderc (vocals and synth) and Benoît Raymond (legendary
bass guitar, guitar, synth), later joined by Mathieu Autin (infernal drums and voodoo
percussions) and Guillaume Léglise (savage SG guitar, synths as well) for setting up live
performances. Indeed for Vox Low, stage performance is a founding act. It even has to
do with pure ceremony, which quickly brought the band its cult aura. Seeing the combo
on stage is an act of faith, a celebration of dark forces. Far from lazy live performances
on Ableton, Vox Low is like an acid-house version of the Jesus & Mary Chain on stage.
After having been the heartthrobs of Andrew Weatherall (whom they've remixed), after
being remixed by the black angel Ivan Smagghe, after releasing maxi-singles on Jennifer
Cardini's techno label and on the brilliant Evrlst, Vox Low is now turning up on an
insolently rock'n'roll label. Which is just logical, being one of the few bands able to
stylishly surf between 60s rockabilly influences and cold, minimal techno from around
Cologne or Berlin's Zoologischer Garten Station.

Body search the record and you'll find chemical faves of the last forty years. Paul Ramon is doing 20 on the highway ("Hacienda", downhill dub with over-the-top bass), and 60 in the city ("Les victimes du roi", arpeggiated medieval-fantasy trip). Pleasure Principle obviously decided that traffic regulations just didn't apply to his vehicle. Sung in french (neither bellowed nor whispered, thanks), highlife guitars travelling light via the Carribeans, 90's synths stabs, calculated MTV moments: traces of everything, traces everywhere. A singer by obligation, by his own admission, he performs with a cheeky Madchester University alumni attitude. Happy to be there, but wishes nobody knew. Paul Ramon stuck his tongue out to write : he deals generously in one-liners, as sharp as disposable razors. Can't wait to see him pull those out of his pockets, struggling to bleed everyone.Marc Portheau saves the day in his mix : "Heliopolis", psych-pop jam lost in heavy delay, could have gone astray but suddenly gets all sophisticated with winds and chorus - as much appreciated as they never RSVP'd (Olivier Demeaux, Romain Vasset).This is a bear trap of an album. "La punition commence" (the punishment begins) and we expect a synth-wave dungeon moist with whispered confessions, when in fact it's more about wiggling arms in the air, and trampling the corpse of dance-pop to the sound of brain-dead synth, circa 1995. "Frappe le cuir" pays homage to the Happy Mondays, which you'd expect given the drummer's pedigree. "Buvez le poison" and "La sieste", a barely legal promotional campaign for narcotics, contain more than you asked for, if you can only listen. And "Rêves", chord-driven summer track gets turned over by the effects-laden guitar solo. Traps, again. So when you get to "Plein de rancoeur je vis mon meilleur moment", successful attempt to remake "Loser" in 2022, you'll know that Pleasure Principle knows his business in a rather endearing way. This is not a collage, but tie and dye colors spread to be l...

Couleur Brique, third album released by Born Bad for one-man-operation Use?, opens with a coughing fit spurting on a piano, while a guitar gently dies in the back of a hangar. The connoisseur will rekindle fond memories of his underground hit "ampheta-amphe?ta- amphe?tamine", this time to warn us about the "chef d'e?, chef d'e?, chef d'e?-tat". We won't know what he had to spit about to the president, but he's got some left on his trousers.Use? literally punches songs, beating the snare drum to celebrate a lover that bites and claws. It's mostly about boy-meets-girl and tough love in these seven romances that taste like beer chasing uppers, and end up in the back of a van.Praise be, to the melodic effort, supported by layers of sharp and bitter synths, and a straightforward vocal performance. It's a ride in forsaken land, beer in hand, documenting horny guys at the fun fair, late evenings in a shabby pub, and dirty sheets. Here and there, when least expected, flashes of unpretentious drunken wisdom hit the spot.The record is fueled by the broken drummer's energy, but also a verified writing effort. Those songs will be sung, bonded in the wastelands, to fight against buzzkill.Once active in local politics, Nicolas Belvalette settled down for acting, recently starring in "Tout fout le camp" where he plays his own role. But he's at his best on his turf, small rooms and scroungy festivals, where the great romantic weirdo spits on his tits, crawling under a raving audience. You'll have to buy the record if you want to get the lyrics, because at a gig, it's hard to follow when you're busy figuring out whether it's sweat, piss or beer that's connecting you to your neighbor.A fine collection of autumn tunes to get wasted, start a bar fight with new friends, and fall asleep on the counter with no shame.

It's September 3, 2014, a 24-year-old Australian arrives in Paris, accompanying a punk band on a European tour. He decides not to go home. Since then, everyone knows Nathan Roche. If you haven't seen him haranguing the crowd on a festival stage with Le Villejuif Underground, then you've come across one of his hallucinated noise performances within CIA Debutante in a squat in Poland.Like Kevin Ayers in Montolieu or Robert Crumb in Sauve, Nathan has chosen the heart of the Roya Valley. Thus, he perpetuates this tradition of the uprooted freak that we sometimes come across on the terraces of cafes in the South of France which, like a storyteller, make you escape with crazy stories. Judge for yourself: The Sahara desert? He got stuck there for lack of a visa! Italy? He cycled Marseille - San Remo by 40°C last summer! China ? He has already played in front of 15,000 people at a festival in Wuhan! It's therefore easy to understand that A Break Away, this new solo album, is a journey disc in the form of a breakaway (literally A Breakaway, for those who haven't followed, be it from society, taking holiday, or a strategy in competitive cycling), the album recorded during a return to Australian soil during the last March. In eleven titles, Nathan brings together the great story (Ground Zero) and his most personal memories, mourning his dear collection of records, sold in order to survive on his arrival in France (Recollection) and suffering memory loss because of it, narrating his successive encounters with his idols David Berman (Silver Jews) and Daevid Allen (Two Davids House) in his youth. This naturalistic writing, which can evoke Jonathan Richman, is combined with an encyclopedic knowledge of guitar music, forged while he was a record store in Australia. Thus he delivers songs evoking both the greatest hours of Fire Records (The Stevens) and the Lou Reed of the mid-70s (Tristan Winston Price, and his Hunter/Wagner style solos on R&R Animal). As I write these lines, he is finishin...

THE FIRST FRENCH ALL GIRLS ROCK BAND!?! Classic black vinyl including 8-page booklet, linernotes French & English."I perfectly remember the day I first heard the catchy single Toutes les nuits on Europe 1, in Maneval's show. I rushed to my tape deck to record an excerpt, which I listened to over and over again, until I finally got the album A bride abattue, released on New Rose. That album was everything I liked: brilliant compositions, pushy and skilfully arranged; refined, mischievous lyrics, a lo-fi spectorian sound like in the sixties, with heavenly voices and lots of harmonies. The cover depicts a girl band of students sporting pencil skirts, ponytails and pumps, dropping their tracks like they don't care. There's Odile and Isabelle on the guitar, Caroline on the bass and Mike on the drums. The result is a series of unstoppable hits: Toutes les nuits, Malhabile, Le supermarché, Nicolas, the moving Behind Your Sunglasses, but also some perfect covers: Teach Me How To Shimmy, With A Boy Like You, The Kids Are Alright, You Can't Sit Down. All gems. This carefree, charming, innocent album lightened up my early eighties. And I still listen to it." Étienne DahoA HISTORY OF THE CALAMITÉS Wouldn't it do them justice to rid Les Calamités (literally "the calamities") of the embarrassing phrase "girl band", durably stuck to their skins and plaited skirts? It's nothing but a pink puffy cloud obscuring their true importance as a "band" full stop, as well as their fleeting though mind-bending trajectory. In just a few months going on stage with a handful of original songs recorded here and there, they became, from Dijon to Rouen, Paris to Toulouse, Bordeaux to Strasbourg, the darlings of an uncompromising rockers' demanding scene. Tolerated by some, maybe, they were also consecrated, certainly (should they have needed the accolade). The trade-off was a succession of quick and distinctive verse-choruses for which the adjectives "fresh" and "light" seemed to have been invented again. They delivered ju...

An ultimate testimony to adolescent rage and the spirit of rock'n'roll, these eight songs by The BLOUSONS NOIRS (Black Jackets) are essential to understanding what rock music is and what it should always be: determined, primitive and wild. Originally from Bordeaux, The BLOUSONS NOIRS seem to have bought their instruments the morning of their recording session: the singer sings out of time, the drummer is feverish and the guitarist a total wack. Nothing is repressed with the BLOUSONS NOIRS. Their enthusiasm and carefree attitude are such that the songs are delightfully exuberant.Their two unusually unique EPs were released in 1961 ("Special Rock" EP) and 1962 ("Special Twist" EP) on the Guilain label. And as a French band, they quite naturally decided to cover French rock standards_ slaying them with enthusiasm! Les Chaussettes Noires (The Black Socks), Les Chats Sauvages (The Wild Cats) and two of Johnny Hallyday's songs were thus brought to the spotlight. The only original track was "Les fous du twist" (crazy for the twist) written by their young producer Claude Ghislain. For the record, their "Eddy soit Bon" (Eddy be Good) was originally Chuck Berry's "Johnny B Good". Congratulations guys, good job!A long year separated the two recordings and not much improvement was to be heard. The BLOUSONS NOIRS were bad and obviously didn't really care. The fact that they used the same picture for the cover of both EPs reinforces the feeling of total uselessness and "don't give a fuck" attitude that is so often embraced by rock'n'roll.This band can easily be treated as a joke or an oddity, but whether you like it or not, the BLOUSONS NOIRS were forerunners of the French punk and DIY scenes. To gain a better picture, remember that it wasn't until 1964 that Hasil Adkins published his "She Said", 1965 that the Peruvians of Los Saicos put out "Demolicion", and 1966 that the Legendary Stardust Cowboy delivered his killer "Paralysed". The Shaggs and their late "Philosophy of the world" in '69 were too late...

"...for the first time, achieve the non-blend between Nouvelle Vague and Caribbean music."We'll have to look into the matter seriously one day. Publish an anthropo-ethno-socio-musicological study, maybe. At any rate, try to understand how Cannibale, from some living room in the Northern France town of L'Aigle, managed to perfect a sound somewhere between the Caribbeans, 1960s West Coast garage scene and Tropicalia's Brazil. CANNIBALE got into "doing nothing" lately. And while doing so, they've put together their third album, Life is Dead. No doubt here: the influence, sound and hallmark are clearly Cannibale's, once again leaving their instantaneous imprint. In our post-all era though, this Life is Dead could sound like post-Cannibale. Simmered, gnawed to the bone; everything in that record feels more precise and simmered at length, Frustration's singer Fabrice Gilbert happily guests on track Kings of the Attics. Welcomed as rookies in Born Bad's laps for its tenth anniversary, Cannibale now sits - comfortably so - at the big table of the label's leading bands. Authors of totally adulterated shows, the Normans are set, with their new tracks, to keep firing up stages around the continent. In the future, for sure, this Life is Dead will have its own chapter in their dedicated anthropo-ethno-socio-musicological study - a somewhat post-mortem moment, in the full flow of creation. Vinyl in printed undersleeve + download code!

French Shoegazers Bryan's Magic Tears Are Back Again: `Vaacum Sealed' See The Light Of Day October 15th Via Born Bad Records.The Lp Opens With A Screaming Introduction (Greeting From The Space Boys, A Middle Finger Raised By The Whole Band From The Stratosphere - Or Lauriane Petit On Bass And Vocals, Raphael Berrichon And Medhi Briand On Guitars, Paul Ramon On Drums). The Band Goes From One Breathtaking Track To Another (Excuses Sung By Lauriane Like A Kim Deal Composition, Sad Toys Or The Paroxysm Of Dancing Melancholia, Pictures Of You Or The Best Guitar Riff Ever Played With A Vibrato) Before Hanging By A Thread. At This Point Of The Record, One Could Believe That Bryan's Magic Tears Is The Gifted Son Of The Jesus & Mary Chain, My Bloody Valentine And Primal Scream. In 1991, This Side Of The Album Would Have Been Recorded By A British Band And Released By Creation.Now On The Flip Side Of The Record. "I Don't Want To Be This 33-Year-Old Guy Playing Teenage Rock." After Showing Off The Muscles On One Album Side, Benjamin Dupont Digs A Little Deeper Into His Own Veins And Gives A Different View Of His Band's Music. They've Been Mistaken For Drugged-Out Wankers, A Band That Makes Big Noise Because They Have Three Guitars On Stage, Slackers Singing Nonsense In English. The B-Side Of `Vacuum Sealed' Features Three Autobiographical Pop Songs With Absolutely Impeccable Lyrics And Melodies. In Tuesday - "A Song About When It's Tuesday And You've Got Zero Serotonin In Your Blood Because You've Been Taking Pills All Weekend" - Isolation And Always, Despite The Drum Machines And The False Air Of Lightness, It's The Smiths' Fan Who Speaks. The Great Melody Maker. "I Think The Biggest Difference Between Bryan's Magic Tears And Other Bands In Our Genre Is That A Lot Of Them Forget That They're Going To Sing Over Their Music.".That Year, The Night Lasted Five Months In A Row. Every Day, When Benjamin Dupont Woke Up, The Sun Had Been Below The Horizon For Hours. Between 10pm And 4am, Locked Up Secretly...

On His Soloalbum The Former Member Of Polar Strong, Hoodlum And Cranes Angels And Most Known As Member Of J.C. Satàn Stays True To His Preferred Sound Of Garage Rock And Pop. But This Time, There Is More Room For A Subtile Approach With Refined Arrangements. The Album Includes Even Piano And Mellotron Partitions, All Composed By Arthur Himself. According To The Guitarist, The Album Title Sums Up His Musical Life, And Let This Album Be A Mature Sounding Next Step In His Careerthe Distinctive Backing Choirs On "Free" Are Reminiscent Of An Encounter Between The Pole Krzysztof Komeda ("Fearless Vampire Killers", The Soundtrack Of "Rosemary's Baby") And The American Collective Elephant 6 (Elf Power, Of Montreal, Neutarl Milk Hotel, Apples In Stereo, Olivia Tremor Control_)."The Nap" Is Teatime: Arthur's The Host, John Fahey The Guest."The Boy In The Frame" Is The Famous Unreleased Ballad Of The Album "Sabbath Bloody Sabbath". "Summer" Starts Off Like A Lullaby On The Metallophone And Evolves Into Something Of A Donovan Song, Minus The Unexpected Crankshaft Solo."Love Bleeds From You Neck" Is Somewhere Between Acid Folk Song And Medieval Lament."It's All The Same" Is Another Surprise, With Its Modern Mix And Particularly Innovative Arrangements."Time Is Mine" Might Be The Track Most Evocative Of J.C. Satàn Rock. "She's Long Gone" Will Have Had Time To Evoke Brian Wilson's Beach Boys Roaming Through The English Countryside Looking For The Perfect Cottage. That Particular Track Is A Real Beauty.And In Fact There's A Lot Of England In The Record. "She's Hotter Than The Sun" Owes Just As Much To T. Rex Than To The Ubiquitous Beatles.The Album's Outlandish Finale Is A Cover Of Ween's Cosmic Overture To "Boredom Is Quiet",Get The Picture? The Albums Name "Arthur" Happens To Be The Title Of One Of The Kinks' Greatest Albums; A Band I Believe The Author Of This Record Holds In Very High Esteem.

In The Ever-Expanding Universe Of 70s And 80s French Library Music, Sauveur Mallia Holds A Special Place; His Career, Multifaceted Work And The Uniqueness Of His Talent Have Made Him An Exemplary Figure In The Unsung World Of Library Musicians. In Those Years A Few Of Them, Often For Economical Reasons, Would Set Off On A Space Conquest, Taking Along Just A Few Synthesisers. Their Ambition Well Surpassed The Modesty Of Their Means; It Was In Turn The Condition To Their Experimentations With Sound Which Were To Create A New Sonic Space: That Of A Nation Tumbling Into Modernity. From French Soil To The Farthest Reaches Of The Cosmos, There Were Just A Few Steps To Take. It's With The Label Tele Music, Boarding The Spaceship Arpadys, Along With The Voyage Crew, That Sauveur Mallia Took The Big Leap. When Did You Start Making Library Music? - "I Always Worked With Roger Tokarz, Who Produced Voyage And Arpadys. With My Friends Who Were Members Of Voyage We Also Made Library Records For His Label Tele Music With Different Themes We Proposed Based On Sports, The News, Etc. I Worked In My Studio. Originally Arpadys Was A Library Record Roger Wanted To Commercially Release, Industrial Rock. Not Much Came Out Of It At The Time, Yet Its Become Really Sought-After In Recent Years. I Was Even Contacted By And English Guy Who Wanted To Get Arpadys Back On Stage." Was Library Music A Way To Experiment Freely? - "Yes, I Did What I Wanted, Without Any Restriction. Then People Used It Or They Didn't. On Each Record, There Were Long Versions Of Each Track And We Made 60, 30 And 15 Second Edits - It Gave Medias The Choice. The Constraints Came With Custom Sound-Design For The Radio, With Jingles And France Info's Credits I Made At Home Solo With My Machines For 17 Years, Then For Rtl, Europe1, And For Quite A Few Tv Shows" - Sauveur Malliavinyl Lp + Printed Inner Sleeve + Download Codeliner Notes English

Music on Hold – 30 Minutes of When you decide to get a degree at university, like chief songwriter Emile Cartron-Eldin Music goes on hold. When you don’t have enough dollars for that overpriced repressed LP the record store puts it on hold behind the counter. this is: Music To Hold Onto! To cherish and adore, right here right now. After little shining stars of self-released cassette classics showing great promise of solid SF song writing Music on Hold deliver an LP with strictly “only the hits” in updated graphics and soundbite studio wizardry..and amen! It’s the shinning neon-colour video game classic you never played in your youth in the arcades. You only dreamed about it after too many bong hits. You think you’ve heard these songs before? Ha! You’ve never heard them better brother. Gary Wilson called, and sung you a melody and the Human League stole the synth lines.. then The Spits put lead guitar in slow-motion. HEY! Superior Viaduct just found another lost Record by Departmentstore Santas.. Hold on. No they didn’t.. our trusted Born Bad just stumbled upon a collection of stone-cold classics laying behind the wall of VHS’s and sent them to be remastered for the best Sunday drive of your life. This is a record for all four seasons in all TV Colours and black and white nouvelle vague romance. The punk generation doesn’t take shame in playing Grand Theft Auto: Vice City, they know all the cheats. This LP is the first baseball bat you take you A Ferrari parked outside a strip club. This is the flock of seagulls that exploded in the sky In multicoloured fireworks and came raining down Into the ears of the youth in these troubled times before cocaine became boring.. This isn’t your ironic Japanese obi-tape cassette vapourwave sally, Music On Hold is you, me and everyone else in the same bathtub giving each other sensual back rubs before slipping into silk dragon kimonos. It is sincere. It’s real. It’s an all filler-no killer instant classic of a nostalgia you can’t even begin to unravel. The project once a solo affair is now a power-trio featuring funky starship troopers Guillaume Mobstaire and beloved cult-hero Mathis (Police Control, Skategang) in the shuttle. And as they blast off into cyberspace They toss this their first greatest hits out of the cockpit and into your hands. Nathan Roche

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

As we know, first times are always the most powerful: the shattering rush of revelation can only be experienced once. After that it's all an inevitable, exhausting quest for repetition, a feverish search for the original shock, and pointless reiteration and accumulation poisoned by consciousness, analysis and age: and such a sensation keeps fading as we experience it. 2018's garage band #1001 will look and sound the same as the preceding one, and leave you wondering -half-sorry, half-dismayed- how on earth listening to the Sonics and the Standells could electrify you back in the days. Likewise, you can count on the fingers of one hand the bands you've loved up until their 5th album like J.C. Satàn - almost ten years after falling in love. We all already know dudes who have "seen them too much", heard them too much and stopped expecting anything from them anymore. Except that those folks are in for a big-time surprise, as the Satàn crew did not deliver a 5th album just for the hell of it, just to justify their next tour: they got together to seek the rare fuel, the miraculous current able to galvanize our sleeping senses, the electroshock forcing us to revive the urgent impression of being alive. 'Centaur Desire' has something of a new first-time record.

2017 album by Forever Pavot, the brain-child and solo venture of Emile from the Parisian psych/prog band Arun Tazieff. Musically Emile blends influences from both '60s and contemporary psych, Ennio Morricone, French and Italian movie soundtracks, library music and more.

LP + 6 pages booklet.

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 dont 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. 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.

Since its beginning, The Feeling Of Love evolved from a one-man-band playing minimal and nihiliste garage blues with a no wave borrowing, to a trio still in the garage vibe but with more complexity and stronge krautrock and psychelic influences. The band, mostly based in Metz (France), comes from the mind of Guillaume Marietta, who was joined by Seb Normal and Sebastien Joly for their first studio album released through Born Bad Records in april 2011. Dissolve Me (also released on Kill Shaman Records in USA) is the band's kraut space garage manifesto. Songs stretch out, the drums go more tribal, the synth hammers out his keys on an infinite highway, and the guitar gets lost in delay pedal's fog. One thinks Suicide, Spacemen 3, The Velvet Underground, Can, Syd Barrett. After countless shows all over Europe and two tours in U.S.A., sharing the stage with bands such as Ty Segall, Thee Oh Sees, White Fence, The Intelligence, Girls, Strange Boys etc., The Feeling Of Love will release early 2013 a new album titled Reward Your Grace. Even if the songs keep their psychedelic and melancolic garage essence, the band re-think their music by exploring shoegaze and pop territories. Reward Your Grace is a much more light full records, more accomplish but never steady. Something between psyche pop balades and long sound tracks of trance disturbed by sonic blasts.

Music On Hold's second album raises to its climax an altogether well-cultivated ambiguity between new ambitions and the waiting posture of a band which has never lived up to its name so well.Produced in a cellar in the 7th arrondissement of Paris, supported by Ray Jane and "surrounded by a group of people who manage to concentrate on something for more than 15 minutes", "MOH4Ever" is one of the most personal things that Emile Cartron-Eldin delivers today, "from the salt-dough workshops in kindergarten".Opening, "His Master Voice" transforms the tribute to a recently deceased loved one into a sad clown's dancing homily. With no surprise follows "Wander" and roaming in a Paris traveled up and down at least ten thousand times already. "Music On Hold 4 Ever" then releases the title of this album in a cry accompanied by an invitation to "unplug" his singer. We hear a bit of the group's very first single, "Bread", taken through the prism of Beck's "Up all night"."Citadel", 6'30" end of side A, loudly proclaims as a chain-breaking the nostalgia of truant school and a desire not to die (at least not like Darby Crash). Mixed in - like this entire album - are the versatile ingenuity of LCD Soundsystem and Gorillaz with Italo-disco arrangements from Roberto Zanetti (aka Savage).With "Over", "Home", "Taming a Tiger" and "Last Laugh", side B prolongs the tightrope walker's delirium by summoning in no specific order, memories in Vienna, resumption of excessive consumption, the fact that "the director of the US Federal Reserve is a real fake-ass" and the cynical humo(u)rous swings of a guy overwhelmed by them in an everlasting after-party.From the first LP, "30 Minutes Of..." and its already delayed release, its chopped tour, "Music On Hold 4 Ever" digs a refined pop, no longer as "solar" as some could have described it when everything seemed to be going quickly. Retaining a semblance of immediacy, the 8 pieces of this second album open up new perspectives with their elegant sophistication, in a quit...

French Psych-JAZZ-Soul-FUNK original soundtrack for initial soft erotic drama from 1973, later re-edited into "Sex Revolution" hardcore!"Jeu de Dames, la libération des femmes" (1973), a film by director Christian Lara, is a vaguely subversive charm flick that won't be remembered for a long time. An amusing detail, however, is that Georges de Caunes, father of Antoine de Caunes, the famous French TV personality, plays the lead role alongside Danielle Palmero. It's just one of a number of naïve films that, without being erotic, is sufficiently olé-olé that it failed to find a place in theaters on the traditional circuit. Faced with this commercial failure, the unscrupulous producer at the time, anxious to save his investments, decided to re-edit the film so that it could be screened in the X-rated circuit. He rechristened the film "Sex Revolution" in a more racy style, inserting more hardcore scenes to appeal to fans of the genre. Although Georges de Caunes is no longer credited on the poster or in the credits of "Sex Revolution", he finds himself, in spite of himself, promoted to lead actor in a porn movie, much to the delight of his son Antoine de Caunes, who is still dreaming 50 years later of finally being able to watch this forgotten masterpiece of the 7th art. The film seems to be a dud (pn: the author haven't seen it), but as for the music, Jean Claudric is particularly inspired and offers us one of the best French jazz funk soundtracks, which would not blush at the comparison with the best of the genre, such as Michel Legrand's "Un homme est mort", or Jean-Pierre Mirouze's "Le mariage collectif", previously released by Born Bad.Four short tracks, one with pyschedelic touches, the secomd more funky, the third a bit soul-jazzy, the fourth a French typical melancholic-melodic one makes a hot 7"-EP.