{"title":"label : Born Bad Records","description":"\u003cp\u003eLe label BORN BAD RECORDS a été fondé en septembre 2006 par Jean-Baptiste Guillot.\u003c\/p\u003e\n\u003cp\u003eIl a été créé en parallèle du magasin de disques bien connu de la rue Keller à Paris dans le quartier Bastille, monté par Iwan Lozach et Mark Adolph en 1998.\u003c\/p\u003e\n\u003cp\u003eLe label BORN BAD RECORDS est un label de rock and roll contemporain, fuyant le ‘revivalisme’ de nombre de ses pairs, le label plébiscite des groupes (pour l’essentiel français) qui essayent de proposer un son différent et nouveau dans un genre musical sclérosé.\u003c\/p\u003e\n\u003cp\u003eLe label propose aussi de nombreuses reeditions thématiques qui exhument les oeuvres d’artistes français passés inaperçus en leur temps. Ces rééditions explorent aussi bien les années 50, 60,70 ou 80 et ont pour but de faire valoir la créativité d’artistes français trop en avance sur leur époque.\u003cbr\u003e\u003c\/p\u003e","products":[{"product_id":"jusqu-au-bout-du-monde-star-feminine-band-lp","title":"Jusqu'au Bout Du Monde","description":"\u003cp\u003eStar Feminine Band, les hardest working women du show-business du Bénin, sortent leur troisième album chez Born Bad, qui s’était décarcassé pour sortir le premier. On en connait qui chopent le palu à la vue de la très collante étiquette world : soyez assurés que le monde, c’est tout ce qu’elles méritent, après neuf ans de boulot acharné. Ces huit jeunes femmes, venues d’un village que même les béninois ont du mal à situer, ont commencé le métier en mode expert. Car outre soi, faut convaincre la famille, le village, et tout un continent que ça vaut le coup.\n\u003cbr\u003e \n\u003cbr\u003eAndré « Papa » Balaguemon, compositeur, manager et parolier, fait beaucoup, tout en restant dans l’ombre. Il a assemblé le groupe, dans lequel ses trois filles jouent aussi, loge tout le monde avec sa femme Edwige qui gère aussi danses et costumes. Il leur a donné une formation musicale, et a créé le cadre pour qu’elles poursuivent l’école tout en répétant dur. De ce projet improbable au statut d’ambassadrices UNICEF, on mesure l’immense chemin parcouru par ce groupe solaire. L’existence même de ce nouvel album témoigne de la persévérance de Grâce, Anne, Urrice, Bénie, Angélique, Sandrine, Julienne et Ashley. Le personnel de cette family affair a un tout petit peu bougé : deux nouvelles femmes ont rejoint la formation, qui s’est frottée à des plateaux exigeants (Les Eurocks, Glastonbury l’été, la BBC à Noël).\n\u003cbr\u003e \n\u003cbr\u003eCe nouveau disque donne des joies simples : entendre des voix grandir, un talent instrumental se confirmer, les musiciennes contribuer à l’écriture pour passer de premier girl band béninois à band tout court. Et ce sans oublier pourquoi elles ont pris la scène : l’émancipation n’est pas un dîner de gala. Star Feminine Band fait de la musique directe, qui ne prend pas de détours pour exprimer ce qui manque au pays. C’est pas de la candeur, c’est du pragmatisme. Quand Grâce chante « l’enfant a le droit à l’éducation \/ obligééé », c’est qu’il n’y a rien d’autre à dire de plus important ce jour-là. Comme elles le notaient dans leur premier album « la musique c’est notre boulot », laissez-les faire, elles font ça très bien. Le Star Feminine Band s’amuse dans ce disque qui se promène dans le territoire vaste et poreux des innombrables styles propres à l’Afrique de l’Ouest. Elles s’offrent même une incursion reggae pour causer mariage au troisième degré (avec une petite saillie rap), et entrelacent leurs voix dans un joyeux bazar multilingue (Waama, Ditamari, Bariba, Fon, Yoruba : un embarras du choix qui va avec le territoire). Et si on en doutait, y’a des tubes. Chacun reconnaitra les siens mais « L’enfant c’est un don de Dieu » est un véritable rouleau-compresseur qui aplanit méthodiquement le terrain pour danser ensemble sur son chorus final. On a pas fini de répéter « debout-les-en-fants » avec elles.\n\u003cbr\u003eMoins garage que les deux premiers albums, soutenu par des arrangements fins, des parties de clavier ambitieuses, et des harmonies vocales plus complexes sans que l’ensemble ait perdu en spontanéité, ce troisième opus vient tranquillement, en toute modestie, nourrir le patrimoine musical béninois. Comme elles l’affirment très bien dans « Jusqu’au bout du monde », malin petit tunnel de remerciements qu’on voit déjà gonfler sur scène : « oui c’est Star Feminine Band qui a gagné-o ».\n\u003cbr\u003eHalory Goerger\u2029\u003c\/p\u003e","brand":"BORN BAD RECORDS","offers":[{"title":"LP","offer_id":55019952177477,"sku":"BB0185LP","price":23.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/Star-feminine-Band-jusqu-au-bout-COVER-HD_084d69ef-5bcc-40ad-b2ab-a25864511651.jpg?v=1750927425"},{"product_id":"jusqu-au-bout-du-monde-cd-star-feminine-band-cd","title":"Jusqu'au Bout Du Monde - CD","description":"\u003cp\u003eStar Feminine Band, les hardest working women du show-business du Bénin, sortent leur troisième album chez Born Bad, qui s’était décarcassé pour sortir le premier. On en connait qui chopent le palu à la vue de la très collante étiquette world : soyez assurés que le monde, c’est tout ce qu’elles méritent, après neuf ans de boulot acharné. Ces huit jeunes femmes, venues d’un village que même les béninois ont du mal à situer, ont commencé le métier en mode expert. Car outre soi, faut convaincre la famille, le village, et tout un continent que ça vaut le coup.\n\u003cbr\u003e \n\u003cbr\u003eAndré « Papa » Balaguemon, compositeur, manager et parolier, fait beaucoup, tout en restant dans l’ombre. Il a assemblé le groupe, dans lequel ses trois filles jouent aussi, loge tout le monde avec sa femme Edwige qui gère aussi danses et costumes. Il leur a donné une formation musicale, et a créé le cadre pour qu’elles poursuivent l’école tout en répétant dur. De ce projet improbable au statut d’ambassadrices UNICEF, on mesure l’immense chemin parcouru par ce groupe solaire. L’existence même de ce nouvel album témoigne de la persévérance de Grâce, Anne, Urrice, Bénie, Angélique, Sandrine, Julienne et Ashley. Le personnel de cette family affair a un tout petit peu bougé : deux nouvelles femmes ont rejoint la formation, qui s’est frottée à des plateaux exigeants (Les Eurocks, Glastonbury l’été, la BBC à Noël).\n\u003cbr\u003e \n\u003cbr\u003eCe nouveau disque donne des joies simples : entendre des voix grandir, un talent instrumental se confirmer, les musiciennes contribuer à l’écriture pour passer de premier girl band béninois à band tout court. Et ce sans oublier pourquoi elles ont pris la scène : l’émancipation n’est pas un dîner de gala. Star Feminine Band fait de la musique directe, qui ne prend pas de détours pour exprimer ce qui manque au pays. C’est pas de la candeur, c’est du pragmatisme. Quand Grâce chante « l’enfant a le droit à l’éducation \/ obligééé », c’est qu’il n’y a rien d’autre à dire de plus important ce jour-là. Comme elles le notaient dans leur premier album « la musique c’est notre boulot », laissez-les faire, elles font ça très bien. Le Star Feminine Band s’amuse dans ce disque qui se promène dans le territoire vaste et poreux des innombrables styles propres à l’Afrique de l’Ouest. Elles s’offrent même une incursion reggae pour causer mariage au troisième degré (avec une petite saillie rap), et entrelacent leurs voix dans un joyeux bazar multilingue (Waama, Ditamari, Bariba, Fon, Yoruba : un embarras du choix qui va avec le territoire). Et si on en doutait, y’a des tubes. Chacun reconnaitra les siens mais « L’enfant c’est un don de Dieu » est un véritable rouleau-compresseur qui aplanit méthodiquement le terrain pour danser ensemble sur son chorus final. On a pas fini de répéter « debout-les-en-fants » avec elles.\n\u003cbr\u003eMoins garage que les deux premiers albums, soutenu par des arrangements fins, des parties de clavier ambitieuses, et des harmonies vocales plus complexes sans que l’ensemble ait perdu en spontanéité, ce troisième opus vient tranquillement, en toute modestie, nourrir le patrimoine musical béninois. Comme elles l’affirment très bien dans « Jusqu’au bout du monde », malin petit tunnel de remerciements qu’on voit déjà gonfler sur scène : « oui c’est Star Feminine Band qui a gagné-o ».\n\u003cbr\u003eHalory Goerger\u2029\u003c\/p\u003e","brand":"BORN BAD RECORDS","offers":[{"title":"CD","offer_id":55019952144709,"sku":"BB0185CD","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/Star-feminine-Band-jusqu-au-bout-COVER-HD.jpg?v=1750927425"},{"product_id":"polaroid-roman-photo-40th-anniversary-edition-ruth-12inch","title":"Polaroid Roman Photo 40th Anniversary Edition","description":"INTEMPORARY AND INDETRONABLE FRENCH COLD WAVE CLASSIC in a SPECIAL EDITION to celebrate the 40th anniversary of this mythical album.\u003cbr data-mce-fragment=\"1\"\u003eThis edition includes a 45T with 2 previously unreleased tracks, available nowhere else.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThierry Müller, who initiated the RUTH project, is not at his first try when the album POLAROÏD\/ROMAN\/PHOTO including the eponymous track is released in 1985.\u003cbr data-mce-fragment=\"1\"\u003eHis older brother Patrick along with one of their cousins make his musical education and he quickly becomes familiar with contemporary and experimental music. He starts quite early to tinker sounds on old tape recorders by himself but it is in 1977 that Thierry launches with some friends his first group, ARCANE, while studying at the School of Applied Arts. Their sound is weird, a mixture of saturated scratches and feedback tapes: there is no discographic or scenic testimony of this experience.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAlongside ARCANE, Thierry is already working solo on his ILITCH project \/ concept, an experimental and innovative work, whose first album Periodmindtrouble is released in 1978 on the Oxigène label. Despite insubstantial sales, this album brings Thierry recognition and success in the very elitist circles of experimental and underground music.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eILITCH’s musical bias was too narrow for Thierry’s ceaseless experimental curiosity, parallel to these activities, he therefore develops a Punk project called RUTH ELLYERI with the author, actress and photographer Murielle Huster. The title is an anagram of Thierry Müller (the complete name is Ruth M. Ellyeri). The character is meant to impersonate one of his schizophrenic facets and allows him to extend his field of expressions to musical styles differing from those in ILITCH.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFrom this work, the very cult punk piece Mescalito emerges, song that can be found on the mythical but unfortunately very rare compilation 125g de 33 1\/3 tours (1979) of the Oxigène label (first “french punk” sampler).\u003cbr data-mce-fragment=\"1\"\u003eAt the end of 1978, he meets Philippe Doray at the Oxigene office. Doray is another big name of French experimental music. Thierry moves to his home near Rouen, a remote farmhouse with a music studio made of odds and ends.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThey work on their respective creations but meet from time to time on experimentations in common, including CRASH (a tribute to JG Ballard)\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs early as 1982, a first version of the track Polaroïd\/Roman\/Photo is out under the name of the project RUTH.\u003cbr data-mce-fragment=\"1\"\u003e“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.”\u003cbr data-mce-fragment=\"1\"\u003ePhilippe is quite amused by the idea of working on a more Pop project and offers to write the text. Thierry works on other tracks for the future LP and asks some friends to write other texts : Edouard Nono, visual artist, writes the lyrics of Mots, Frédérique Lapierre those of Misty Mouse and Tu m’ennuies . It is her voice you hear on these 2 tracks and on the first version of Polaroïd\/Roman\/Photo. Later, Thierry settles down in the Anagramme recording studio to carry out acoustic sound recordings. But when the sessions are over, the 2 musicians are not too happy with the results of Polaroïd\/Roman\/Photo: according to them, they lack “flamboyance”. They decide then to record a new female voice with a professional singer and the sound engeneer Patrick Chevalot offers to mix the track in the Synthesis studio “so that it blows out”.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWith his tape ready and the help of Jacques Pasquier (S.C.O.P.A. \/ Invisible records where Ilitch’s second album, 10 Suicides, is released) he starts to contact record companies. “I visited almost all the major record companies and was thrown out every time. Only at RCA’s I found someone interested in my music. It was Francis Fottorino who had signed Kas Product but when it reached the the big boss, no way! Philippe Constantin from Virgin records raised some hope but in vain. The album was finally released in 1985 with Paris Album, a small independant label.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe album barely sells 50 copies in 1985, despite the eponymous title as a potential success.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e« In 2004, 2 DJs Marc Colin and Ivan Smagghe discover the track Polaroïd\/Roman\/Photo and decide to exhume it from oblvion. They release 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 and the album start a new life.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAlongside his activity as graphic designer, Thierry Müller carries on producing music under his name, those of ILITCH and RUTH for his own creations and various collaborations.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAbout RUTH — POLAROÏD\/ROMAN\/PHOTO by Thierry Müller","brand":"BORN BAD RECORDS","offers":[{"title":"LP","offer_id":55096071586117,"sku":"BB0188LP189SP","price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/MockupssimpleLP_3_6418829d-7f6f-4f1a-9548-d5d88010a8d8.png?v=1756218140"},{"product_id":"dolores-salsa-guaracha-from-70-s-french-west-indies-various-artists-12inch","title":"DOLORES - Salsa \u0026 Guaracha from 70's French West Indies","description":"In Guadeloupe, many people think that jazz and ka music are like a ring and a finger. To some extent, the same could be said about so called Latin music and the music played in the French West Indies. Both aesthetics were born in the Caribbean and bear so many connections that they can easily be considered cousins. In constant dialogue, there are lots of examples of their fruitful alliance and have been for a while. The English country dance that used to be practiced in European lounges came to be called kadrille in Martinique and contradanza in Cuba. They both featured additional percussion instruments inherited from the transatlantic deportation. Drawing from shared feelings about the same traumatized identity – later to be creolized – it would be hard not to assume that they were meant to inspire each other.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe golden age of the orchestras that graced the Pigalle nights during the interwar period further proves the point. As soon as the 1930s, Havana-born Don Barreto naturally mixed danzón and biguine music in a combo based at Melody's Bar. In the following decade, Félix Valvert, a conductor who was born and raised in Basse-Terre in Guadelupe, also worked wonders in Montparnasse with La Coupole, which was an orchestra made up of eclectic musicians. Afro- Caribbean performers of various origins were often hired on rhythm and brass sections in jazz bands, which used to enliven the typical French balls of the capital. In the 1930s and onwards, Rico’s Creole Band was one of them. Martinican violinist-clarinettist Ernest Léardée, who would become the king of biguine music as well as the main figure of French Uncle Ben's TV commercials (a dark stigma of post-colonial stereotypes), had musicians from the whole Caribbean sphere play at his Bal Blomet – and they all enchanted \"ces Zazous-là\" (according the words of Léardée's biguine-calypso piece).\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn les Antilles (French for French West Indies), music history started to speed up in the 1950s, when trade expanded and radio stations grew bigger. The Guadelupean and Martiniquais youth tuned in their old galena radio sets to South American and Caribbean music. As for the women traders, les pacotilleuses, they bought and sold goods across different islands (the \"passing of items through various hands\" was thought to be most pleasurable) and brought back countless sounds in their luggage. Such was the case of Madame Balthazar, who once returned from Puerto Rico with the first 45rpm and 33rpm to ever enter Martinique. Out of this adventure was created the famous Martinican label La Maison des Merengues, a music business she opened and undertook with her husband and which proved to be a major landmark.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAt the end of the 1950s, in Puerto Rico, Marius Cultier competed in the Piano International Contest playing a version of Monk's Round 'Midnight. He won the first prize and this distinction foreshadowed everything that was to come. Cultier, the heretic Monk of jazz, was quickly praised for writing superb melodies, always tinged with a twist that conferred a unique sound to his music. It didn't take long for the gifted self-taught musician to get to play with Los Cubanos, making a name for himself thanks to his impressive maestria on merengues. The rest is history. Besides, in the late 1950s, Frantz Charles-Denis, born into the upper middle class in Saint-Pierre and better known by his first name Francisco, went back home after working at La Cabane Cubaine – a club located rue Fontaine where he had caught the Latin fever. Francisco's music was therefore heavily marked by his Cuban cousins' influence, which gave the combos he led a specific style and also led to renewal. Things were swinging hard in La Savane, located in the main square in Fort-de-France. He set up the Shango club close by and tested out the biguine lélé there, a new music formula spiced up with Latin rhythms. Soon afterwards, fate had him fly to Puerto Rico and Venezuela. As for percussionist Henri Guédon (percussions were only a part of his many talents), he was born in Fort-de-France in May 22nd 1944, the day marking the celebration of the abolition of slavery. As an old man, he could remember that in \" [his] father's Teppaz, a lot of hectic 6\/8 music was constantly playing...\". In the opening lines of his Lettre à Dizzy, a small illustrated collection of writings published by Del Arco, he highlighted the huge impact that cubop had on him as a teenage boy, around 1960. He eventually turned out to be the lider maximo in La Contesta, a big band steeped in Latin jazz. He was also the one who originated the word zouk to describe music which brought the sound of the New York barrio to Paris. It was the culmination of a journey that started in Sainte-Marie: \"a mythical place for bélé, the equivalent of Cuban guaguancó\".\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn the early 1960s, the tertiary economy developed to the detriment of agriculture. Yet rural life was where roots music emerged in Martinique and in Guadeloupe. Record companies played a major part in the process of Latin versions sweeping across the islands – before reaching everywhere else. Producer Célini, boss of the great Aux Ondes label, and Marcel Mavounzy, both the head of Émeraude records - a firm which was founded in 1953 - as well as the brother of famous saxophonist Robert Mavounzy, were big names to bear in mind. Although there were many of them - all of whom are featured on this record - Henri Debs was definitely the major figure in the recording adventure. He proved to be so influential that he even got compared to Berry Gordy. In the mid 1950s, when he acquired his first Teppaz, he worked on his first compositions: a bolero and a chachacha. Then, he became the one man who made people discover Caribbean music, from calypso to merengue. He was among the first ones to rush out to San Juan, Puerto Rico, to buy records and distribute them through a store run by one of his brothers in Fort-de-France. He had members of the Fania All Star come and perform there, which he was madly proud about. He was also the first one to pay attention to Haitian music, such as compas direct and various other rhythms which would soon flood the market. As a result, many of the combos hitting his legendary studio would end up boosted by widespread \"Afro-Latin\" rhythms. However, he never denied his identity: gwo ka drums were given a major role, although they were instruments which had long been banned from the \"official\" music spheres.\u003cbr data-mce-fragment=\"1\"\u003eThe present selection bears witness to such a creative swarming. Here are fourteen tracks of untimely yet unprecedented cross-fertilization: all types of music rooted in the Creole archipelago have found their way, whatsoever, to the tracklisting. Whether originating from the city or being more rural, they all go back to what Edouard Glissant, in an interview about the place of West Indian music in the Afro-American scope, called \"the trace of singing, the one which got erased by slavery.\" \"It is so in jazz, but also in reggae, calypso, biguine, salsa... This trace also manifests through the drums, whether Guadelupean, Dominican, Jamaican or Cuban... None of them being quite the same. They all point to the idea of a trace, seeking it out\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eand connecting to each other through it. This is the hallmark of the African diaspora: its ability to create something new, in relation to itself, out of a trace. It may be the memory of a rhythm, the crafting of a drum, a means of expression which doesn't resort to an old language but to the modalities of it.\"\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe opening track features one of the emblematic orchestras of this aesthetic identity, criscrossing many music types from the archipelago. The 1974 Ray Barretto guajira – Ray Barretto was a major New York drummer influenced by Charlie Parker and Chano Pozzo – is magnificently performed by Malavoi, a legendary Fayolais group (i.e from Fort-de-France). Additionally, the compilation ends on a piece by Los Martiniqueños de Francisco. It symbolically closes the circle as it is a genuine potomitan of Martinique culture which also functions as a tireless campaigner for Afro-Caribbean music. Practicing the danmyé rounds (a kind of capoeiria) to the rhythm of the bèlè drum, it delivers a terrific Caterete, a kind of champeta of Afro- Colombian obedience which was originally composed by Colombian Fabián Ramón Veloz Fernández for the group Wgenda Kenya. The icing on the cake is Brazilian Marku Ribas, who found refuge in Martinique in the early 1970s, bringing his singing to the last trance-inducing track.\u003cbr data-mce-fragment=\"1\"\u003eThese two \"versions\" convey the whole tone of a selection composed of rarities and classics of the tropicalized genre, swarming with tonic accents and convoluted rhythms. It is the sort of cocktail that the West Indians never failed to spice up with their own ingredients. For instance, the Los Caraïbes cover of Dónde, a famous Cuban theme composed by producer Ernesto Duarte Brito, has a typical violin and features renowned Martinique singer Joby Valente and his piquant voice. The track used to be – or so we think – their only existing 45rpm. The meaningful Amor en chachachá by L'Ensemble Tropicana, a band which included Haitian musicians among whom was composer and leader Michel Desgrotte, also recalls how Latin music was pervasive in the tropics in the mid-1960s. They were the ones keeping people dancing at Le Cocoteraie in Guadelupe and La Bananeraie in Martinique. Around the same time, another \"foreign\" band, Congolese Freddy Mars N'Kounkou's Ryco Jazz, achieved some success on both islands by covering Latin jazz classics – such as their adaptation of Wachi Wara, a \"soul sauce\" by Dizzy Gillespie and Chano Pozo whose interweaving of strings and percussions can have anyone hit the dancefloor. How can you resist Dap Pinian indeed, a powerful guaguancó by Eugene Balthazar, performed by the Tropicana Orchestra and published by the Martinique-founded La Maison des Merengues? It also acts as a symbol of the maelstrom at work.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eGoing by the name Paco et L'orchestre Cachunga, Roger Jaffory used to play guaguancó too: his Fania-inspired Oye mi consejo is one example of his style. Baila!!!!! Dancing was also one of the Kings' focus points. Oriza is a Puerto Rican bomba and a \"classic\" originally composed by Nuevayorquino trumpeter Ernie Agosto, which reserves major space for brasses, giving it a special sheen. Emerging from the New York barrios crucible was also La Perfecta, a Martinique group originating from Trinidad, whose name directly references the totemic Eddie Palmieri\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003efigure as well as his own band, also called La Perfecta. Here they borrow Toumbadora from Colombian producer and composer Efraín Lancheros and interpret it by emphasizing percussions, which set fire to the track even more than the wind instruments. The same goes for Martinique's Super Jaguars, who use Tatalibaba – a composition by Cuban guitarist Florencio \"Picolo\" Santana which was made famous by Celia Cruz \u0026amp; La Sonora Matencera – as a pretext for sending their cadences into a frenzy. In a more typically salsa vein, the Super Combo, a famous Guadelupean orchestra from Pointe-Noire that was formed around the Desplan family and had Roger Plonquitte and Elie Bianay on board, adapt Serana, a theme by Roberto Angleró Pepín, a Puerto Rican composer, singer and musician also known for his song Soy Boricua. Here again, their vision comes close to surpassing the original.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn the 1970s, L'Ensemble Abricot provided a handful of tracks of different syles, hence reaching the pinnacle of the art of achieving variety and giving pleasure. They played boleros, biguines, compas direct, guaguancó and even a good old boogaloo - the type they wanted to keep close to their hearts for ever, \"pour toujours\", as they sang along together in one of their songs. Léon Bertide's Martinican ensemble excelled at the boogaloo which had been composed by Puerto Rican saxophonist Hector Santos for the legendary El Gran Combo. Three years later, in 1972, Henri Guédon, with the help of Paul Rosine on the vibraphone, tackled the Bilongo made famous by Eddie Palmieri. Such a classic!!!!! And so were the Aiglons, the band from Guadelupe: choosing to execute Pensando en tí, a composition by Dominican Aniceto Batista, on a cooler tempo than the original, they noticeably used a wonderfully (un)tuned keyboard in place of the accordion. On the high-value collectible single – the first one released by Les Aiglons under the Duli Disc label – there is a sticker classifying the track under the generic name \"Afro\". Now that is what we call a symbol.\u003cbr data-mce-fragment=\"1\"\u003eJacques Denis","brand":"BORN BAD RECORDS","offers":[{"title":"12inch","offer_id":55096163402053,"sku":"BB0183LP","price":23.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/DOLORES-Cover-HD_b78ef527-ffb8-472e-9962-2cf38997b1ce.jpg?v=1751880945"},{"product_id":"dolores-salsa-guaracha-from-70-s-french-west-indies-cd-various-artists-cd","title":"DOLORES - Salsa \u0026 Guaracha from 70's French West Indies - CD","description":"In Guadeloupe, many people think that jazz and ka music are like a ring and a finger. To some extent, the same could be said about so called Latin music and the music played in the French West Indies. Both aesthetics were born in the Caribbean and bear so many connections that they can easily be considered cousins. In constant dialogue, there are lots of examples of their fruitful alliance and have been for a while. The English country dance that used to be practiced in European lounges came to be called kadrille in Martinique and contradanza in Cuba. They both featured additional percussion instruments inherited from the transatlantic deportation. Drawing from shared feelings about the same traumatized identity – later to be creolized – it would be hard not to assume that they were meant to inspire each other.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe golden age of the orchestras that graced the Pigalle nights during the interwar period further proves the point. As soon as the 1930s, Havana-born Don Barreto naturally mixed danzón and biguine music in a combo based at Melody's Bar. In the following decade, Félix Valvert, a conductor who was born and raised in Basse-Terre in Guadelupe, also worked wonders in Montparnasse with La Coupole, which was an orchestra made up of eclectic musicians. Afro- Caribbean performers of various origins were often hired on rhythm and brass sections in jazz bands, which used to enliven the typical French balls of the capital. In the 1930s and onwards, Rico’s Creole Band was one of them. Martinican violinist-clarinettist Ernest Léardée, who would become the king of biguine music as well as the main figure of French Uncle Ben's TV commercials (a dark stigma of post-colonial stereotypes), had musicians from the whole Caribbean sphere play at his Bal Blomet – and they all enchanted \"ces Zazous-là\" (according the words of Léardée's biguine-calypso piece).\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn les Antilles (French for French West Indies), music history started to speed up in the 1950s, when trade expanded and radio stations grew bigger. The Guadelupean and Martiniquais youth tuned in their old galena radio sets to South American and Caribbean music. As for the women traders, les pacotilleuses, they bought and sold goods across different islands (the \"passing of items through various hands\" was thought to be most pleasurable) and brought back countless sounds in their luggage. Such was the case of Madame Balthazar, who once returned from Puerto Rico with the first 45rpm and 33rpm to ever enter Martinique. Out of this adventure was created the famous Martinican label La Maison des Merengues, a music business she opened and undertook with her husband and which proved to be a major landmark.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAt the end of the 1950s, in Puerto Rico, Marius Cultier competed in the Piano International Contest playing a version of Monk's Round 'Midnight. He won the first prize and this distinction foreshadowed everything that was to come. Cultier, the heretic Monk of jazz, was quickly praised for writing superb melodies, always tinged with a twist that conferred a unique sound to his music. It didn't take long for the gifted self-taught musician to get to play with Los Cubanos, making a name for himself thanks to his impressive maestria on merengues. The rest is history. Besides, in the late 1950s, Frantz Charles-Denis, born into the upper middle class in Saint-Pierre and better known by his first name Francisco, went back home after working at La Cabane Cubaine – a club located rue Fontaine where he had caught the Latin fever. Francisco's music was therefore heavily marked by his Cuban cousins' influence, which gave the combos he led a specific style and also led to renewal. Things were swinging hard in La Savane, located in the main square in Fort-de-France. He set up the Shango club close by and tested out the biguine lélé there, a new music formula spiced up with Latin rhythms. Soon afterwards, fate had him fly to Puerto Rico and Venezuela. As for percussionist Henri Guédon (percussions were only a part of his many talents), he was born in Fort-de-France in May 22nd 1944, the day marking the celebration of the abolition of slavery. As an old man, he could remember that in \" [his] father's Teppaz, a lot of hectic 6\/8 music was constantly playing...\". In the opening lines of his Lettre à Dizzy, a small illustrated collection of writings published by Del Arco, he highlighted the huge impact that cubop had on him as a teenage boy, around 1960. He eventually turned out to be the lider maximo in La Contesta, a big band steeped in Latin jazz. He was also the one who originated the word zouk to describe music which brought the sound of the New York barrio to Paris. It was the culmination of a journey that started in Sainte-Marie: \"a mythical place for bélé, the equivalent of Cuban guaguancó\".\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn the early 1960s, the tertiary economy developed to the detriment of agriculture. Yet rural life was where roots music emerged in Martinique and in Guadeloupe. Record companies played a major part in the process of Latin versions sweeping across the islands – before reaching everywhere else. Producer Célini, boss of the great Aux Ondes label, and Marcel Mavounzy, both the head of Émeraude records - a firm which was founded in 1953 - as well as the brother of famous saxophonist Robert Mavounzy, were big names to bear in mind. Although there were many of them - all of whom are featured on this record - Henri Debs was definitely the major figure in the recording adventure. He proved to be so influential that he even got compared to Berry Gordy. In the mid 1950s, when he acquired his first Teppaz, he worked on his first compositions: a bolero and a chachacha. Then, he became the one man who made people discover Caribbean music, from calypso to merengue. He was among the first ones to rush out to San Juan, Puerto Rico, to buy records and distribute them through a store run by one of his brothers in Fort-de-France. He had members of the Fania All Star come and perform there, which he was madly proud about. He was also the first one to pay attention to Haitian music, such as compas direct and various other rhythms which would soon flood the market. As a result, many of the combos hitting his legendary studio would end up boosted by widespread \"Afro-Latin\" rhythms. However, he never denied his identity: gwo ka drums were given a major role, although they were instruments which had long been banned from the \"official\" music spheres.\u003cbr data-mce-fragment=\"1\"\u003eThe present selection bears witness to such a creative swarming. Here are fourteen tracks of untimely yet unprecedented cross-fertilization: all types of music rooted in the Creole archipelago have found their way, whatsoever, to the tracklisting. Whether originating from the city or being more rural, they all go back to what Edouard Glissant, in an interview about the place of West Indian music in the Afro-American scope, called \"the trace of singing, the one which got erased by slavery.\" \"It is so in jazz, but also in reggae, calypso, biguine, salsa... This trace also manifests through the drums, whether Guadelupean, Dominican, Jamaican or Cuban... None of them being quite the same. They all point to the idea of a trace, seeking it out\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eand connecting to each other through it. This is the hallmark of the African diaspora: its ability to create something new, in relation to itself, out of a trace. It may be the memory of a rhythm, the crafting of a drum, a means of expression which doesn't resort to an old language but to the modalities of it.\"\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe opening track features one of the emblematic orchestras of this aesthetic identity, criscrossing many music types from the archipelago. The 1974 Ray Barretto guajira – Ray Barretto was a major New York drummer influenced by Charlie Parker and Chano Pozzo – is magnificently performed by Malavoi, a legendary Fayolais group (i.e from Fort-de-France). Additionally, the compilation ends on a piece by Los Martiniqueños de Francisco. It symbolically closes the circle as it is a genuine potomitan of Martinique culture which also functions as a tireless campaigner for Afro-Caribbean music. Practicing the danmyé rounds (a kind of capoeiria) to the rhythm of the bèlè drum, it delivers a terrific Caterete, a kind of champeta of Afro- Colombian obedience which was originally composed by Colombian Fabián Ramón Veloz Fernández for the group Wgenda Kenya. The icing on the cake is Brazilian Marku Ribas, who found refuge in Martinique in the early 1970s, bringing his singing to the last trance-inducing track.\u003cbr data-mce-fragment=\"1\"\u003eThese two \"versions\" convey the whole tone of a selection composed of rarities and classics of the tropicalized genre, swarming with tonic accents and convoluted rhythms. It is the sort of cocktail that the West Indians never failed to spice up with their own ingredients. For instance, the Los Caraïbes cover of Dónde, a famous Cuban theme composed by producer Ernesto Duarte Brito, has a typical violin and features renowned Martinique singer Joby Valente and his piquant voice. The track used to be – or so we think – their only existing 45rpm. The meaningful Amor en chachachá by L'Ensemble Tropicana, a band which included Haitian musicians among whom was composer and leader Michel Desgrotte, also recalls how Latin music was pervasive in the tropics in the mid-1960s. They were the ones keeping people dancing at Le Cocoteraie in Guadelupe and La Bananeraie in Martinique. Around the same time, another \"foreign\" band, Congolese Freddy Mars N'Kounkou's Ryco Jazz, achieved some success on both islands by covering Latin jazz classics – such as their adaptation of Wachi Wara, a \"soul sauce\" by Dizzy Gillespie and Chano Pozo whose interweaving of strings and percussions can have anyone hit the dancefloor. How can you resist Dap Pinian indeed, a powerful guaguancó by Eugene Balthazar, performed by the Tropicana Orchestra and published by the Martinique-founded La Maison des Merengues? It also acts as a symbol of the maelstrom at work.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eGoing by the name Paco et L'orchestre Cachunga, Roger Jaffory used to play guaguancó too: his Fania-inspired Oye mi consejo is one example of his style. Baila!!!!! Dancing was also one of the Kings' focus points. Oriza is a Puerto Rican bomba and a \"classic\" originally composed by Nuevayorquino trumpeter Ernie Agosto, which reserves major space for brasses, giving it a special sheen. Emerging from the New York barrios crucible was also La Perfecta, a Martinique group originating from Trinidad, whose name directly references the totemic Eddie Palmieri\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003efigure as well as his own band, also called La Perfecta. Here they borrow Toumbadora from Colombian producer and composer Efraín Lancheros and interpret it by emphasizing percussions, which set fire to the track even more than the wind instruments. The same goes for Martinique's Super Jaguars, who use Tatalibaba – a composition by Cuban guitarist Florencio \"Picolo\" Santana which was made famous by Celia Cruz \u0026amp; La Sonora Matencera – as a pretext for sending their cadences into a frenzy. In a more typically salsa vein, the Super Combo, a famous Guadelupean orchestra from Pointe-Noire that was formed around the Desplan family and had Roger Plonquitte and Elie Bianay on board, adapt Serana, a theme by Roberto Angleró Pepín, a Puerto Rican composer, singer and musician also known for his song Soy Boricua. Here again, their vision comes close to surpassing the original.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn the 1970s, L'Ensemble Abricot provided a handful of tracks of different syles, hence reaching the pinnacle of the art of achieving variety and giving pleasure. They played boleros, biguines, compas direct, guaguancó and even a good old boogaloo - the type they wanted to keep close to their hearts for ever, \"pour toujours\", as they sang along together in one of their songs. Léon Bertide's Martinican ensemble excelled at the boogaloo which had been composed by Puerto Rican saxophonist Hector Santos for the legendary El Gran Combo. Three years later, in 1972, Henri Guédon, with the help of Paul Rosine on the vibraphone, tackled the Bilongo made famous by Eddie Palmieri. Such a classic!!!!! And so were the Aiglons, the band from Guadelupe: choosing to execute Pensando en tí, a composition by Dominican Aniceto Batista, on a cooler tempo than the original, they noticeably used a wonderfully (un)tuned keyboard in place of the accordion. On the high-value collectible single – the first one released by Les Aiglons under the Duli Disc label – there is a sticker classifying the track under the generic name \"Afro\". Now that is what we call a symbol.\u003cbr data-mce-fragment=\"1\"\u003eJacques Denis","brand":"BORN BAD RECORDS","offers":[{"title":"CD","offer_id":55096163369285,"sku":"BB0183CD","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/DOLORES-Cover-HD.jpg?v=1751880945"},{"product_id":"666-tours-de-periph-jessica93-lp","title":"666 Tours De Periph","description":"Jessica93, prodigal bastard of our glorious french squat scene, relocated on Born Bad : this is no picnic. Geoffroy Laporte, alone against all odds, alternates bass and guitar to build harsh loops with a drum machine spitting pre-Gulf War patterns. That’s where it gets tricky : every musical posse claims him. Grunge, sure, but Jessica doesn’t indulge in necrophilia. His circuit is punk, he doesn’t dress the part though. Cold wave, the atmosphere fits somehow, but the gear does not. The self-confident rock horde saw him playing with hair in his eyes… but he never joined the Party. Metal had something to say but sadly, nobody listened. Maybe it's time to give it a rest and let Jessica93 cook his great misery broth on her own, called «\u0026nbsp;666 tours de périph’\u0026nbsp;» (666 laps on the beltway).\u003cbr data-mce-fragment=\"1\"\u003eWitnessing Jessica93 live makes you dread that he'll get up the next morning, drive 200 miles and one nap later kick it again, when it takes us a good week to recover from the bad half of that same evening. Like so many other unknown soldiers during our very own world war of music, he patrols small venues relentlessly.\u003cbr data-mce-fragment=\"1\"\u003e\u0026nbsp;\u003cbr data-mce-fragment=\"1\"\u003eAt the heart of this cultural pentacle painted by french weirdos Bryan's Magic Tears, and Carine Krinator, Jessica93 has built a sound validated by years of chosen vagrancy, birthing bands with joyously stupid monikers, in the humid jungle of small labels.\u003cbr data-mce-fragment=\"1\"\u003eJessica93's debut album had a track celebrating Omar Little, HBO’s gay bandit from Baltimore. This story begins on the beltway, where Florence Rey, accidental copkiller turned to political icon of the 90’s. Geoffroy offers his brilliant analysis : \"\u0026nbsp;C’est la police qui nous tire d’ssus \/ C’est mon trou d’balle qui leur chie d’ssus\u0026nbsp;«\u0026nbsp; (Police shoots us down \/ my dripping asshole gets the job done).\u003cbr data-mce-fragment=\"1\"\u003e\u0026nbsp;\u003cbr data-mce-fragment=\"1\"\u003eA previous album was haunted by bedbugs, this one is essentially about love, a delicious scourge just as hard to eradicate. Two black diamonds peek out of the LP : ’’La colline du crack’’, heartbreak song about the ultimate temptation of violent delights, located on crackhead central in Paris. The brilliant chorus, ‘Take my hand and come with me to Crack Hill’ will put an end to the rumours, almost everything was really false. And Bébé Requin, alternative obituary that’ll make you shiver, where our nice couple states ‘’on kiffe la drogue dure et les ptits chiens’ (‘we love hard drugs and little dogs’).\u0026nbsp; And that is the reason we face the wall of sound jostled by unnecessary shoulder thrusts: those nice fat chunks of charcoal poetry, hidden under light sarcasm.\u0026nbsp;\u003cbr data-mce-fragment=\"1\"\u003e\u0026nbsp;\u003cbr data-mce-fragment=\"1\"\u003eThe rest of the record demonstrates the know-how acquired in loop-by-loop construction of ruins that are pleasant to squat in together. There’s your classic doom delicatessen, with bits of heavy metal inside, crafted with the manic care typical of hard wankers. Arthur Satàn, who produced and mixed the album at home in Bordeaux, helped him get his head out of the reverb safe house. And Jessica93 took the opportunity to switch to the dark side of the language : french at last. Worth the wait ! Sing along : «\u0026nbsp;nique sa mère \/ nique sa grosse mère » (translate that yourself).\u003cbr data-mce-fragment=\"1\"\u003e","brand":"BORN BAD RECORDS (FOURNISSEUR)","offers":[{"title":"LP","offer_id":55113257648453,"sku":"BB0192LP","price":23.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/Jessica93-cover-HD.jpg?v=1752055332"},{"product_id":"melchior-volume-1-forever-pavot-12inch","title":"MELCHIOR (Volume 1)","description":"Emile Sornin has a robot in his life. It's not love, but it's not friendship either, and Forever Pavot is releasing an album documenting the affair on Born Bad. After a bunch of bold pop studio albums and a small stack of soundtracks, Emile needed a break. To put an end to it, he embarked with handyman extraordinaire Jonas Euvremer on the manufacture of an automaton destined to make his musician’s life easier. Melchior, who gave his name to the record, has the face of a ventriloquist's dummy, two plastic left hands, preppy clothes and a primitive logic circuit. This goodie two-shoes cousin of Bender’s is supposed to be doing the interviews and deal with socials for Emile. The plan worked admirably : Melchior is a perfect cover-boy, and his very existence has put our man back to work.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThey set a path for phat electronic ventures (and by the way, mostly english-speaking). Sub- continental bass \u0026amp; massive drums, heavy-footed and unabashed : as much appreciated as unexpected. The half-android shares songwriting credits and vocal parts vocoded to perfection. Not a jealous lad, Melchior makes way for a guest of choice on “UFO” and “Waiting for the sign” : Lispector. Julie Margat sings and collaborated on the lyrics for these two bangers that provide a lot of context (robot angst is real). Kumisolo, our favorite Japanese « it » girl in Paris, also sent her “Postcard”, more vapour than song, unreal musical cotton candy of arrangements.\u003cbr data-mce-fragment=\"1\"\u003eDomotic, who mixes and co-produces, gives a nice spin to “Count to 10”, a hip-hop\/kraut crossover with a BEAK\u0026gt; flavour. The Forever Pavot, once a big-band, will be touring as a bass\/ drums\/keys \u0026amp; vocals trio, with Melchior as guest.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eRecord after record, Emile Sornin has become an increasingly literate musical illiterate. When needed, his music can still become a thicket of ancient and modern finds. « Le robot gentilhomme », a skillful pastiche of baroque composer Jean-Baptiste Lully, would stand a few rounds against Wendy Carlos. His love for oldies also shines through “Skyway”, a nod to the late Pierre Arvay, France’s Colonel Sanders of library music nuggets.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eForever Pavot may have gone wild, but remains indebted vis-à-vis the golden age of film music. Forebears deluxe Ennio Morricone \u0026amp; François de Roubaix make Hitchcock-style cameos: discreet appearances that you’ll watch out for (those syncopated cascades of syllables at the end of « UFO », and I guess we can indulge with some clavichord\/ondioline Victoria sponge). His new flirt is all but a toxic relationship. « Melchior, Vol. 1 »: the robo-bromance is not over yet.\u003cbr data-mce-fragment=\"1\"\u003e","brand":"BORN BAD RECORDS","offers":[{"title":"LP","offer_id":55152363635013,"sku":"BB0190LP","price":23.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/Melchio-forever-pavot-Cover-HD.jpg?v=1752672113"},{"product_id":"melchior-volume-1-cd-forever-pavot-cd","title":"MELCHIOR (Volume 1)  - CD","description":"Emile Sornin has a robot in his life. It's not love, but it's not friendship either, and Forever Pavot is releasing an album documenting the affair on Born Bad. After a bunch of bold pop studio albums and a small stack of soundtracks, Emile needed a break. To put an end to it, he embarked with handyman extraordinaire Jonas Euvremer on the manufacture of an automaton destined to make his musician’s life easier. Melchior, who gave his name to the record, has the face of a ventriloquist's dummy, two plastic left hands, preppy clothes and a primitive logic circuit. This goodie two-shoes cousin of Bender’s is supposed to be doing the interviews and deal with socials for Emile. The plan worked admirably : Melchior is a perfect cover-boy, and his very existence has put our man back to work.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThey set a path for phat electronic ventures (and by the way, mostly english-speaking). Sub- continental bass \u0026amp; massive drums, heavy-footed and unabashed : as much appreciated as unexpected. The half-android shares songwriting credits and vocal parts vocoded to perfection. Not a jealous lad, Melchior makes way for a guest of choice on “UFO” and “Waiting for the sign” : Lispector. Julie Margat sings and collaborated on the lyrics for these two bangers that provide a lot of context (robot angst is real). Kumisolo, our favorite Japanese « it » girl in Paris, also sent her “Postcard”, more vapour than song, unreal musical cotton candy of arrangements.\u003cbr data-mce-fragment=\"1\"\u003eDomotic, who mixes and co-produces, gives a nice spin to “Count to 10”, a hip-hop\/kraut crossover with a BEAK\u0026gt; flavour. The Forever Pavot, once a big-band, will be touring as a bass\/ drums\/keys \u0026amp; vocals trio, with Melchior as guest.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eRecord after record, Emile Sornin has become an increasingly literate musical illiterate. When needed, his music can still become a thicket of ancient and modern finds. « Le robot gentilhomme », a skillful pastiche of baroque composer Jean-Baptiste Lully, would stand a few rounds against Wendy Carlos. His love for oldies also shines through “Skyway”, a nod to the late Pierre Arvay, France’s Colonel Sanders of library music nuggets.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eForever Pavot may have gone wild, but remains indebted vis-à-vis the golden age of film music. Forebears deluxe Ennio Morricone \u0026amp; François de Roubaix make Hitchcock-style cameos: discreet appearances that you’ll watch out for (those syncopated cascades of syllables at the end of « UFO », and I guess we can indulge with some clavichord\/ondioline Victoria sponge). His new flirt is all but a toxic relationship. « Melchior, Vol. 1 »: the robo-bromance is not over yet.\u003cbr data-mce-fragment=\"1\"\u003e","brand":"BORN BAD RECORDS","offers":[{"title":"CD","offer_id":55152363700549,"sku":"BB0190CD","price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/Melchio-forever-pavot-Cover-HD_da5d2f8f-fc7c-41d4-a002-9706f7abe3ca.jpg?v=1752672118"},{"product_id":"guerre-froide-guerre-froide-lp","title":"Guerre Froide","description":"\u003cp\u003eNovembre 1981 – Au coeur de l’automne, nous sommes partis à 2 voitures par la Nationale 1 (!) pour rejoindre Choisy-le-Roi où nous attendait ce studio 16 pistes qui allait enfin nous permettre en 2 jours de week-end de creuser nous aussi nos sillons dans le vinyle. Nous étions assez fébriles car cela faisait quand même 1 an et demi que Guerre Froide existait. Nos aînés de Kas Product avaient déjà sorti 2 EP de 4 et 3 titres en 1980 tout en ayant débuté quelques mois avant nous. Certes, il n’y avait pas vraiment d’urgence puisque pour certains d’entre nous qui étaient issus du mouvement punk l’ambiance était toujours au No future, même si nous n’étions plus dupes depuis longtemps … Pourtant d’autres y avaient vraiment laissé leur peau, comme ceux de la génération précédente. Les raisons en étaient ironiquement la plupart du temps les mêmes : héroïne et\/ou amour, des drogues dures … Tiens, justement, j’avais un terrible mal de ventre, dû à l’appréhension ou à une certaine forme de tension, qui nous a contraint à nous arrêter dans l’Oise pour me permettre de foncer aux toilettes d’un troquet. Le même désagrément gastrique se reproduirait ensuite après avoir atteint le studio dont j’ai par ailleurs oublié le nom …\u003c\/p\u003e\n\n\u003cp\u003eNous étions arrivés là par la généreuse volonté d’un ami, Sylvain S. dit « Perlin » (quelle coïncidence phonétique !?), qui avait spécialement créé pour nous produire le label Stechak Products. Stechak parce que c’était cohérent vis-à-vis de sa précédente association baptisée Tchernoziom et Products en hommage pluriel aux défricheurs nancéiens.\u003c\/p\u003e\n\n\u003cp\u003eGuerre Froide avait d’abord compté 4 membres : Fabrice Fruchart à la guitare-synthé (Korg MS 20), Patrick Mallet à la basse et Gilbert Deffais dit « Bébert » à la boîte à rythmes Korg. A ce moment-là, je chantais déjà dans un groupe rock-post punk appelé Stress et c’est ainsi que Guerre Froide a pris la mauvaise habitude de répéter dans la même cave amiénoise que Stress. En un mois ou deux, nous avions une demi-douzaine de compositions. Nous avons alors eu l’opportunité de réaliser dans la foulée une demo 4 titres avec un ami de Radio France Picardie et de participer en octobre à un festival au cirque municipal d’Amiens. Puis il y eut le fameux concert du 11 novembre au B.J.’s Club. Ensuite nous avons produit et édité à 50 exemplaires en total D.I.Y. une cassette intitulée Cicatrice. Quelques concerts plus tard, alors qu’entre-temps Jean-Michel Bailleux nous avait rejoint pour tenir la basse, pendant que Patrick prenait une guitare avec laquelle il se sentait plus en phase et que nous commencions à avoir des projets plus précis, nous avons été obligés de changer de lieu de répétition et de louer une salle. Et vint ce moment où Fabrice nous annonça qu’il nous quittait pour aller étudier à Lille … Après le concert du 19\/06\/1981 logiquement qualifié d’Adieu à 2F, Marie-José, la femme de Bébert, s’est proposée pour être au synthé.\u003c\/p\u003e\n\n\u003cp\u003eC’est alors que Perlin, qui appréciait beaucoup notre musique et était un proche ami du couple Deffais, nous a proposé de se charger intégralement de la production d’un maxi 45 tours 4 titres, en l’occurrence de payer le studio, la gravure, le pressage et la pochette. Quel groupe débutant n’aurait pas accepté ? Un contrat improvisé a été signé avec chacun des membres de Guerre Froide. Il a d ‘abord fallu faire le choix des 4 titres que nous aurions à enregistrer. Berlin 81 s’est imposée car c’était déjà la chanson emblématique du groupe. Nous voulions éviter de revenir sur d’autres titres figurant sur Cicatrice. La priorité était donc ensuite à la nouveauté et il y en avait eu avant et après le départ de Fabrice. Ersatz par exemple lui est due, mais pas Mauve et Peine perdue qui ont également été sélectionnée et qui sont deux compositions de Patrick.\u003c\/p\u003e","brand":"BORN BAD RECORDS","offers":[{"title":"12inch","offer_id":55306607329605,"sku":"BB0072LPSTD","price":22.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/MockupssimpleLP_5_6dd6ba45-7f15-4bae-95ab-fe25288fa362.png?v=1756219632"},{"product_id":"stephan-eicher-spielt-noise-boys","title":"SPIELT NOISE BOYS","description":"Taken from a cassette released in just 25 copies in 1980, these tracks—hastily recorded on a dictaphone and stolen equipment—already hinted at the success Stephan Eicher would find the following year with his brother and the GRAUZONE project (Remember their hit \"Eisbär\").\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn short: feeble synths, intense vocals, and tortured drum machines... discover the dark side of Stephan Eicher!\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMünchenbuchsee, a suburb of Bern, Switzerland. Stephan Eicher is the youngest of three children. His father, a radio and TV repairman, is also a jazz violinist and a sound tinkerer in his spare time. In the family home's converted fallout shelter turned studio, Mr. Eicher experiments with homemade sequencers, tortures handcrafted drum machines, and abuses reel-to-reel tape recorders—all under the fascinated gaze of young Stephan.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe boy quickly develops a musical curiosity, exploring sound through various experiments and wanderings. Alongside his younger brother Martin, Stephan crafts audio plays on a homemade multi-track recorder (essentially several cassette decks hooked together!), which they write, record, add sound effects to, and perform for family and friends. Just a couple of nice kids, really...\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThen comes 1972, and Lou Reed's Transformer album changes everything for the Eicher kids. For 13-year-old Stephan, it's a revelation—especially \"Vicious\", the opening track, which he plays on repeat for months. He convinces his father to buy him an electric guitar. Not stopping there, his father also builds him a tube amp using an old radio.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThen comes adolescence. A rough one. Stephan leaves home at 16 and moves to Zurich. With obvious artistic talent, he persuades his art teacher to help him get into F+F, a radical, alternative art school—despite his young age. Accepted, he starts learning video techniques, determined to become a filmmaker.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAt F+F, Stephan organizes Dada-style happenings and concerts with a group of friends known as the Noise Boys. Among them: one of his teachers on bass, Veit Stauffer on drums (who would later found ReR\/Recommended Records), his girlfriend Sacha on vocals, and Stephan on guitar. In one of their early performances, they release a remote-controlled mouse covered in dull razor blades into the audience to create panic and chaos. Keeping with this aggressive, confrontational spirit, they once played a concert while wearing headphones blasting Tristan and Isolde, trying to perform their own songs simultaneously—to maximize the cacophony. The goal was always the same: clear the room.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTheir “songs,” if you can call them that, followed suit. Take \"Hungeriges Afrika\", for instance—performed entirely with power drills and some drum feedback.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTo make ends meet, Stephan returns to Bern on weekends to work as a waiter at the Spex Club, the city’s main punk venue. On September 16, 1980, during a show by proto-electro group Starter, the police raid the club and arrest everyone. Stephan, who manages to avoid arrest, seizes the opportunity to “borrow” Starter’s gear left behind. He suddenly finds himself in possession of a Roland Promars synth, a Korg MS20, and a gorgeous CR78 drum machine, which he runs through a Big Muff distortion pedal to get that perfect gritty sound.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHe then sets out to reinterpret some Noise Boys tracks, reworking them during impromptu sessions recorded on a dictaphone (yes, a dictaphone—now the lo-fi sound makes more sense, doesn’t it?). He ironically titles the resulting cassette \"Stephan Eicher spielt Noise Boys\" (\"Stephan Eicher plays Noise Boys\"). This gem features seven tracks, which are the ones reissued here.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBack in Zurich, he visits his friends Andrew Moore and Robert Vogel, who have a DIY cassette duplication setup. They make 25 copies of Stephan Eicher spielt Noise Boys for Stephan and his friends. Robert encourages him to visit Urs Steiger of Off Course Records and play him the tape.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWithout much hope, Stephan shows up at Urs’s office. But Urs is instantly hooked and suggests releasing a 7” single. Due to space constraints, they reluctantly drop two of the seven tracks (\"Hungeriges Afrika\" and \"One Second\"). As for the musical score featured on the cover—it was randomly chosen and remains a mystery to this day. Calling all music theory nerds!\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe 7-inch is pressed in 750 copies and released in the first week of December 1980—a date Stephan remembers well, as it’s the same week John Lennon was killed. Smartly, Urs sends a promo copy to François Murner, Switzerland’s answer to John Peel, who hosts a show on alternative station Sounds. Murner falls in love with the record and starts giving it airtime. To Stephan’s surprise, sales follow—and people actually seem interested in his music.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEven this modest underground success scares Stephan a bit. He stops making music for a year and moves to Bologna, where he works as a programmer at Radio Città, a feminist radio station.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMeanwhile, Stephan’s younger brother Martin, who’s also involved in the punk scene, joins the band Glueams as a singer and guitarist. Glueams, named after the fanzine run by two of its members (drummer Marco Repetto and bassist GT), eventually rebrands as Grauzone. Stephan is invited to their shows to project hacked Super 8 visuals live on stage.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eUrs Steiger, now working on a compilation titled Swiss Wave – The Album, asks Grauzone to contribute alongside bands like Liliput, Jack and the Rippers, The Sick, and Ladyshave (Fall 1980).\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFor the album, Martin tasks Stephan with producing their recording sessions. Under Stephan's artistic direction, two tracks emerge: \"Raum\" and \"Eisbär\". During \"Eisbär\", Martin plays a minimalist bass line borrowed from post-punk band The Feelies (just an open string). Drummer Marco Repetto struggles to keep time. Later that evening, unhappy with the takes, Stephan builds a four-bar drum loop from a ¼-inch tape and uses it instead of the flawed original. He then adds bleepy synths and wind sounds to complete the track’s icy vibe before handing it over to Urs.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe Swiss Wave – The Album compilation is released quietly at first, but things snowball thanks to \"Eisbär\", which eventually becomes a smash hit—selling over 600,000 singles.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMeanwhile, Stephan plays in a rockabilly band called SMUV (named after Switzerland’s social security agency) and begins producing artists, including the debut album of Starter (1981), which includes a more pop-oriented version of \"Minijupe\".\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBy early 1982, Stephan starts spending time with the post-punk girl band Liliput (formerly Kleenex). They’re older than him, and he happily drives them around in his Renault Major, acting as their roadie.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBy 1983, Grauzone—signed to the major label EMI, which turned out to be a misstep—is falling apart. Stephan begins to pivot toward a more mainstream pop sound with his debut solo album Les Chansons Bleues.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBut that... is already another story.","brand":"BORN BAD RECORDS","offers":[{"title":"LP","offer_id":55529413607749,"sku":"BB0024LPBW","price":23.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/a1671729914_10.jpg?v=1756742162"},{"product_id":"various-artists-wizzz-french-psychorama-1967-1975-volume-5","title":"WIZZZ - French Psychorama - 1967\/1975 - Volume 5","description":"The journey through French-speaking pop archives continues with this fifth volume, packed with fuzz, gimmicks, and dissent. Far from the charts, the selected tracks display a great creative freedom, often backed by corrosive humor. Welcome to the surprising, kaleidoscopic, and colorful world of the late sixties and early seventies, Wizzz!\u003cbr data-mce-fragment=\"1\"\u003eBorn in Montauban, Robert Pico stumbled into music by chance when he met René Vaneste, then artistic director at Pathé-Marconi. René brought him to Paris to record his first 45 RPM EP in 1964. A year later, Pierre Perret introduced him to Vogue, where he recorded his second album with Claude Nougaro’s orchestra. Sylvie Vartan then introduced him to RCA, where he recorded four singles, including the astonishing \"Chien Fidèle,\" a track backed by a hair-rising fuzz guitar. Alongside his solo career, he also composed for other artists like Alain Delon (the song was recorded but remains unreleased), Magali Noël, Bourvil, and Georges Guétary. In the Paris of the sixties, he mingled with Mireille Darc, Elsa Martinelli, Marie Laforêt, France Gall, Françoise Hardy, Petula Clark, Régine, Dani, Serge Gainsbourg, Joe Dassin, Franck Fernandel, Charles Level, and Roland Vincent. Despite his efforts and winning a Grand Prix Sacem for his final record, Robert Pico didn’t achieve the expected success in show business and decided to leave Paris and return to the Southwest, where he devoted himself to writing. He is the author of 23 books (including Delon et Compagnie, Jean-Marc Savary Editions 2025, a memoir about his youth and his many encounters). Today, he is relieved to never have become a celebrity and devotes himself to his work with passion.\u003cbr data-mce-fragment=\"1\"\u003eIn 1969, the Franco-Italian movie Erotissimo was released, directed by Gérard Pirès (who later directed Taxi in 1998, written and produced by Luc Besson). This pop comedy features Annie Girardot, Jean Yanne, Francis Blanche, Serge Gainsbourg, Nicole Croisille, Jacques Martin, and Patrick Topaloff. The soundtrack was written by Michel Polnareff and William Sheller, with lyrics by Jean-Lou Dabadie. \"La Femme Faux-cils,\" performed by Annie Girardot. It recounts the feelings of a rich CEO's wife who seeks to develop her sex appeal under the influence of advertisement and magazines. Groovy, sparkling and light, this track, with ITS lush arrangements humorously critiques consumer society and feminine beauty standards.\u003cbr data-mce-fragment=\"1\"\u003e“Je suis l’Etat” (1967) is the flagship track of the first EP by singer-songwriter Spauv Georges, aka Georges Larriaga, better known as Jim Larriaga (1941-2022). Born into a family of bakers, the young man was initially planning to become a hairdresser when he discovered English-speaking music through Elvis Presley and the Beatles. After this revelation, he decided he would become a songwriter and gave himself five years to succeed. He recorded his first two EP’s independently for RCA under the pseudonym Spauv Georges; meaning “that poor George”, a nickname given to him by the mother of her friend Jean-Pierre Prévotat (future drummer of the Players, Triangle, or Johnny Hallyday). Portraying a depressed and eccentric young man, Spauv Georges created corrosive and amusing songs that didn’t reach a wide audience, despite a TV appearance with Jean-Christophe Averty.\u003cbr data-mce-fragment=\"1\"\u003eSupported by his loyal friend and fellow songwriter Jean-Max Rivière, Georges Larriaga met the future singer Carlos in the early '70s, then Sylvie Vartan’s assistant. He wrote songs for Carlos, including the popular \"La vie est belle,\" \"Y’a des indiens partout,\" and \"La cantine\", which went onto become a huge hit in 1972. He also composed for Claude François (“Anne-Marie”, 1971), Charlotte Julian (“Fleur de province”, 1972), helped launch child singer Roméo (who sold 4 million records), and later wrote the hit \"Pas besoin d’éducation sexuelle\" (1975) for the young Julie Bataille. In 1971, Jim recorded an album for Disc'Az: “L’univers étrange et fou de Jim Larriaga”, which featured pop gems like “La maison de mon père”. \u003cbr data-mce-fragment=\"1\"\u003eThe story of the song \"Zoé\" began when Pierre Dorsay, artistic director at Vogue Records, asked Swiss singer and musician Pierre Alain to write a song for a new female singer. The inspiration came when he realized that Zoé (the artist's name) was also the name of France's first atomic battery, created in 1948, which consisted of uranium oxide immersed in heavy water! The lyrics reflect a bubbling energy that must be handled with caution, while the instrumentation echoes this atomic theme, notably with the use of a theremin.\u003cbr data-mce-fragment=\"1\"\u003eZoé’s career lasted only as long as a single 45 RPM, but it seems Christine Fontane was the vocalist behind this pseudonym, who is known for several EPs, a good \"popcorn\" album in 1964, and a handful of children’s singles in the '70s. Regardless, the photograph on the cover is of a different girl entirely.\u003cbr data-mce-fragment=\"1\"\u003eLater, Pierre Alain continued his career, writing songs for himself, Marie Laforêt, Danièle Licari, Alice Dona, Arlette Zola (3rd place in Eurovision 1982), and achieving multiple gold and platinum records in Canada. Also an inventor with several patents, president of the Romande Academy, and head of the French Alliance in Geneva, he now composes atonal music, books, and poetry. Moreover, he is also the host of \"Les Mardis de Pierre Alain\" at \"Le P'tit Music'Hohl\" in Geneva.\u003cbr data-mce-fragment=\"1\"\u003eFilled with oriental choruses and fuzz guitar, \"Fou\" is from Jacques Da Sylva's only EP released by Vogue in 1967. Despite the quality of this recording, all traces of this singer disappear after this first effort.\u003cbr data-mce-fragment=\"1\"\u003eValentin is a baroque pop singer born in Belgium. He is the songwriter and composer of most of the tracks on his three singles released in the late 60s in Canada. A legend says that he reincarnated himself as Jacky Valentin during the 1970s for a rock'n'roll revival career in Belgium, but his older brother sadly debunked this story. Valentin's first two singles were arranged by Claude Rogen, a Parisian session pianist who had come to Canada to promote the song “Mister A Gogo”, a cover of David Bowie’s “Laughing Gnome”, adapted by singer Delphine, his wife at the time. Far from his usual network, Claude Rogen arranged music for Polydor, including the arrangements for “Je suis un vagabond” in 1969, a jerk tune with string arrangements and a furious optimism.\u003cbr data-mce-fragment=\"1\"\u003eJacques Malia wrote, composed, and recorded his only 45 EP for Festival in 1966. “Histoire de gitan” is an incredible beat track with bohemian scat that tells the story of a gypsy musician who came to Paris to make it in the Music-Hall, to no avail. The hero of the song and its author probably shared a similar fate, as Jacques Malia faded into anonymity after this remarkable attempt.\u003cbr data-mce-fragment=\"1\"\u003eBernard Jamet recorded two EPs for Barclay in the late sixties and co-wrote several songs with Christine Pilzer, Pascal Danel, and prolific songwriters Michel Delancray and Mya Simile. The track “Raison Légale” (1968), his masterpiece, immerses the listener in a courtroom right when a murderer is being judged, with jerk rhythm and free arrangements. A unique, paranoid, judicial, and psychedelic oddity.\u003cbr data-mce-fragment=\"1\"\u003eJean-Pierre Lebrot-Millers started his career in show business in 1967 as a singer and songwriter for the Philips label. After three singles, he wrote several songs of a new kind with his friend Pierre Halioche, in the midst of the sexual liberation movement and the democratization of drugs. With provocative lyrics, “Les filles du hasard” and “Barbara au Chapeau Rose” were released on a Philips singles in 1968. The character of Barbara was inspired by a queen of Parisian nightlife during the psychedelic years: model Charlotte Martin, who dated Eric Clapton from 1965 to 1968, then Jimmy Page from 1970 to 1983. Jean-Claude Petit’s arrangements, with a table-filled intro, soul brass, and Hendrixian guitar, emphasize the flamboyance of a hedonistic and sexy character, whose dog is named Junkie because “Junkie est un nom exquis”! The track was recorded live in three takes with a full orchestra.\u003cbr data-mce-fragment=\"1\"\u003eUpon its release, the record was censored by Europe 1 and RTL due to its references to drug use. Jean-Pierre Lebrot was then banned from the airwaves and later dismissed by his record label. He changed his artist name to Jean-Pierre Millers, while his companion Pierre Halioche became D. Dolby for a new dreamy composition, “Chilla”, which Jean-Pierre produced himself with arrangements by Jean Musy. Once again, the song was immediately censored everywhere. After this setback, he decided to stop singing and started taking on odd jobs to support his Swedish wife and their son until the day he met Jean-Pierre Martin, then production manager at Decca, who had worked with Manu Dibango. Martin offered Jean-Pierre Lebrot-Millers, then employed at Rank Xerox, the position of artistic director at Decca. He accepted and became, a year later, promotion director (radio, press, TV). He worked on Julio Iglesias’s first album for Decca, which became a massive hit and allowed him to meet Claude Carrère. The latter asked him to write new songs and find their performers, much like a “talent scout.” It’s through him that Jean-Pierre discovered Julie Pietri and Corinne Hermès. He composed “Ma Pompadour” for Ringo, Sheila’s husband, and took the microphone again for the syncope hit “Rendez-Vous” in 1982.\u003cbr data-mce-fragment=\"1\"\u003eThat same year, Jean-Pierre Lebrot-Millers tried to release a track for which he had heavily gone into debt: “Si la vie est un cadeau”. Having recorded it in London, he presented it to numerous professionals, all of whom refused to get involved. The same thing happened with Antenne 2 and the Sacem when he proposed the song as France’s entry for Eurovision. He then met Haïm Saban, who was producing cartoon soundtracks and had just launched the Goldorak theme song. Saban, having listened to the song, declared it had the potential to become a hit. He sent Jean-Pierre and Corinne Hermès to meet the CEO of the Luxembourg radio and television network. The latter received them, asked to hear a verse and chorus a cappella in his office, and immediately hired them to represent Luxembourg at Eurovision 1983. They reworked the arrangements and recorded a new version with Haïm Saban as co-producer. The song ended up winning Eurovision 1983, a great comeback for our hero. He continued producing and hung out with the band Nacash in Belgium when a couple came to introduce their daughter for an impromptu audition in a hotel room. The girl sang “Les démons de minuit” while dancing to a radio cassette. Impressed, he had her take singing lessons for a year and composed a song for her (for which he had the melody and title, but no lyrics). This required him to go on the hunt for a lyricist, who ended up being Guy Carlier. They recorded the song, which was initially a ballad, at Bernard Estardy’s CBE studio, and gave the singer a new name: Melody. They showed the song around their industry network without success. Later, Estardy called Jean-Pierre to suggest changing the rhythm and making it pop-rock. Orlando, Dalida’s brother, liked the result and decided to co-produce the track. “Y’a pas que les grands qui rêvent » became a classic hit. The song has since been covered by Juliette Armanet (as a ballad, like the original) and Valentina.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBorn into an aristocratic Breton family, Hervé Mettais-Cartier worked as a DJ at Queen Kiss, a nightclub in Poitiers, where he formed the band Les Concentrés with Michel (an actor) and Christian (a radio technician). Together, they created a repertoire of whimsical songs (“Ma bique est morte”, “J’suis un salaud”, “Fils de dégénéré”...) that they performed on stage dressed in white (in homage to “concentrated milk”). They performed at Bliboquet and Olympia in 1968 for the 10th edition of the “Relais de la chanson Française” organized by L’Humanité-Dimanche and Nous les Garçons et les Filles, sponsored by Pepsi Cola. Winners in the author-composer category, alongside Danish singer Dorte, their visibility allowed them to record a 45, and appear on television in Jean-Christophe Averty’s show. The A-side of the disc features Bruno le ravageur, a casatchok dedicated to Bruno Caquatrix, the director of Olympia, nicknamed in the song “Coq Atroce” or “croque-actrices”. The B-side is dedicated to “Fils de dégénéré”, a quirky tribute to Hervé's aristocratic roots, mixing absurdity with sophisticated vocal harmonies.\u003cbr data-mce-fragment=\"1\"\u003eAfter Les Concentrés, Hervé Mettais-Cartier formed the duo La Paire et sa Bêtise with his friend Olivier Robert. They performed in Parisian cabarets and toured with Pierre Vassiliu. In the late 1970s, Hervé began a solo career. He recorded two albums for the Motors label in 1978 and 1979, which did not achieve their anticipated success due to lack of promotion. In 1980, he met Bernadette, with whom he started a family and created a “Chansons à voir” (songs to see) show that he performed until his death at the end of 2024.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePublicité comes from the final EP by the Missiles (Ducretet Thomson, 1966), a disc that also includes “La (nouvelle) guerre de cent ans”, featured on Volume 4 of our Wizzz! series. Please refer to the booklet for the story of the band.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“He’s 1.82 meters tall, 28 years old, weighs 135 kg, is black and Belgian”: this is the description of singer Hegesippe on the back of his sole single (Decca, 1967). He appears on the album cover wearing a Greek toga, like a hippie gag – we are at the end of the year 1967. In “Le crédo d’Hegesippe”, this former bodyguard of Antoine and the Charlots plays the delightful card of the thick brute converted to Flower-Power and non-violence, with arrangements by Jean-Daniel Mercier, aka Paul Mille.\u003cbr data-mce-fragment=\"1\"\u003e“Ethéro-disco” was released on a promotional record for clients of the Maréchal company (Liège, Belgium) for the New Year 1979. Over a funky rhythm, celebrity impersonations (Brigitte Bardot, Jacques Dutronc, Fernandel…) deliver an enigmatic text about pharmaceutical products like ether, bismuth, and aspartate. The track was composed by Dan Sarravah (responsible for Joanna's “Hold-up inusité” featured on Wizzz! Volume 3) and Tony Talado, who was also a singer (one 45 in 1967), songwriter (with over a dozen credits between 1964 and 1985 in various styles from surf music to disco), author (Devenez Végétarien, Dricot Editions, 1985), ad designer, and psychologist.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDécollez-les is on the A-side of Mamlouk's only single, a pseudonym for Marsel Hurten, who is known for his work on several EPs in the late sixties, as well as composing music for Hervé Vilard’s “Capri, c’est fini”, Claude Channes' “La Haine”, Annie Philippe’s “On m’a toujours dit”, and Nancy Holloway’s “Panne de Cœur”. \u003cbr data-mce-fragment=\"1\"\u003eThis strange song, with Afrobeat horns and absurd dialogues between a chef and his kitchen staff, is the result of a collaboration between Marsel Hurten and one of his neighbors, a photographer from Pavillon-sous-Bois (93), where the musician settled after returning from the Algerian War. A music video was shot to promote the record.\u003cbr data-mce-fragment=\"1\"\u003eMarsel Hurten was born in Tourcoing (59) into a musical family. At a young age, he joined the brass band founded by his grandfather, playing the piston before studying trumpet at the conservatory, as well as teaching himself how to play the guitar. As an orchestra musician, he toured in France, Belgium, Germany, and England. He released a series of solo 45’s between 1965 and 1968 for the DMF and Az labels before stopping recording to focus on working for other artists (Gilles Olivier, Noëlle Cordier…).\u003cbr data-mce-fragment=\"1\"\u003e“L’amour nu” (Vogue, 1971) is the work of the short-lived Belgian band Mozaïque. The track, written by singer Jacques Albin, closely resembles another of his compositions, “Carré Blanc”, which he recorded in 1969 for Disc’AZ.\u003cbr data-mce-fragment=\"1\"\u003eRepresented by the Lumi Son micro-label based in Marignane (Côte d'Azur), Jean-Marc Garrigues released two 45 RPMs in the late sixties, defending the French jerk sound. The song “Je dis Non” is a short, joyful ode to youth, pop music, and rebellion.\u003cbr data-mce-fragment=\"1\"\u003eSongwriter and performer Jacques Penuel released three singles. The first one, “Astronef 328” (Fontana, 1969), features a dizzying series of chords punctuated by sound effects, a sci-fi story, and arrangements by Jean-Claude Vannier.\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eWe would like to sincerely thank Pierre Alain, Moon Blaha, Marsel Hurten, Bastien Larriaga, Jean-Pierre Lebrot-Millers, Bernadette Mettais-Cartier, Robert Pico, Olivier Robert, Claude Rogen, Micky Segura.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e","brand":"BORN BAD RECORDS","offers":[{"title":"LP","offer_id":55610925908293,"sku":"BB0187LP","price":23.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/WIZZZ-vol5-cover-HD_17522a19-8b37-401a-b90f-2fe13737072f.jpg?v=1767616814"},{"product_id":"wizzz-french-psychorama-1966-1971-vol-2-lp","title":"WIZZZ - French Psychorama - 1966\/1970 - Volume 2","description":"\u003cp\u003eThe Wizzz compilations have established themselves as the benchmark compilations of the genre... Copied by everyone else to lesser effect, most of the tracks are now considered classics of French pop. Wild jerks, weird stuff that came out of nowhere, nonsensical lyrics, and always that pronounced taste for derision and concern for promoting the creativity of French artists who sought to break with the yéyé diktat of the time.\u003cbr\u003eSo, if for you the France of the sixties boils down to the harmless Adamo and Sheila, these collections of rare and unreleased tracks unearthed from the depths of sixties pop made in France may well make you aware of the richness and temerity of some of Gainsbourg's poor relations and other freaks who went completely unnoticed in the days of salut les copains. The Wizzzz compilations unearth and rehabilitate these underground geniuses and tinkerers, pillars of the second division, who competed in inventiveness and audacity to silence forever the naysayers who claimed that France was lagging behind in terms of pop music.\u003c\/p\u003e","brand":"BIGWAX DISTRIBUTION","offers":[{"title":"LP","offer_id":56031808422213,"sku":"BB0013LP","price":16.8,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/3521381527285.jpg?v=1761126370"},{"product_id":"relax-lp","title":"Relax","description":"\u003cp\u003eThis debut album, RELAX, now considered a classic, firmly established the band on the French music scene. From the electro bitchiness of We Have Some, which opens the album, to the terrifying Faster, which closes it, Les Frustrés played with musical boundaries to produce a dense and varied album that is now considered a landmark in French post-punk. Just think WARSAW meets WIRE meets DEVO to get a pretty good idea of their world and references. They added a restrained violence and a madness that was lacking in the usurpers of the time who claimed to be inspired by these bands, a real singer who sang, feverish drums, degenerate synths that gave you a headache, and a guitar as incisive as a knife blade. Frustration was already establishing itself as the antithesis of these cold, harmless, and pretentious rock bands.\u003c\/p\u003e","brand":"BIGWAX DISTRIBUTION","offers":[{"title":"LP","offer_id":56031808487749,"sku":"BB0008LP","price":21.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/3521381525731.jpg?v=1761126369"},{"product_id":"bippp-french-synth-wave-1979-85-lp","title":"Bippp French Synth Wave 1979\/85","description":"\u003cp\u003eIt's the early 1980s, and No Future is now struggling to mobilise these disillusioned young people, eager for experimentation and modernity. In short, punk is becoming bogged down and tiresome. In 1979, the release of the hit single ‘Rectangle’ by JACNO, a punk defector, paves the way and finally convinces the most indecisive. The raging riffs of Rickenbacker and Fender guitars gradually gave way to the cold, robotic beeps of Casio, Korg MS 10 and ARP Omni analogue keyboards. Növö poses, retro-futurism, elegance and arrogance of a youth that found in the synthesiser an assumed coldness, and in the electric guitar, the Cubass of their generation. Sometimes clumsy, but always sincere, the tinkering and sonic wanderings of these bands were as many proposals and attempts at responses to the musical stagnation of the early 1980s. BIPPP thus offers an immersion and an educational testimony to this period, which foreshadowed the emergence of home studios and the explosion of electronic music to come. Bon voyage to the land of the TGV, the BX, the Minitel... and cheap synths! Returning from a primitive punk era whose nihilistic and jubilant energy had run out of steam, a certain youth in search of aesthetics and modernism no longer found themselves in the noisy and messy manifestations of this regressive movement.\u003c\/p\u003e","brand":"BIGWAX DISTRIBUTION","offers":[{"title":"LP","offer_id":56031808454981,"sku":"BB0002LP","price":19.2,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/3521381528718.jpg?v=1761126369"},{"product_id":"bippp-french-synth-wave-1979-85-cd-cd","title":"Bippp French Synth Wave 1979\/85 - CD","description":"\u003cp\u003eIt's the early 1980s, and No Future is now struggling to mobilise these disillusioned young people, eager for experimentation and modernity. In short, punk is becoming bogged down and tiresome. In 1979, the release of the hit single ‘Rectangle’ by JACNO, a punk defector, paves the way and finally convinces the most indecisive. The raging riffs of Rickenbacker and Fender guitars gradually gave way to the cold, robotic beeps of Casio, Korg MS 10 and ARP Omni analogue keyboards. Növö poses, retro-futurism, elegance and arrogance of a youth that found in the synthesiser an assumed coldness, and in the electric guitar, the Cubass of their generation. Sometimes clumsy, but always sincere, the tinkering and sonic wanderings of these bands were as many proposals and attempts at responses to the musical stagnation of the early 1980s. BIPPP thus offers an immersion and an educational testimony to this period, which foreshadowed the emergence of home studios and the explosion of electronic music to come. Bon voyage to the land of the TGV, the BX, the Minitel... and cheap synths! Returning from a primitive punk era whose nihilistic and jubilant energy had run out of steam, a certain youth in search of aesthetics and modernism no longer found themselves in the noisy and messy manifestations of this regressive movement.\u003c\/p\u003e","brand":"BIGWAX DISTRIBUTION","offers":[{"title":"CD","offer_id":56031808520517,"sku":"BB0002CD","price":12.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/3521383428702.jpg?v=1761126369"},{"product_id":"disque-la-raye-lp","title":"Disque La Rayé","description":"\u003cp\u003eSuddenly, as soon as the first piano notes are heard, a hysterical frenzy transcends the venue: musicians waddle onto the stage, dancers rush on the dancefloor, their patent shoes gliding on the lacquered wood flooring, and everyone sings along to the rhythm of “Haaa… bi-bi!”. Each performance brings the same madness, and night clubs all over New York are shaking.\u003c\/p\u003e\n\u003cp\u003eJoe Cuba’s sextet skyrockets to fame with their new song, cunningly named « Bang Bang ». Many similar deflagrations would soon shake ballrooms across the Big Apple. Over the year 1966, a new pulse spreads like wildfire on the sidewalks of Spanish Harlem and local radio waves.\u003c\/p\u003e\n\u003cp\u003e“This is boogaloo”, you could hear. Like no music genre ever before, it brought together African Americans and Latinos. The two communities had been attending the same parties for a while, but they wouldn’t boogie to the same tracks: as Black people waited for the rhythm n blues and soul tunes, Latinos saved their energy for the cha-cha-cha and pachanga.\u003c\/p\u003e\n\u003cp\u003eAs the ultimate musical syncretism of popular genres in the Barrio, boogaloo is often described at « the first Nuyorican music ». Purists claim that you can hear the premises of the genre in the cover of “Watermelon Man” by Mongo Santamaria, or in Ray Barretto’s “El Watusi” in 1963. But it is in 1966 that it established itself as the most vibrant incarnation of its time, both musically and politically.\u003c\/p\u003e\n\u003cp\u003eA revolutionary hurricane was then blowing on Amerika: in the trail of the Black Panthers and the Young Lords Organization, minorities were gathering in the streets to reclaim their rights from the establishment. The apparent naivety of the lyrics of the hit “I Like It Like That”, recorded by Pete Rodriguez’s orchestra for Alegre Records in 1996, is misleading: it must be interpreted as the most direct and dazzling affirmation of an identity.\u003c\/p\u003e\n\u003cp\u003eBlacks and Hispanics were now embracing their skin colors and origins, while asserting their American identity. Boogaloo made it way on the soundtrack of a social revolution overtaking the country, and lend it its tempo until the end of the decade, before it got overshadowed by salsa. « Boogaloo is youths trying to make it, it’s immigrant influence, it’s musical development.”, says Johnny Colon in the must-see documentary We Like It Like That.\u003c\/p\u003e\n\u003cp\u003eBoogaloo’s energy seduced young people from different backgrounds, well beyond the borders of the U.S.A., and especially in the Caribbean cradle land: in Cuba, Puerto Rico, Dominica, and all the way to the French West Indies. From Fort-de-France to Pointe-à-Pitre, old biguines and mazurkas from West Indian orchestras strong of a bloodline of virtuosos, from father to son in the likes of Siobud, Stellio, Fanfant or Coppet, became outdated by those modern beats.\u003c\/p\u003e\n\u003cp\u003eWhen boogaloo overtook the West Indies, at the same time as other music genres with amplified keyboards and electrified guitars, this new wave knocked out hierarchy and habits. The necessity to learn how to read music to call yourself a musician became obsolete, as you only needed a good pair of ears and to be tuned on the new sounds from the international radios.\u003c\/p\u003e\n\u003cp\u003e“I was a student in Paris in the early 60s”, recalls Fred Aucagos, Guadeloupe’s first rock musician. But I didn’t go much in class, I was hanging out with Golf Drouot, with Eddy Mitchell, Johnny Halliday, Dick Rivers… When I went back home in January 1966, I brought back on the island the first reverb amplifier and the first electric guitar. I was yé-yé, I wanted to play this music home.”\u003c\/p\u003e\n\u003cp\u003eAucagos started by revisiting the standards of French and Yankee rock, but the musicians in his band, the Vikings of Guadeloupe, persuaded him to sing in Creole, to add some ka drums, hire some Latin brass… On Fred Aucagos’ “Ti Man’zelle”, we can hear a subtle mix of imports from the mainland, the U.S.A and the neighboring islands. With only one desire in the end: fire up the West Indies balls.\u003c\/p\u003e\n\u003cp\u003eOn the dancefloors of the most prestigious nightclubs, such as La Bananeraie in Martinique or La Cocoteraie in Guadeloupe, musicians dabbled with boogaloo coming up with rather unorthodox interpretations, and this is precisely what gives this compilation its singularity and panache. It incorporates influences from the African continent thanks to the Rico Jazz (an adaptation of “Si Tu Bois Beaucoup” of the Congolese rumba orchestra O.K Jazz).\u003c\/p\u003e\n\u003cp\u003eIt rubs elbows with the “Jerk Vidé” of a David Martial before he turned in a doudouiste cliché. With the cheeky humor of the Guyanese Dany Play (“Mais Tu Sais”), the perkiness of Joby Valente (“Disk La Rayé” with Camille Soprann’ on sax), we (re)discover forgotten classics published half a century ago on the two historical labels in Guadeloupe: Aux Ondes of producer Raymond Célini, and Disque Debs whose boss Henri Debs can be heard behind the mic on “Ou Pas Z’ami En Moins”.\u003c\/p\u003e\n\u003cp\u003eIn another style, “Ou Que Di Moin” from Monsieur X is a Creole funk pamphlet, neither Latin, nor festive, and not strictly boogaloo for that matter. The Nuyorican rhythm is a tiny fraction of what the West Indies orchestras were playing, and they would often incorporate biguine and Haitian kopi elements. This compilation allows some deviations, for the fun of it, presenting tracks where boogaloo is more of an influence.\u003c\/p\u003e\n\u003cp\u003eAssisted by Jean-Baptiste Guillot of the Born Bad label, Julien Achard spent more than three years digging some records to compile the best of the Creole boogaloo. The charm of the restored sound of these old 7” vinyl records is only matched by the ardor of the interpretations. “Sauvagement sexy”, wildly sexy, as Gabby Siarras sings.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDavid Commeillas\u003c\/span\u003e\u003c\/p\u003e","brand":"BIGWAX DISTRIBUTION","offers":[{"title":"LP","offer_id":56031808913733,"sku":"BB0096LP","price":19.2,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/3521381543124.jpg?v=1761126374"},{"product_id":"ile-de-garde-rage-blossom","title":"RAGE BLOSSOM","description":"\u003cp\u003eBorn Bad Records knew exactly what it was doing when it signed this Nantes-based trio, whose sharply defined sound and raw authenticity stand out. With Rage Blossom, Île de Garde unveils an EP charged with palpable tension, somewhere between dark pop and psycho-wave. A catalogue of modern misdeeds, a David Lynch-like backdrop where Sylvia Plath’s poetry might cross paths with the controlled excesses of Fever Ray.\u003c\/p\u003e\n\u003cp\u003eThe EP opens with “Fear The Sun,” its Mike Oldfield-esque soundscapes plunging us into an apocalyptic and unsettling world. “Homicide Volontaire” follows with meticulous narration, a technical exercise evoking the anger and defiant lucidity of a Virginie Despentes. The hallucinatory hit “To Death” snaps like an anthem to collective dancing in the face of the inevitable. Since we’re going to die, let’s dance! On the B-side, “Ageless Woman” weaves together a half-mythological, half-mysterious text, carried by haunting backing vocals. “Birthday Girl,” featuring Kuntessa, radiates an ironic and joyful riot-grrrl energy, an uninhibited celebration of women’s liberation. Finally, “Boy,” a small post-punk jewel, closes the EP with an ending as surprising as it is delicate.\u003c\/p\u003e\n\u003cp\u003eThe group’s genius also lies in the complementarity of its musicians. Morgane Poulain anchors the drums with a dynamic that is both subtle and narrative, airy yet jagged. Cécile Aurégan, the architect behind a multitude of synths, builds powerful sonic landscapes, layer upon layer. Klara Coudrais, the band’s poetic figurehead, elevates her texts with a rich and plural vocal palette, giving life to several characters who vibrate with intensity. The band’s writing, hovering between darkness and light, echoes a kind of visceral poetry, exploring the seasons of the soul with authenticity and force.\u003c\/p\u003e\n\u003cp\u003eWith this EP, Île de Garde establishes itself as a band to watch closely, capable of translating on stage both the raw energy and the fine craftsmanship that define their music. An immersive journey, full of tension, urgency, beauty, and electric flashes.\u003c\/p\u003e\n\u003cp\u003eÎle de Garde, a Nantes-based trio with sharply drawn sonic contours and raw authenticity, unleashes its full arsenal on Rage Blossom, an EP radiating palpable tension between dark pop and psycho-wave. A catalogue of modern misdeeds, a David Lynch-like setting where Sylvia Plath’s poetry would meet the controlled excesses of Fever Ray. An immersive journey of tension, urgency, beauty, and electric sparks.\u003c\/p\u003e\n\u003cp\u003eOpening track “Fear The Sun” plunges us into an apocalyptic and unsettling landscape. “Homicide Volontaire” continues with meticulous storytelling, a crime vignette evoking anger and the fierce lucidity summoned by a situation with no way out. The hallucinatory trance of “To Death” snaps like an anthem to collective dance in the face of the inevitable. Since we are going to die, let’s dance! “Ageless Woman” blends a half-mythological, half-mysterious text, carried by hypnotic backing vocals. “Birthday Girl,” featuring Kuntessa, releases an ironic and joyful riot-grrrl spirit, an uninhibited celebration of feminine liberation. Finally, “Boy,” a small post-punk case study, closes the EP with a simple, sensitive truth.\u003c\/p\u003e\n\u003cp\u003eThe three musicians propel and relay one another in this breathless race. Morgane Poulain drives the drums with a dynamic that is both subtle and narrative, airy yet staccato. Cécile Aurégan, architect of multiple synths, builds powerful sonic landscapes, layer after layer. Klara Coudrais, the storyteller, elevates her texts with a rich and multifaceted vocal palette, giving life to all their characters, both mythical and ordinary. The band’s writing, between darkness and light, proclaims a visceral poetry, exploring the seasons of the soul with authenticity and strength.\u003c\/p\u003e","brand":"BORN BAD RECORDS","offers":[{"title":"LP","offer_id":56536025825605,"sku":"BB0193LP","price":17.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/Ile-de-garde-couv-HD.jpg?v=1764755675"},{"product_id":"wizzz-vol-1-lp","title":"WIZZZ - French Psychorama - 1966\/1970 - Volume 1","description":"","brand":"BIGWAX DISTRIBUTION","offers":[{"title":"LP","offer_id":56577902412101,"sku":"BB0037LP","price":24.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/3521381527278.jpg?v=1765210497"},{"product_id":"wizzz-vol-3-lp","title":"WIZZZ - French Psychorama - 1967\/1970 - Volume 3","description":"","brand":"BIGWAX DISTRIBUTION","offers":[{"title":"LP","offer_id":56577906901317,"sku":"BB0069LP","price":16.8,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/3521381531510.jpg?v=1765210514"},{"product_id":"bingo-french-punk-exploitation-1978-1981-lp","title":"Bingo French Punk Exploitation 1978\/1981","description":"","brand":"BIGWAX DISTRIBUTION","offers":[{"title":"LP","offer_id":56577910735173,"sku":"BB0095LP","price":24.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/3521381537949.jpg?v=1765210532"},{"product_id":"wizzz-french-psychorama-1966-1974-vol-4-lp","title":"WIZZZ - French Psychorama - 1966\/1974 - Volume 4","description":"","brand":"BIGWAX DISTRIBUTION","offers":[{"title":"LP","offer_id":56577913913669,"sku":"BB0139LP","price":19.2,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/3521381564389.jpg?v=1765210546"},{"product_id":"abdou-el-omari-lost-tape-1980","title":"LOST TAPE - 1980","description":"\u003cp\u003eBirth of a Star\u003cbr\u003eAbdou El Omari was born in 1945 in Tafraout, south of Agadir — a village suspended between the pink granite peaks of the Anti-Atlas and the waves of the Atlantic. A landscape already musical in itself. He grew up in the dry mountain light, surrounded by the rhythms of nature and Berber’s culture.\u003cbr\u003eVery little is known about the man — a veil of mystery still surrounds his life, only deepening the fascination. His name remains discreet, but his music continues to travel. It seems to drift from another time, another world, or perhaps from a dream shared between the blue nights of Casablanca and the silent dunes of the Sahara.\u003cbr\u003eIn the 1970s, as Morocco was transforming, Abdou El Omari shaped a sound of his own — a visionary blend of spiritual jazz, psychedelic funk, Moroccan traditions, and early electronic experimentation. Today, his work is resurfacing, rediscovered by a new generation of listeners in search of lost horizons. This record stands among its rarest and most precious fragments.\u003c\/p\u003e\n\u003cp\u003eAn Initiatory Journey\u003cbr\u003eAt ten, El Omari left the mountains of the south for the vast port of Casablanca — a city in motion, crossroads of Arab-Berber, African, European, and American cultures. Music was everywhere: on the radio, in cafés, in jazz clubs run by Moroccan Jews and expatriates, and in the crates filled by passing American soldiers.\u003cbr\u003eHis path was anything but ordinary. While his brother ran a record store, Abdou chose another way — first as a butcher, then a servant for a French family. They helped him train as a hairdresser and later supported his admission to the Casablanca Conservatory in 1960.\u003cbr\u003eFor seven years, he studied there, became a luthier, met musicians, and discovered the instrument that would define his sound: the Farfisa organ — symbol of the psychedelic and modern era’s music, from Pink Floyd to Terry Riley.\u003cbr\u003eAt the same time, after becoming a hairdresser, he opened his own women’s hairdressing school in Casablanca in the 1970s, before founding a second one in Safi. His school was the only one in the country officially recognized by the state, a proof of his professionalism and dedication to passing on his craft. However, despite his undeniable talent he was never a full-time musician.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eA Music from Elsewhere\u003cbr\u003eAt twenty-two, he founded his first group, Les Fugitifs, which gained him local fame. Soon after, he released 7 inches records and cassettes on labels such as Cléopâtre, Hassania, Boussiphone, Hilali, and his own, Al Awtar, while performing on RTM (national radio and television). He also composed for artists like Naima Samih, Laila Ghofran, and Aicha El Waad.\u003cbr\u003eIn 1976, through the label Gam, he released his only vinyl album, Nuits d’été — a record that would become cult decades later, reissued in 2017 by Radio Martiko.\u003cbr\u003eTo the local press, he explained simply: “I try to give Moroccan song a modern aspect.”\u003cbr\u003eIn a landscape still ruled by large orchestras, El Omari built a new bridge between tradition and modernity. Influenced by Coltrane’s jazz, Sun Ra’s cosmic flights, and the pulse of gnawa and chaâbi music, he created a shimmering sound that played with styles like light on water — airy jazz, humid funk, Moroccan trance shaped by groove and echo. His Farfisa floats above it all, like a spacecraft gliding over the Atlas Mountains.\u003c\/p\u003e\n\u003cp\u003eThe Golden Age and the Silence\u003cbr\u003eIn the 1980s, his music grew quieter, more secret. He tried to recover his old tapes from the studios he had recorded in, but gradually withdrew from the scene and returned to hairdressing. A pioneer of musical fusion, he opened paths that would remain unexplored for years. He passed away in 2010, never witnessing the rediscovery of his music by diggers, bloggers, and collectors online — on Discogs, Blogspot, and YouTube. A modest life, yet a lasting resonance.\u003c\/p\u003e\n\u003cp\u003eThe Rediscovered Tape\u003cbr\u003eThe story could have ended there. But one day, his close friend and poet Aziz Essamadi, rescued a cardboard box from the trash — a box containing Abdou El Omari’s personal archives. It was later entrusted to Casablanca based collector Ahmed Khalil, founder of the label Dikraphone, who - after long efforts - managed to convinced him of his sincerity.\u003cbr\u003eInside were treasures preserved by chance: demos, rehearsals, private recordings, unseen photographs — and a stunning, almost forgotten cassette. Here, El Omari sounds bolder than ever, exploring territories where pop, cosmic disco, electric blues, and Moroccan tradition merge without boundaries.\u003cbr\u003eArmed with his ARP Odyssey synthesizer, hypnotic grooves, and the celestial layers of his Farfisa, he expanded the dialogue between deep roots and electronic exploration. The funk drums patterns and the Moroccan ternary 6\/8 rhythms intertwine in a unique psychedelic trance — a music that seems to emerge from a parallel Morocco, half dream, half memory.\u003c\/p\u003e\n\u003cp\u003eThe Dream Continues\u003cbr\u003eThis album is the continuation of a vision — a music of the Moroccan future: rooted, but reaching for the unknown. Colorful, magnetic and timeless, here is music for dancing as much as for dreaming. If Nuits d’été was the dawn, this rediscovered work is the culmination — an invitation to journey through the singular universe of Abdou El Omari.\u0026nbsp;\u003cbr\u003ecredits\u003cbr\u003e\u003c\/p\u003e","brand":"BORN BAD RECORDS","offers":[{"title":"LP","offer_id":56651935973701,"sku":"BB0191LP","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/11112025-ABDOU-COUV_dd3a7cdd-1fee-4748-acb7-7cb041bdfdc7.jpg?v=1765809793"},{"product_id":"abdou-el-omari-lost-tape-1980-cd","title":"LOST TAPE - 1980 - CD","description":"\u003cp\u003eBirth of a Star\u003cbr\u003eAbdou El Omari was born in 1945 in Tafraout, south of Agadir — a village suspended between the pink granite peaks of the Anti-Atlas and the waves of the Atlantic. A landscape already musical in itself. He grew up in the dry mountain light, surrounded by the rhythms of nature and Berber’s culture.\u003cbr\u003eVery little is known about the man — a veil of mystery still surrounds his life, only deepening the fascination. His name remains discreet, but his music continues to travel. It seems to drift from another time, another world, or perhaps from a dream shared between the blue nights of Casablanca and the silent dunes of the Sahara.\u003cbr\u003eIn the 1970s, as Morocco was transforming, Abdou El Omari shaped a sound of his own — a visionary blend of spiritual jazz, psychedelic funk, Moroccan traditions, and early electronic experimentation. Today, his work is resurfacing, rediscovered by a new generation of listeners in search of lost horizons. This record stands among its rarest and most precious fragments.\u003c\/p\u003e\n\u003cp\u003eAn Initiatory Journey\u003cbr\u003eAt ten, El Omari left the mountains of the south for the vast port of Casablanca — a city in motion, crossroads of Arab-Berber, African, European, and American cultures. Music was everywhere: on the radio, in cafés, in jazz clubs run by Moroccan Jews and expatriates, and in the crates filled by passing American soldiers.\u003cbr\u003eHis path was anything but ordinary. While his brother ran a record store, Abdou chose another way — first as a butcher, then a servant for a French family. They helped him train as a hairdresser and later supported his admission to the Casablanca Conservatory in 1960.\u003cbr\u003eFor seven years, he studied there, became a luthier, met musicians, and discovered the instrument that would define his sound: the Farfisa organ — symbol of the psychedelic and modern era’s music, from Pink Floyd to Terry Riley.\u003cbr\u003eAt the same time, after becoming a hairdresser, he opened his own women’s hairdressing school in Casablanca in the 1970s, before founding a second one in Safi. His school was the only one in the country officially recognized by the state, a proof of his professionalism and dedication to passing on his craft. However, despite his undeniable talent he was never a full-time musician.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eA Music from Elsewhere\u003cbr\u003eAt twenty-two, he founded his first group, Les Fugitifs, which gained him local fame. Soon after, he released 7 inches records and cassettes on labels such as Cléopâtre, Hassania, Boussiphone, Hilali, and his own, Al Awtar, while performing on RTM (national radio and television). He also composed for artists like Naima Samih, Laila Ghofran, and Aicha El Waad.\u003cbr\u003eIn 1976, through the label Gam, he released his only vinyl album, Nuits d’été — a record that would become cult decades later, reissued in 2017 by Radio Martiko.\u003cbr\u003eTo the local press, he explained simply: “I try to give Moroccan song a modern aspect.”\u003cbr\u003eIn a landscape still ruled by large orchestras, El Omari built a new bridge between tradition and modernity. Influenced by Coltrane’s jazz, Sun Ra’s cosmic flights, and the pulse of gnawa and chaâbi music, he created a shimmering sound that played with styles like light on water — airy jazz, humid funk, Moroccan trance shaped by groove and echo. His Farfisa floats above it all, like a spacecraft gliding over the Atlas Mountains.\u003c\/p\u003e\n\u003cp\u003eThe Golden Age and the Silence\u003cbr\u003eIn the 1980s, his music grew quieter, more secret. He tried to recover his old tapes from the studios he had recorded in, but gradually withdrew from the scene and returned to hairdressing. A pioneer of musical fusion, he opened paths that would remain unexplored for years. He passed away in 2010, never witnessing the rediscovery of his music by diggers, bloggers, and collectors online — on Discogs, Blogspot, and YouTube. A modest life, yet a lasting resonance.\u003c\/p\u003e\n\u003cp\u003eThe Rediscovered Tape\u003cbr\u003eThe story could have ended there. But one day, his close friend and poet Aziz Essamadi, rescued a cardboard box from the trash — a box containing Abdou El Omari’s personal archives. It was later entrusted to Casablanca based collector Ahmed Khalil, founder of the label Dikraphone, who - after long efforts - managed to convinced him of his sincerity.\u003cbr\u003eInside were treasures preserved by chance: demos, rehearsals, private recordings, unseen photographs — and a stunning, almost forgotten cassette. Here, El Omari sounds bolder than ever, exploring territories where pop, cosmic disco, electric blues, and Moroccan tradition merge without boundaries.\u003cbr\u003eArmed with his ARP Odyssey synthesizer, hypnotic grooves, and the celestial layers of his Farfisa, he expanded the dialogue between deep roots and electronic exploration. The funk drums patterns and the Moroccan ternary 6\/8 rhythms intertwine in a unique psychedelic trance — a music that seems to emerge from a parallel Morocco, half dream, half memory.\u003c\/p\u003e\n\u003cp\u003eThe Dream Continues\u003cbr\u003eThis album is the continuation of a vision — a music of the Moroccan future: rooted, but reaching for the unknown. Colorful, magnetic and timeless, here is music for dancing as much as for dreaming. If Nuits d’été was the dawn, this rediscovered work is the culmination — an invitation to journey through the singular universe of Abdou El Omari.\u0026nbsp;\u003cbr\u003ecredits\u003cbr\u003e\u003c\/p\u003e","brand":"BORN BAD RECORDS","offers":[{"title":"CD","offer_id":56651936006469,"sku":"BB0191CD","price":15.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/11112025-ABDOU-COUV.jpg?v=1765809792"},{"product_id":"rock-machine-lp","title":"Rock Machine","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eAfter the Spanish escapade 'Teatro Lucido' and the sweet journey 'Paris Hawai', the group created by Marlon Magnée and Sacha Got continues their world tour with 'Rock Machine,' their first album entirely written in English. Composed over the past few years during various tours around the world, this new LP has been strongly inspired by the succession of dates in the USA, Canada, South America, Australia, and the encounters that ensued.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe band returns to its New Wave and Synthwave roots from their acclaimed first LP 'Psycho Tropical Berlin' (Machine), which they mix with an Anglo-Saxon rock sound from the 80s\/90s (Rock). This album is an ode to rock'n'roll, its effectiveness, and timelessness, but also an ode to love and despair.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLa Femme continues to develop with Rock Machine a universe beyond trends with their own sound and aesthetics. In addition to rock and synthwave sounds (of which 'Clover Paradise' is the perfect example), there's still electro (Sweet Babe), surf music (Ciao Paris), disco with a UK punk twist (My Generation), and even elements of western. ‘Venus’ is a marvelous mix between The Velvet Underground and The Mama’s and the Papa’s, ‘Love is Over’ sounds like a “Madchester” single from the Hacienda time... The list is long but always unique and coherent.\u003c\/span\u003e\u003c\/p\u003e","brand":"BIGWAX DISTRIBUTION","offers":[{"title":"LP","offer_id":56715572543813,"sku":"BB0182LP","price":24.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/3521381598605.jpg?v=1766586753"},{"product_id":"guilty-razors-complete-recordings-1977-1978","title":"COMPLETE RECORDINGS - 1978","description":"\u003cp\u003eGUILTY RAZORS, BONA FIDE PUNKS.\u003c\/p\u003e\n\u003cp\u003eWritings on the topic that go off in all directions, mind-numbing lectures given by academics, and testimonies, most of them heavily doctored, from those who “lived through that era”: so many people today fantasize about the early days of punk in our country… This blessed moment when no one had yet thought of flaunting a ridiculous green mohawk, taking Sid Vicious as a hero, or – even worse – making the so-called alternative scene both festive and boorish. There was no such thing in 1976 or 1977, when it wasn’t easy to get hold of the first 45s by the Pistols or the Clash. Few people were aware of what was happening on the fringes of the fringes at the time. Malcolm McLaren was virtually unknown, and having short hair made you seem strange. Who knew then that rock music, which had taken a very bad turn since the early 1970s, would once again become an essential element of liberation? That, thanks to short and fast songs, it would once again rediscover that primitive, social side that was so hated by older generations? Who knew that, besides a few loners who read the music press (it was even better if they read it in English) and frequented the right record stores? Many of these formed bands, because it was impossible to do otherwise. We quickly went from listening to the Velvet Underground to trying to play the Stooges’ intros. It’s a somewhat collective story, even though there weren’t many people to start it.\u003cbr\u003eThe Guilty Razors were among those who took part in this initial upheaval in Paris. They were far from being the worst. They had something special and even released a single that was well above the national average. They also had enough songs to fill an album, the one you’re holding. In everyone’s opinion, \u0026nbsp;they were definitely not among the punk impostors that followed in their wake. They were, at least, genuine and credible.\u003c\/p\u003e\n\u003cp\u003eGuilty Razors, Parisian punk band (1975-1978). To understand something about their somewhat linear but very energetic sound, we might need to talk about the context in which it was born and, more broadly, recall the boredom (a theme that would become capital in punk songs) coupled with the desire to blow everything off, which were the basis for the formation of bands playing a rejuvenated rock music ; about the passion for a few records by the Kinks or the early Who, by the Stooges, by the Velvet mostly, which set you apart from the crowd.\u003cbr\u003eAnd of course, we should remember this new wave, which was promoted by a few articles in the specialized press and some cutting-edge record stores, coming from New York or London, whose small but powerful influence could be felt in Paris and in a handful of isolated places in the provinces, lulled to sleep by so many appalling things, from Tangerine Dream to President Giscard d’Estaing...\u003cbr\u003eIn 1975-76, French music was, as almost always, in a sorry state ; it was still dominated by Johnny Hallyday and Sylvie Vartan. Local rock music was also rather bleak, apart from Bijou and Little Bob who tried to revive this small scene with poorly sound-engineered gigs played to almost no one.\u003cbr\u003eIn the working class suburbs at the time, it was mainly hard rock music played to 11 that helped people forget about their gruelling shifts at the factory. Here and there, on the outskirts of major cities, you still could find a few rockers with sideburns wearing black armbands since the death of Gene Vincent, but it wasn’t a proper mass movement, just a source of real danger to anyone they came across who wasn't like them. In August 1976, a festival unlike any other took place in Mont-de-Marsan – the First European Punk Festival as the poster said – with almost as many people on stage as in the audience. Yet, on that day, a quasi historical event happened, when, under the blazing afternoon sun, a band of unknowns called The Damned made an unprecedented noise in the arena, reminiscent of the chaotic Stooges in their early adolescence. They were the first genuine punk band to perform in our country: from then on, anything was possible, almost anything seemed permissible.\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003eIt makes sense that the four+1 members of Guilty Razors, who initially amplified acoustic guitars with crappy tape recorder microphones, would adopt punk music (pronounced paink in French) naturally and instinctively, since it combines liberating noise with speed of execution and – crucially – a very healthy sense of rebellion (the protesters of May 1968 proclaimed, and it was even a slogan, that they weren’t against old people, but against what had made them grow old. In the mid-1970s, it seemed normal and obvious that old people should now ALSO be targeted!!!).\u003cbr\u003eAt the time, the desire to fight back, and break down authority and apathy, was either red or black, often taking the form of leafleting, tumultuous general assemblies in the schoolyard, and massive or shabby demonstrations, most of the time overflowing with an exciting vitality that sometimes turned into fights with the riot police. Indeed, soon after the end of the Vietnam War and following Pinochet’s coup in Chile, all over France, Trotskyist and anarcho-libertarian fervour was firmly entrenched among parts of the educated youth population, who were equally rebellious and troublemakers whenever they had the chance. It should also be noted that when the single \"Anarchy in the UK\" was first heard, even though not many of us had access to it, both the title and its explosive sound immediately resonated with some of those troublemakers crying out for ANARCHY!!! Meanwhile, the left-wing majority still equated punks with reckless young neo-Nazis. Of course, the widely circulated photos in the mainstream press of Siouxsie Sioux with her swastikas didn’t necessarily help to win over the theorists of the Great Revolution. It took Joe Strummer to introduce The Clash as an anti-racist, anti-fascist and anti-ignorance band for the rejection of old-school revolutionaries to fade a little.\u003c\/p\u003e\n\u003cp\u003eThe Lycée Jean-Baptiste Say at Porte d’Auteuil, despite being located in the very posh and very exclusive 16th arrondissement of Paris, didn’t escape these \"committed\" upheavals, which doubled as the perfect outlet for the less timid members of this generation.\u0026nbsp;\u003cbr\u003e“Back then, politics were fun,” says Tristam Nada, who studied there and went on to become Guilty Razors’ frontman. “Jean-Baptiste was the leftist high-school in the neighbourhood. When the far right guys from the GUD came down there, the Communist League guys from elsewhere helped us fight them off.”\u003cbr\u003eAnything that could challenge authority was fair game and of course, strikes for just about any reason would lead to increasingly frequent truancy (with a definitive farewell to education that would soon follow). Tristam Nada spent his 10th and 11th unfinished grades with José Perez, who had come from Spain, where his father, a janitor, had been sentenced to death by Franco. “José steered my tastes towards solid acts such as The Who. Like most teenagers, I had previously absorbed just about everything that came my way, from Yes to Led Zeppelin to Genesis. I was exploring… And then one day, he told me that he and his brother Carlos wanted to start a rock band.” The Perez brothers already played guitar. “Of course, they were Spanish!”, jokes their singer. “Then, somewhat reluctantly, José took up the bass and we were soon joined by Jano – who called himself Jano Homicid – who took up the rhythm guitar.” Several drummers would later join this core of not easily intimidated young guys who didn’t let adversity get the better of them.\u003c\/p\u003e\n\u003cp\u003eThe first rehearsals of the newly named Guilty Razors took place in the bedroom of a Perez aunt. There, the three rookies tried to cover a few standards, songs that often were an integral part of their lives. During a first, short gig, in front of a bewildered audience of tough old-school rockers, they launched into a clunky version of the Velvet Underground's “Heroin”. Challenge or recklessness? A bit of both, probably… And then, step by step, their limited repertoire expanded as they decided to write their own songs, sung in a not always very accurate or academic English, but who cared about proper grammar or the right vocabulary, since what truly mattered was to make the words sound as good as possible while playing very, very fast music? And spitting out those words in a language that left no doubt as to what it conveyed mattered as well.\u003cbr\u003eTrying their hand a the kind of rock music disliked by most of the neighbourhood, making noise, being fiercely provocative: they still belonged to a tiny clique who, at this very moment, had chosen to impose this difference. And there were very few places in France or elsewhere, where one could witness the first stirrings of something that wasn’t a trend yet, let alone a movement.\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003eIn the provinces, in late 1976 or early 1977, there couldn’t be more than thirty record stores that were a bit more discerning than average, where you could hear this new kind of short-haired rock music called “punk”. The old clientele, who previously had no problem coming in to buy the latest McCartney or Aerosmith LP, now felt a little less comfortable there…\u003cbr\u003eIn Paris, these enlightened places were quite rare and often located nex to what would become the Forum des Halles, a big shopping mall. Between three aging sex workers, a couple of second-hand clothes shops, sellers of hippie paraphernalia and small fashion designers, the good word was loudly spread in two pioneering places – propagators of what was still only a new underground movement. Historically, the first one was the Open Market, a kind of poorly, but tastefully stocked cave. Speakers blasted out the sound of sixties garage bands from the Nuggets compilation (a crucial reference for José Perez) or the badly dressed English kids of Eddie and the Hot Rods. This black-painted den was opened a few years earlier by Marc Zermati, a character who wasn’t always in a sunny disposition, but always quite radical in his (good) choices and his opinions. He founded the independent label Skydog and was one of the promoters of the Mont-de-Marsan punk festivals. Not far from there was Harry Cover, another store more in tune with the new New York scene, which was amply covered in the house fanzine, Rock News (even though it was in it that the photos of the Sex Pistols were first published in France).\u0026nbsp;\u003cbr\u003eIt was a favorite hang-out of the Perez brothers and Tristam Nada, as the latter explained. “It’s at Harry Cover’s that we first heard the Pistols and Clash’s 45s, and after that, we decided to start writing our first songs. If they could do it, so could we!”\u0026nbsp;\u003cbr\u003eThe sonic shocks that were “Anarchy in the UK”, “White Riot” or the Buzzcocks’s EP, “Spiral Scratch” – which Guilty Razors' sound is reminiscent of – were soon to be amplified by an unparalleled visual shock. In April 1977, right after the release of their first LP, The Clash performed at the Palais des Glaces in Paris, during a punk night organised by Marc Zermati. For many who were there, it was the gig of a lifetime…\u003cbr\u003eOf course, Guilty Razors and Tristam were in the audience: “That concert was fabulous… We Parisian punks were almost all dressed in black and white, with white shirts, skinny leather ties, bikers jackets or light jackets, etc. The Clash, on the other hand, wore colourful clothes. Well, the next day, at the Gibus, you’d spot everyone who had been at this concert, but they weren’t wearing anything black, they were all wearing colours.”\u003c\/p\u003e\n\u003cp\u003eIt makes sense to mention the Gibus club, as Guilty Razors often played there (sometimes in front of a hostile audience). It was also the only place in Paris that regularly scheduled new Parisian or Anglo-Saxon acts, such as Generation X, Siouxsie and the Banshees, the Slits, and Johnny Thunders who would become a kind of messed-up mascot for the venue. A little later, in 1978, the Rose Bonbon – formerly the Nashville – also attracted nightly owls in search of electric thrills… In 1977, the iconic but not necessarily excellent Asphalt Jungle often played at the Gibus, sometimes sharing the bill with Metal Urbain, the only band whose aura would later transcend the French borders (“I saw them as the French Sex Pistols,” said Geoff Travis, head of their British label Rough Trade). Already established in this small scene, Metal Urbain helped the young and restless Guilty Razors who had just arrived. Guitarist for Metal Urbain Hermann Schwartz remembers it: “They were younger than us, we were a bit like their mentors even if it’s too strong a word… At least they were credible. We thought they were good, and they had good songs which reminded of the Buzzcocks that I liked a lot. But at some point, they started hanging out with the Hells Angels. That’s when we stopped following them.”\u003c\/p\u003e\n\u003cp\u003eThe break-up was mutual, since, Guilty Razors, for their part, were shocked when they saw a fringe element of the audience at Metal Urbain concerts who repeatedly shouted “Sieg Heil” and gave Nazi salutes. These provocations, even still minor (the bulk of the skinhead crowd would later make their presence felt during concerts), weren’t really to the liking of the Perez brothers, whose anti-fascist convictions were firmly rooted. Some things are non-negotiable.\u003cbr\u003eA few months earlier (in July 1978), Guilty Razors had nevertheless opened very successfully for Metal Urbain at the Bus Palladium, a more traditonally old-school rock night-club. But, as was sometimes the case back then, the night turned into a mass brawl when suburban rockers came to “beat up punks”.\u003c\/p\u003e\n\u003cp\u003eBack then, Parisian nights weren’t always sweet and serene.\u003c\/p\u003e\n\u003cp\u003eSo, after opening as best as they could for The Jam (their sound having been ruined by the PA system), our local heroes were – once again – met outside by a horde of greasers out to get them. “Thankfully,” says Tristam, “we were with our roadies, motorless bikers who acted as a protective barrier. We were chased in the neighbouring streets and the whole thing ended in front of a bar, with the owner coming out with a rifle…”\u003cbr\u003eAlthough Tristam and the Perez brothers narrowly escaped various, potentially bloody, incidents, they weren’t completely innocent of wrongdoing either. They still find amusing their mugging of two strangers in the street for example (“We were broke and we simply wanted to buy tickets for the Heartbreakers concert that night,” says Tristam). It so happened that their victims were two key figures in the rock business at the time: radio presenter Alain Manneval and music publisher Philippe Constantin. They filed a complaint and sought monetary compensation, but somehow the band’s manager, the skilful but very controversial Alexis, managed to get the complaint withdrawn and Guilty Razors ended up signing with Constantin with a substantial advance.\u003c\/p\u003e\n\u003cp\u003eThey also signed with Polydor and the label released in 1978 their only three-track 45, featuring “I Don't Wanna be A Rich”, “Hurts and Noises” and “Provocate” (songs that exuded perpetual rebellion and an unquenchable desire for “class” confrontation). It was a very good record, but due to a lack of promotion (radio stations didn’t play French artists singing in English), it didn’t sell very well. Only 800 copies were allegedly sold and the rest of the stock was pulped… Initially, the three tracks were to be included on a LP that never came to be, since they were dropped by Polydor (“Let’s say we sometimes caused a ruckus in their offices!” laughs Tristam.) In order to perfect the long-awaited LP, the band recorded demos of other tracks. There was a cover of Pink Floyd's “Lucifer Sam” from the Syd Barrett era – proof of an enduring love for the sixties’ greats –, “Wake Up” a hangover tale and “Bad Heart” about the Baader-Meinhof gang, whose actions had a profound impact on the era and on a generation seeking extreme dissent... On the album you’re now discovering, you can also hear five previously unreleased tracks recorded a bit later during an extended and freezing stay in Madrid, in a makeshift studio with the invaluable help of a drummer also acting as sound engineer. He was both an enthusiastic old hippie and a proper whizz at sound engineering. Here too, certain influences from the fifties and sixties (Link Wray, the Troggs) are more than obvious in the band’s music.\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003eShortly after a final stormy and rather barbaric (on the audience’s side) “Punk night” at the Olympia in June 1978, Tristam left the band ; his bandmates continued without him for a short while.\u003c\/p\u003e\n\u003cp\u003eBut like most pioneering punk bands of the era, Guilty Razors eventually split up for good after three years (besides once in Spain, they’d only played in Paris). The reason for ceasing business activities were more or less the same for everyone: there were no venues outside one’s small circuit to play this kind of rock music, which was still frightening, unknown, or of little interest to most people. The chances of recording an LP were virtually null, since major labels were only signing unoriginal but reassuring sub-Téléphone clones, and the smaller ones were only interested in progressive rock or French chanson for youth clubs. And what about self-production? No one in our small safety-pinned world had thought about it yet. There wasn’t enough money to embark on that sort of venture anyway.\u003c\/p\u003e\n\u003cp\u003eSo yes, the early days of punk in France were truly No Future!\u003c\/p\u003e","brand":"BORN BAD RECORDS","offers":[{"title":"LP","offer_id":56844414189893,"sku":"BB0195LP","price":22.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/Guilty-Razors-cover-HD.jpg?v=1768235417"},{"product_id":"guilty-razors-complete-recordings-1977-1978-cd","title":"COMPLETE RECORDINGS - 1978 - CD","description":"\u003cp\u003eGUILTY RAZORS, BONA FIDE PUNKS.\u003c\/p\u003e\n\u003cp\u003eWritings on the topic that go off in all directions, mind-numbing lectures given by academics, and testimonies, most of them heavily doctored, from those who “lived through that era”: so many people today fantasize about the early days of punk in our country… This blessed moment when no one had yet thought of flaunting a ridiculous green mohawk, taking Sid Vicious as a hero, or – even worse – making the so-called alternative scene both festive and boorish. There was no such thing in 1976 or 1977, when it wasn’t easy to get hold of the first 45s by the Pistols or the Clash. Few people were aware of what was happening on the fringes of the fringes at the time. Malcolm McLaren was virtually unknown, and having short hair made you seem strange. Who knew then that rock music, which had taken a very bad turn since the early 1970s, would once again become an essential element of liberation? That, thanks to short and fast songs, it would once again rediscover that primitive, social side that was so hated by older generations? Who knew that, besides a few loners who read the music press (it was even better if they read it in English) and frequented the right record stores? Many of these formed bands, because it was impossible to do otherwise. We quickly went from listening to the Velvet Underground to trying to play the Stooges’ intros. It’s a somewhat collective story, even though there weren’t many people to start it.\u003cbr\u003eThe Guilty Razors were among those who took part in this initial upheaval in Paris. They were far from being the worst. They had something special and even released a single that was well above the national average. They also had enough songs to fill an album, the one you’re holding. In everyone’s opinion, \u0026nbsp;they were definitely not among the punk impostors that followed in their wake. They were, at least, genuine and credible.\u003c\/p\u003e\n\u003cp\u003eGuilty Razors, Parisian punk band (1975-1978). To understand something about their somewhat linear but very energetic sound, we might need to talk about the context in which it was born and, more broadly, recall the boredom (a theme that would become capital in punk songs) coupled with the desire to blow everything off, which were the basis for the formation of bands playing a rejuvenated rock music ; about the passion for a few records by the Kinks or the early Who, by the Stooges, by the Velvet mostly, which set you apart from the crowd.\u003cbr\u003eAnd of course, we should remember this new wave, which was promoted by a few articles in the specialized press and some cutting-edge record stores, coming from New York or London, whose small but powerful influence could be felt in Paris and in a handful of isolated places in the provinces, lulled to sleep by so many appalling things, from Tangerine Dream to President Giscard d’Estaing...\u003cbr\u003eIn 1975-76, French music was, as almost always, in a sorry state ; it was still dominated by Johnny Hallyday and Sylvie Vartan. Local rock music was also rather bleak, apart from Bijou and Little Bob who tried to revive this small scene with poorly sound-engineered gigs played to almost no one.\u003cbr\u003eIn the working class suburbs at the time, it was mainly hard rock music played to 11 that helped people forget about their gruelling shifts at the factory. Here and there, on the outskirts of major cities, you still could find a few rockers with sideburns wearing black armbands since the death of Gene Vincent, but it wasn’t a proper mass movement, just a source of real danger to anyone they came across who wasn't like them. In August 1976, a festival unlike any other took place in Mont-de-Marsan – the First European Punk Festival as the poster said – with almost as many people on stage as in the audience. Yet, on that day, a quasi historical event happened, when, under the blazing afternoon sun, a band of unknowns called The Damned made an unprecedented noise in the arena, reminiscent of the chaotic Stooges in their early adolescence. They were the first genuine punk band to perform in our country: from then on, anything was possible, almost anything seemed permissible.\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003eIt makes sense that the four+1 members of Guilty Razors, who initially amplified acoustic guitars with crappy tape recorder microphones, would adopt punk music (pronounced paink in French) naturally and instinctively, since it combines liberating noise with speed of execution and – crucially – a very healthy sense of rebellion (the protesters of May 1968 proclaimed, and it was even a slogan, that they weren’t against old people, but against what had made them grow old. In the mid-1970s, it seemed normal and obvious that old people should now ALSO be targeted!!!).\u003cbr\u003eAt the time, the desire to fight back, and break down authority and apathy, was either red or black, often taking the form of leafleting, tumultuous general assemblies in the schoolyard, and massive or shabby demonstrations, most of the time overflowing with an exciting vitality that sometimes turned into fights with the riot police. Indeed, soon after the end of the Vietnam War and following Pinochet’s coup in Chile, all over France, Trotskyist and anarcho-libertarian fervour was firmly entrenched among parts of the educated youth population, who were equally rebellious and troublemakers whenever they had the chance. It should also be noted that when the single \"Anarchy in the UK\" was first heard, even though not many of us had access to it, both the title and its explosive sound immediately resonated with some of those troublemakers crying out for ANARCHY!!! Meanwhile, the left-wing majority still equated punks with reckless young neo-Nazis. Of course, the widely circulated photos in the mainstream press of Siouxsie Sioux with her swastikas didn’t necessarily help to win over the theorists of the Great Revolution. It took Joe Strummer to introduce The Clash as an anti-racist, anti-fascist and anti-ignorance band for the rejection of old-school revolutionaries to fade a little.\u003c\/p\u003e\n\u003cp\u003eThe Lycée Jean-Baptiste Say at Porte d’Auteuil, despite being located in the very posh and very exclusive 16th arrondissement of Paris, didn’t escape these \"committed\" upheavals, which doubled as the perfect outlet for the less timid members of this generation.\u0026nbsp;\u003cbr\u003e“Back then, politics were fun,” says Tristam Nada, who studied there and went on to become Guilty Razors’ frontman. “Jean-Baptiste was the leftist high-school in the neighbourhood. When the far right guys from the GUD came down there, the Communist League guys from elsewhere helped us fight them off.”\u003cbr\u003eAnything that could challenge authority was fair game and of course, strikes for just about any reason would lead to increasingly frequent truancy (with a definitive farewell to education that would soon follow). Tristam Nada spent his 10th and 11th unfinished grades with José Perez, who had come from Spain, where his father, a janitor, had been sentenced to death by Franco. “José steered my tastes towards solid acts such as The Who. Like most teenagers, I had previously absorbed just about everything that came my way, from Yes to Led Zeppelin to Genesis. I was exploring… And then one day, he told me that he and his brother Carlos wanted to start a rock band.” The Perez brothers already played guitar. “Of course, they were Spanish!”, jokes their singer. “Then, somewhat reluctantly, José took up the bass and we were soon joined by Jano – who called himself Jano Homicid – who took up the rhythm guitar.” Several drummers would later join this core of not easily intimidated young guys who didn’t let adversity get the better of them.\u003c\/p\u003e\n\u003cp\u003eThe first rehearsals of the newly named Guilty Razors took place in the bedroom of a Perez aunt. There, the three rookies tried to cover a few standards, songs that often were an integral part of their lives. During a first, short gig, in front of a bewildered audience of tough old-school rockers, they launched into a clunky version of the Velvet Underground's “Heroin”. Challenge or recklessness? A bit of both, probably… And then, step by step, their limited repertoire expanded as they decided to write their own songs, sung in a not always very accurate or academic English, but who cared about proper grammar or the right vocabulary, since what truly mattered was to make the words sound as good as possible while playing very, very fast music? And spitting out those words in a language that left no doubt as to what it conveyed mattered as well.\u003cbr\u003eTrying their hand a the kind of rock music disliked by most of the neighbourhood, making noise, being fiercely provocative: they still belonged to a tiny clique who, at this very moment, had chosen to impose this difference. And there were very few places in France or elsewhere, where one could witness the first stirrings of something that wasn’t a trend yet, let alone a movement.\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003eIn the provinces, in late 1976 or early 1977, there couldn’t be more than thirty record stores that were a bit more discerning than average, where you could hear this new kind of short-haired rock music called “punk”. The old clientele, who previously had no problem coming in to buy the latest McCartney or Aerosmith LP, now felt a little less comfortable there…\u003cbr\u003eIn Paris, these enlightened places were quite rare and often located nex to what would become the Forum des Halles, a big shopping mall. Between three aging sex workers, a couple of second-hand clothes shops, sellers of hippie paraphernalia and small fashion designers, the good word was loudly spread in two pioneering places – propagators of what was still only a new underground movement. Historically, the first one was the Open Market, a kind of poorly, but tastefully stocked cave. Speakers blasted out the sound of sixties garage bands from the Nuggets compilation (a crucial reference for José Perez) or the badly dressed English kids of Eddie and the Hot Rods. This black-painted den was opened a few years earlier by Marc Zermati, a character who wasn’t always in a sunny disposition, but always quite radical in his (good) choices and his opinions. He founded the independent label Skydog and was one of the promoters of the Mont-de-Marsan punk festivals. Not far from there was Harry Cover, another store more in tune with the new New York scene, which was amply covered in the house fanzine, Rock News (even though it was in it that the photos of the Sex Pistols were first published in France).\u0026nbsp;\u003cbr\u003eIt was a favorite hang-out of the Perez brothers and Tristam Nada, as the latter explained. “It’s at Harry Cover’s that we first heard the Pistols and Clash’s 45s, and after that, we decided to start writing our first songs. If they could do it, so could we!”\u0026nbsp;\u003cbr\u003eThe sonic shocks that were “Anarchy in the UK”, “White Riot” or the Buzzcocks’s EP, “Spiral Scratch” – which Guilty Razors' sound is reminiscent of – were soon to be amplified by an unparalleled visual shock. In April 1977, right after the release of their first LP, The Clash performed at the Palais des Glaces in Paris, during a punk night organised by Marc Zermati. For many who were there, it was the gig of a lifetime…\u003cbr\u003eOf course, Guilty Razors and Tristam were in the audience: “That concert was fabulous… We Parisian punks were almost all dressed in black and white, with white shirts, skinny leather ties, bikers jackets or light jackets, etc. The Clash, on the other hand, wore colourful clothes. Well, the next day, at the Gibus, you’d spot everyone who had been at this concert, but they weren’t wearing anything black, they were all wearing colours.”\u003c\/p\u003e\n\u003cp\u003eIt makes sense to mention the Gibus club, as Guilty Razors often played there (sometimes in front of a hostile audience). It was also the only place in Paris that regularly scheduled new Parisian or Anglo-Saxon acts, such as Generation X, Siouxsie and the Banshees, the Slits, and Johnny Thunders who would become a kind of messed-up mascot for the venue. A little later, in 1978, the Rose Bonbon – formerly the Nashville – also attracted nightly owls in search of electric thrills… In 1977, the iconic but not necessarily excellent Asphalt Jungle often played at the Gibus, sometimes sharing the bill with Metal Urbain, the only band whose aura would later transcend the French borders (“I saw them as the French Sex Pistols,” said Geoff Travis, head of their British label Rough Trade). Already established in this small scene, Metal Urbain helped the young and restless Guilty Razors who had just arrived. Guitarist for Metal Urbain Hermann Schwartz remembers it: “They were younger than us, we were a bit like their mentors even if it’s too strong a word… At least they were credible. We thought they were good, and they had good songs which reminded of the Buzzcocks that I liked a lot. But at some point, they started hanging out with the Hells Angels. That’s when we stopped following them.”\u003c\/p\u003e\n\u003cp\u003eThe break-up was mutual, since, Guilty Razors, for their part, were shocked when they saw a fringe element of the audience at Metal Urbain concerts who repeatedly shouted “Sieg Heil” and gave Nazi salutes. These provocations, even still minor (the bulk of the skinhead crowd would later make their presence felt during concerts), weren’t really to the liking of the Perez brothers, whose anti-fascist convictions were firmly rooted. Some things are non-negotiable.\u003cbr\u003eA few months earlier (in July 1978), Guilty Razors had nevertheless opened very successfully for Metal Urbain at the Bus Palladium, a more traditonally old-school rock night-club. But, as was sometimes the case back then, the night turned into a mass brawl when suburban rockers came to “beat up punks”.\u003c\/p\u003e\n\u003cp\u003eBack then, Parisian nights weren’t always sweet and serene.\u003c\/p\u003e\n\u003cp\u003eSo, after opening as best as they could for The Jam (their sound having been ruined by the PA system), our local heroes were – once again – met outside by a horde of greasers out to get them. “Thankfully,” says Tristam, “we were with our roadies, motorless bikers who acted as a protective barrier. We were chased in the neighbouring streets and the whole thing ended in front of a bar, with the owner coming out with a rifle…”\u003cbr\u003eAlthough Tristam and the Perez brothers narrowly escaped various, potentially bloody, incidents, they weren’t completely innocent of wrongdoing either. They still find amusing their mugging of two strangers in the street for example (“We were broke and we simply wanted to buy tickets for the Heartbreakers concert that night,” says Tristam). It so happened that their victims were two key figures in the rock business at the time: radio presenter Alain Manneval and music publisher Philippe Constantin. They filed a complaint and sought monetary compensation, but somehow the band’s manager, the skilful but very controversial Alexis, managed to get the complaint withdrawn and Guilty Razors ended up signing with Constantin with a substantial advance.\u003c\/p\u003e\n\u003cp\u003eThey also signed with Polydor and the label released in 1978 their only three-track 45, featuring “I Don't Wanna be A Rich”, “Hurts and Noises” and “Provocate” (songs that exuded perpetual rebellion and an unquenchable desire for “class” confrontation). It was a very good record, but due to a lack of promotion (radio stations didn’t play French artists singing in English), it didn’t sell very well. Only 800 copies were allegedly sold and the rest of the stock was pulped… Initially, the three tracks were to be included on a LP that never came to be, since they were dropped by Polydor (“Let’s say we sometimes caused a ruckus in their offices!” laughs Tristam.) In order to perfect the long-awaited LP, the band recorded demos of other tracks. There was a cover of Pink Floyd's “Lucifer Sam” from the Syd Barrett era – proof of an enduring love for the sixties’ greats –, “Wake Up” a hangover tale and “Bad Heart” about the Baader-Meinhof gang, whose actions had a profound impact on the era and on a generation seeking extreme dissent... On the album you’re now discovering, you can also hear five previously unreleased tracks recorded a bit later during an extended and freezing stay in Madrid, in a makeshift studio with the invaluable help of a drummer also acting as sound engineer. He was both an enthusiastic old hippie and a proper whizz at sound engineering. Here too, certain influences from the fifties and sixties (Link Wray, the Troggs) are more than obvious in the band’s music.\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003eShortly after a final stormy and rather barbaric (on the audience’s side) “Punk night” at the Olympia in June 1978, Tristam left the band ; his bandmates continued without him for a short while.\u003c\/p\u003e\n\u003cp\u003eBut like most pioneering punk bands of the era, Guilty Razors eventually split up for good after three years (besides once in Spain, they’d only played in Paris). The reason for ceasing business activities were more or less the same for everyone: there were no venues outside one’s small circuit to play this kind of rock music, which was still frightening, unknown, or of little interest to most people. The chances of recording an LP were virtually null, since major labels were only signing unoriginal but reassuring sub-Téléphone clones, and the smaller ones were only interested in progressive rock or French chanson for youth clubs. And what about self-production? No one in our small safety-pinned world had thought about it yet. There wasn’t enough money to embark on that sort of venture anyway.\u003c\/p\u003e\n\u003cp\u003eSo yes, the early days of punk in France were truly No Future!\u003c\/p\u003e","brand":"BORN BAD RECORDS","offers":[{"title":"CD","offer_id":56844414222661,"sku":"BB0195CD","price":14.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/Guilty-Razors-cover-HD_718130f4-1615-4280-818e-97eb69f079f2.jpg?v=1768235417"},{"product_id":"wizzz-bundle","title":"WIZZZ! – Bundle Vol. 1 - 5","description":"\u003cp data-pm-slice=\"0 0 []\"\u003eWizzz! est une série de compilations dédiée aux archives de la pop française des années 1960 et 1970.\u003cbr\u003eUn bundle en édition limitée réunissant les Vol. 1 à 5 est disponible en quantités limitées à un prix spécial !\u003c\/p\u003e","brand":"BORN BAD RECORDS","offers":[{"title":"Bundle","offer_id":57051145044293,"sku":"BUNDLE-WIZZZ-BB","price":109.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/Wiiiz_Bundle_LP.png?v=1770128768"},{"product_id":"dorian-pimpernel-flowers-too","title":"Flowers Too","description":"\u003cp\u003eWhat is pop doing today? It fills our heads, sometimes it lifts us up. It invents sparingly, it steals a bit, it copies a lot. It still walks beside us, it also torments us. Now and then it exhilarates us, often it diminishes us. But what it hardly does anymore is make us dream — truly dream, with our eyes open as well as closed.\u003c\/p\u003e\n\u003cp\u003eThat is precisely where Dorian Pimpernel returns.\u003c\/p\u003e\n\u003cp\u003eFor if their first album, ALLOMBON, could be seen as the opening of a secret passage, this second record, “FLOWERS TOO,” is something else: no longer the discovery of a world, but its methodical exploration, its feverish mapping, its deepening down to the underground layers. Where contemporary psychedelia seems at a standstill, where ecstasy has lost its effect, where the vast territories of the imagination have been parceled out, signposted, monetized — they are still digging. And deeper.\u003c\/p\u003e\n\u003cp\u003eEsoteric pop — the noblest, the most dangerous kind — is no longer practiced on the surface. It has left the grand avenues to take refuge in hidden laboratories, mental back rooms, basements buried deeper still than those of garage, punk, or black metal. That is where the secret society Dorian Pimpernel has been working for years, with an obstinacy that feels less like a career than a calling.\u003c\/p\u003e\n\u003cp\u003eTheir first album laid the foundations of a language, a climate, a possibility. This one is its inner chamber.\u003cbr\u003eThe five members — that drummer fascinated by Antiquity, that part-time philosopher songwriter, that polymorphous filmmaker-composer, that record-possessed bassist-archivist, that singer long secluded with his guitar — have not changed in nature. But their music has mutated. Denser. More coherent. More inhabited.\u003c\/p\u003e\n\u003cp\u003eStill far from the classic pattern of “a bunch of friends starting a band,” they pursue their strange project: moonshine pop, the nocturnal, lunatic, sometimes venomous underside of Californian sunshine pop. Except that here, the concept is no longer an aesthetic hypothesis — it’s a territory. Johan no longer speaks of a sketch, but of a world. A world built brick by brick, record by record, where every sound, every timbre, every intention has its place like in a secret architecture.\u003c\/p\u003e\n\u003cp\u003eIf the first album opened the door, this second one pushes you inside — so far that it will be your dreams, and perhaps your nightmares, that must host the creatures dwelling there.\u003c\/p\u003e\n\u003cp\u003eLike the half-literary, half-magical books of the Renaissance, this record functions as a closed yet infinite system. Each song is both fragment and totality: autonomous, yet perforated, inhabited by the vertiginous feeling that other rooms, other corridors, exist right next door. The whole forms a labyrinth whose map one can study… or choose to get lost in.\u003c\/p\u003e\n\u003cp\u003eFor whether one is a manic exegete or a simple nocturnal wanderer, one thing strikes first: it’s pop.\u003cbr\u003eGreat melody. Immediate, supple, luminous — even when it speaks from the shadows. If their art belongs to esotericism, it does so in the manner of Alice in Wonderland: gently, in colors, with a smile that hides abysses.\u003c\/p\u003e\n\u003cp\u003eTheir influences are still there, but more deeply digested: the learned psychedelia of the ’60s, the dreamed bridges between Canterbury and Düsseldorf, haunted film scores, rare synthesizers and old guitars that populate their studio-cabinet of curiosities. Except here, none of this is quoted anymore — it breathes. It lives. It acts.\u003c\/p\u003e\n\u003cp\u003eOne could speak of a French form of hauntology, but less turned toward nostalgia than toward activating ghosts. As if they were speaking an ancient language, yes — but in a way that fully belongs to the new world, even if that world does not yet know it needs it.\u003c\/p\u003e\n\u003cp\u003eOn the surface, this music seems to come from yesterday.\u003cbr\u003eIn depth, it is strictly contemporary: ambiguous, shimmering, unstable, vibrant. But also — and above all — harmonious, immediate, deliciously toxic, of an almost suspicious beauty.\u003c\/p\u003e\n\u003cp\u003eThe real surprise is that this second album already has the density of a mature work. In its themes — lost illusions, roads leading nowhere, parallel worlds brushed against but never inhabited — as in its form: no longer merely a proposition, but a fully realized manifesto.\u003c\/p\u003e\n\u003cp\u003eThe dream machine is running again.\u003cbr\u003eAnd this time, it runs without an instruction manual.\u003c\/p\u003e","brand":"BORN BAD RECORDS","offers":[{"title":"LP","offer_id":57104536437061,"sku":"BB0196LP","price":22.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/Capture-d-ecran-2026-02-03-a-16.40.59_0bd81859-b539-49be-948a-fa458f92bbfb.jpg?v=1770802289"},{"product_id":"dorian-pimpernel-flowers-too-cd","title":"Flowers Too - CD","description":"\u003cp\u003eWhat is pop doing today? It fills our heads, sometimes it lifts us up. It invents sparingly, it steals a bit, it copies a lot. It still walks beside us, it also torments us. Now and then it exhilarates us, often it diminishes us. But what it hardly does anymore is make us dream — truly dream, with our eyes open as well as closed.\u003c\/p\u003e\n\u003cp\u003eThat is precisely where Dorian Pimpernel returns.\u003c\/p\u003e\n\u003cp\u003eFor if their first album, ALLOMBON, could be seen as the opening of a secret passage, this second record, “FLOWERS TOO,” is something else: no longer the discovery of a world, but its methodical exploration, its feverish mapping, its deepening down to the underground layers. Where contemporary psychedelia seems at a standstill, where ecstasy has lost its effect, where the vast territories of the imagination have been parceled out, signposted, monetized — they are still digging. And deeper.\u003c\/p\u003e\n\u003cp\u003eEsoteric pop — the noblest, the most dangerous kind — is no longer practiced on the surface. It has left the grand avenues to take refuge in hidden laboratories, mental back rooms, basements buried deeper still than those of garage, punk, or black metal. That is where the secret society Dorian Pimpernel has been working for years, with an obstinacy that feels less like a career than a calling.\u003c\/p\u003e\n\u003cp\u003eTheir first album laid the foundations of a language, a climate, a possibility. This one is its inner chamber.\u003cbr\u003eThe five members — that drummer fascinated by Antiquity, that part-time philosopher songwriter, that polymorphous filmmaker-composer, that record-possessed bassist-archivist, that singer long secluded with his guitar — have not changed in nature. But their music has mutated. Denser. More coherent. More inhabited.\u003c\/p\u003e\n\u003cp\u003eStill far from the classic pattern of “a bunch of friends starting a band,” they pursue their strange project: moonshine pop, the nocturnal, lunatic, sometimes venomous underside of Californian sunshine pop. Except that here, the concept is no longer an aesthetic hypothesis — it’s a territory. Johan no longer speaks of a sketch, but of a world. A world built brick by brick, record by record, where every sound, every timbre, every intention has its place like in a secret architecture.\u003c\/p\u003e\n\u003cp\u003eIf the first album opened the door, this second one pushes you inside — so far that it will be your dreams, and perhaps your nightmares, that must host the creatures dwelling there.\u003c\/p\u003e\n\u003cp\u003eLike the half-literary, half-magical books of the Renaissance, this record functions as a closed yet infinite system. Each song is both fragment and totality: autonomous, yet perforated, inhabited by the vertiginous feeling that other rooms, other corridors, exist right next door. The whole forms a labyrinth whose map one can study… or choose to get lost in.\u003c\/p\u003e\n\u003cp\u003eFor whether one is a manic exegete or a simple nocturnal wanderer, one thing strikes first: it’s pop.\u003cbr\u003eGreat melody. Immediate, supple, luminous — even when it speaks from the shadows. 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Featuring names like \u003cstrong\u003eJean Constantin\u003c\/strong\u003e, \u003cstrong\u003eMarpessa Dawn\u003c\/strong\u003e and \u003cstrong\u003eMagalie Noël\u003c\/strong\u003e, \u003cstrong\u003eIsabelle Aubret\u003c\/strong\u003e, \u003cem\u003eTchic Tchic\u003c\/em\u003e also shows how major figures in French cinema and music embraced this trend.\u003c\/p\u003e\n\u003cp\u003eSince the late 1950s, Brazilian bossa nova has heavily influenced French song. Popularized in Brazil by \u003cem\u003e\u003cstrong\u003eJoão Gilberto\u003c\/strong\u003e\u003c\/em\u003e and other musicians, it derives from samba but is distinguished by innovative harmonies and a more subtle style. Born in a context of optimism in Brazil (Kubitschek years), bossa nova quickly became an international phenomenon, particularly after its adoption by American jazz musicians and the success of \u003cem\u003eThe Girl from Ipanema\u003c\/em\u003e. Arriving in France via artists like Pierre Barouh or Georges Moustaki, it integrated into the Parisian scene, especially in Saint-Germain-des-Prés.\u003c\/p\u003e\n\u003cp\u003eFrench musicians appropriated it by mixing it with jazz, pop or funk, giving birth to a \"French bossa nova\" (1960s-1970s). This reinterpretation produced original and sometimes experimental, even psychedelic, pieces bringing together various singers, composers and arrangers. While Brazilian lyrics are often poetic and philosophical, French versions sometimes lean towards light exoticism or carnival. At first glance, the words \"French\" and \"bossa nova\" may seem oddly associated, but \u003cem\u003eTchic Tchic\u003c\/em\u003e proves that this combination works perfectly — and that it is the ideal soundtrack for summer.\u003cbr\u003e\u003c\/p\u003e","brand":"BORN BAD RECORDS","offers":[{"title":"2LP","offer_id":57176660967749,"sku":"BB0125LPBW","price":28.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/86596DFB-833D-4EA0-AE6A-1C793AAB8AAB.jpg?v=1771346385"},{"product_id":"a-moi-la-liberte-early-electronic-rai-algerie-1983-90-2lp","title":"A moi la liberté - Early Electronic Raï (Algérie 1983-90)","description":"","brand":"BIGWAX DISTRIBUTION","offers":[{"title":"2LP","offer_id":57373984391493,"sku":"BB0160LP","price":23.2,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/3521381577112.jpg?v=1773398414"},{"product_id":"jacques-tati-swing-ost-jour-de-fete-les-vacances-de-monsieur-hulot-mon-oncle-playtime-trafic-parade","title":"SWING (OST \"JOUR DE FETE\" \/ \"LES VACANCES DE MONSIEUR HULOT\" \/ \"MON ONCLE\" \/ \"PLAYTIME\" \/ \"TRAFIC\" \/ \"PARADE\")","description":"\u003cp\u003eOn your mark, get set, listen!\u003c\/p\u003e\n\u003cp\u003eWatching a movie by Tati is a surprising experience; in his films, sound and music speak more than do words, overtaking the conventional discourse – and boredom – of adulthood. Hulot remains silent, or mumbles. Tati knows all about the noises of the modern world: beeps, rings, crackles, pneumatic drill, cars, mechanical, electrical and rubbery sounds, the high heels of secretaries and typewriters, factory noises, creaking doors, sighing chairs, machines and technical machines, franglais, vacuum cleaners and the whole range of small appliances… With all of that urban and domestic jumble, plastics of all sorts, linoleum and formica, he composes a virtuoso partition. Signs and signals, warning sounds and sirens mislead us in the urban space. Tati maliciously disorients us. Maximalist, he records on five tracks in skilful, tasteful rhythms – a pleasure for the senses. Hearing Mon Oncle, Les Vacances de Monsieur Hulot, Playtime changes one’s outlook onto the world – never again will you perceive the noises of towns and villages in the same way. The modern city is Hulot’s playground – with it he invents a totally new soundscape. Then there’s the organic, the countryside, the barking dogs, the wasp bothering François on his bicycle, all the way to the mailman’s fall into the river…When we met Jacques Tati in his modest, shooting paraphernalia-filled office on rue de Bièvres, he spoke about music hall and its rules, silent cinema, his famous pantomime Impressions Sportives… In praise of gestures and noises, and not a word. As for his movies’ music, which he described as color, it bursts right into the mess, opens up the celebration: drummer’s frenzy, frenetic dance at the Royal Garden… Never illustrative, it shakes up the thrumming of the modern world and makes its way through the story, just like a real character. Images and sound are edited as one single material, both equally partaking in the story. Tati masters the art of tempo – there’s not one sound, one note, one silence too many in the scenario. Pure sophistication.\u003c\/p\u003e\n\u003cp\u003eSo try it tonight; put the record on, lie down, close your eyes and listen. If you know Tati’s movies, your journey shall be visual and total, complete with sequence shots, colors, blurry decors, the refinement of neon lights, the modern city and its airport, Saint-Maur or Villa Arpel style, Saint-Sévère or Saint-Marc-sur-mer’s “Hôtel de la plage”, big top or auto show, Daki the dachshund, little Gérard, the American tourists… It will all come back to your mind. Phatasmagoria. Should you not ever have seen one Tati’s brilliant films, nor his footwork and melancholy jokes, nor Hulot’s poetic, funny perdition and all of his other meticulously sketched characters, then you’re in for a trip. Your imagination’s bound to take off – for Tati, sound is cinema’s big thing. Magnificent maniac, he captures and catches sounds and music in a skilful, sensuous architecture. O joy of perception! The world’s noises concern and amuse him; they say just as much as the image does, take it into modernity, tell of our shortcomings, maladjustment and bewilderment. From music hall he kept a liking for Foley and the art of recreating sounds in a poetic otherworld. From the villages he brought back the funfair and the accordion; from the modern town: music the American way, jazz, some very Parisian tunes, and other merry-go-round melodies… Even without the images, it’s still cinema!\u003c\/p\u003e\n\u003cp\u003eWhat’s more: for his last scenario, Confusion, Tati had planned to collaborate with the Sparks, the talented band behind the soundtrack for Annette, Léos Carax’s surprising film… From Mr Hulot’s house’s canary whistling in the sunshine to musical’s fantastic puppets, we’re undoubtedly siding with poets.\u003c\/p\u003e\n\u003cp\u003eMacha Makeieff\u003c\/p\u003e","brand":"BIGWAX DISTRIBUTION","offers":[{"title":"2LP","offer_id":57694812406085,"sku":"BB0167LPBW","price":28.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/Tati-swings-cover-HD.jpg?v=1776258329"},{"product_id":"mar-vista-visions-of-sodal-ye","title":"Visions of Sodal Ye","description":"\u003cp\u003eOriginally Self-produced in 150 copies (1977), MAR-VISTA’s only album is one of France’s most strange and radical records. Psychedelic electronic music, experimental, and acid folk\u003cbr\u003eA collector’s holy grail for fans of Klaus Schulze, Terry Riley, Neu, and Silver Apples.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eIncludes a previously unreleased second record (1973).\u003c\/p\u003e","brand":"BIGWAX DISTRIBUTION","offers":[{"title":"2LP","offer_id":57854464557381,"sku":"BB0197LP","price":26.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/SiMULATION-EMPLACEMENT-STICKER-5x5cm.jpg?v=1777910457"},{"product_id":"forever-pavot-lengloutie-ost","title":"L'Engloutie - OST","description":"\u003cp\u003eComposed by Forever Pavot for the film L'Engloutie, this original soundtrack reveals a more intimate and cinematic side of Forever Pavot's musical universe.\u003c\/p\u003e\n\u003cp\u003eBlending hypnotic melodies, ethereal Morricone-inspired choirs, delicate orchestrations and psychedelic textures, these tracks accompany the film's images with a uniquely evocative elegance. Both contemplative and mysterious, the music extends the film's enigmatic atmosphere long after the screen fades to black.\u003c\/p\u003e\n\u003cp\u003ePressed in a strictly limited edition of just 300 copies.\u003c\/p\u003e","brand":"BIGWAX DISTRIBUTION","offers":[{"title":"7inch","offer_id":58491221541189,"sku":"BB0202EP","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/files\/L-engloutie_Web.jpg?v=1783435281"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0004\/4099\/1797\/collections\/LOGO_BORN_BAD_finalrond_VECTORISE.png?v=1765880215","url":"https:\/\/miniwax.club\/en-us\/collections\/label-born-bad-records.oembed?page=2","provider":"Miniwax","version":"1.0","type":"link"}