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CD
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BORNBAD 185CD
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$12.50
PREORDER
RELEASE DATE: 9/12/2025
Star Feminine Band, hardest working women in Beninese show business, present their third album on Born Bad. These eight young women, from a village that even Beninese can't quite place, started out in hard mode. They had to convince themselves that it was worth a shot, but also their family, their village and an entire continent. André Balaguemon, composer, manager and lyricist, does a lot, while remaining in the background. He put the group together, included his three daughters, houses everyone with his wife Edwige who also manages dances and costumes. He gave them a musical training, and created the framework for them to continue school while rehearsing hard. From local heroes to UNICEF ambassadors, the group has made it. The very existence of this new album is a testament to the perseverance of Grâce, Anne, Urrice, Bénie, Angélique, Sandrine, Julienne, and Ashley. The personnel of this family affair has changed a bit: two new women have joined the group, which conquered bigger stages. This new album brings simple joys: watching them grow from Benin's first girl band to a band in its own right. Star Feminine Band makes straightforward music, taking no detours to express what's missing in the country. The musicians having a lot of fun on this album. It wanders through the vast territory of the countless West African styles. They even make a quick foray into reggae to talk about marriage (with a little rap thrown in), and interweave their voices in multiple languages (Waama, Ditamari, Bariba, Fon, Yoruba). And boy do they have hits. To each is own, but "L'enfant c'est un don de Dieu" (Child is god's gift) is a mighty steamroller, methodically smoothing out the ground for dancing together to its final chorus, singing "debout-les-en-fants / get up, kids!" along. Smoother than the first two albums, supported by fine arrangements, ambitious keyboard parts and more complex vocal harmonies without losing any of their spontaneity, this third opus quietly adds to Benin's musical heritage. As they make clear in "Jusqu'au bout du monde," a clever little number that listeners can already hear swelling up on stage.
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LP
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BORNBAD 185LP
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$21.50
PREORDER
RELEASE DATE: 9/12/2025
LP version. Star Feminine Band, hardest working women in Beninese show business, present their third album on Born Bad. These eight young women, from a village that even Beninese can't quite place, started out in hard mode. They had to convince themselves that it was worth a shot, but also their family, their village and an entire continent. André Balaguemon, composer, manager and lyricist, does a lot, while remaining in the background. He put the group together, included his three daughters, houses everyone with his wife Edwige who also manages dances and costumes. He gave them a musical training, and created the framework for them to continue school while rehearsing hard. From local heroes to UNICEF ambassadors, the group has made it. The very existence of this new album is a testament to the perseverance of Grâce, Anne, Urrice, Bénie, Angélique, Sandrine, Julienne, and Ashley. The personnel of this family affair has changed a bit: two new women have joined the group, which conquered bigger stages. This new album brings simple joys: watching them grow from Benin's first girl band to a band in its own right. Star Feminine Band makes straightforward music, taking no detours to express what's missing in the country. The musicians having a lot of fun on this album. It wanders through the vast territory of the countless West African styles. They even make a quick foray into reggae to talk about marriage (with a little rap thrown in), and interweave their voices in multiple languages (Waama, Ditamari, Bariba, Fon, Yoruba). And boy do they have hits. To each is own, but "L'enfant c'est un don de Dieu" (Child is god's gift) is a mighty steamroller, methodically smoothing out the ground for dancing together to its final chorus, singing "debout-les-en-fants / get up, kids!" along. Smoother than the first two albums, supported by fine arrangements, ambitious keyboard parts and more complex vocal harmonies without losing any of their spontaneity, this third opus quietly adds to Benin's musical heritage. As they make clear in "Jusqu'au bout du monde," a clever little number that listeners can already hear swelling up on stage.
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CD
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BORNBAD 183CD
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$12.50
PREORDER
RELEASE DATE: 9/12/2025
Here are fourteen tracks of untimely yet unprecedented cross-fertilization from the French West Indies: 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." The opening track features one of the emblematic orchestras of this aesthetic identity, criscrossing many music types from the archipelago. The 1974 Ray Barretto guajira is magnificently performed by Malavoi, a legendary Fayolais group. Additionally, the compilation ends on a piece by Los Martiniqueños de Francisco. 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. 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 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. 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. 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. 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." Digipack CD includes 20-page booklet, and liners notes in French, Spanish, English. LP version includes 6-page booklet.
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LP + 7"
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BORNBAD 188LP
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$25.00
PREORDER
RELEASE DATE: 9/12/2025
To celebrate the 40th anniversary of the release of this indisputable classic of French coldwave and synthwave, including hits such as "Polaroid Roman photo" and "Mots," Born Bad presents a limited-edition reissue, including a bonus 7" with two previously unreleased tracks and a 12-page vinyl booklet. Thierry Müller, who initiated the RUTH project, was not a newcomer when the album Polaroid Roman Photo was released in 1985. As early as 1982, an early version of the track "Polaroïd/Roman/Photo" was released under the project RUTH. "I wanted to write a piece to make the girls dance and make fun of the boys. I plugged a small handmade clock on my Farfisa organ as a sequencer. I had a small Roland synth-guitar, I put the organ in it and that's how it started." Thierry worked on other tracks for the future LP and asked some friends to write other texts. Later, Thierry settled down in the Anagramme recording studio to carry out acoustic sound recordings. But when the sessions were over, he was not too happy with the results of "Polaroïd/Roman/Photo": according to them, they lacked "flamboyance". They decided then to record a new female voice with a professional singer and the sound engineer Patrick Chevalot offered to mix the track in the Synthesis studio "so that it blows out." With his tape ready and the help of Jacques Pasquier (S.C.O.P.A./ Invisible Records) he started 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." The album barely sold 50 copies in 1985, despite the eponymous title being a potential success. In 2004, two DJs (Marc Colin and Ivan Smagghe) discovered the track "Polaroïd/Roman/Photoand," and decided to exhume it from oblivion. They released it on a compilation called So Young But So Cold (Tigersushi) and then with Born Bad records on the BIPPP compilation in 2008. Thanks to them, the track and the album began a new life. Alongside his activity as graphic designer, Thierry Müller carries on producing music under his name, those of ILITCH and RUTH, and with various collaborators.
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LP
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BORNBAD 183LP
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$22.50
PREORDER
RELEASE DATE: 9/12/2025
LP version. Here are fourteen tracks of untimely yet unprecedented cross-fertilization from the French West Indies: 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." The opening track features one of the emblematic orchestras of this aesthetic identity, criscrossing many music types from the archipelago. The 1974 Ray Barretto guajira is magnificently performed by Malavoi, a legendary Fayolais group. Additionally, the compilation ends on a piece by Los Martiniqueños de Francisco. 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. 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 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. 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. 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. 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." Digipack CD includes 20-page booklet, and liners notes in French, Spanish, English. LP version includes 6-page booklet.
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2LP
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BORNBAD 180LP
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Double LP version. "Hi, it's Arthur. Here's a lesson on how not to fit into the modern music world (while still having fun). I want to make a big album. A brick. An intense, long, rich, dripping, ostentatious block. I want it to give me the feeling that I haven't overthought it. That I've listened to my lowest instincts as a musician, and I want to embark on an adventure while doing it. With its highs, lows, doubts, and moments of intense pride when you feel that massive chaos take the shape of what has, for me, become an odyssey. Forgive this lyricism, but it's also the foundation of this record. My first album, which arrived through the means of a global pandemic and the kindness of the Born Bad label in 2021, opened Pandora's box? I don't want to forget the obscure yet brilliant bands each decade has gifted us, but I also want to confront the ambition of the greatest? I want to tell myself that I don't have to write 'in' the footsteps of the Beatles, Emitt Rhodes, Bowie, or Neil Young, but that I can walk alongside them, as quietly as possible, while always pushing as far as my musical ambitions take me. So here's where it leads: A long, dense double album. The aforementioned brick? I now take the liberty to speak to those who will listen to this record, to share my idea of how to approach it. For me, it's a tribute to the adventurous, sprawling albums of the '60s, '70s, and even today, to be honest. Long, winding, baroque albums, that we listen to throughout our lives, and constantly rediscover. Albums we can listen to in small bits, sometimes one side, sometimes another, not always in the same order, not always in full. These enduring albums, by their very nature, have nourished me and still fascinate me (The Beatles' White Album, The Pretty Things' Parachute, The Kinks' Arthur, Pink Floyd's A Saucerful of Secrets, or the Desert Sessions in a more modern style)? A double album, in a gatefold format, is necessarily a strong, imposing object. So it only makes sense to accompany it with artwork that matches its weight. After all, a cover doesn't disappear once you've placed the record on the turntable. So why not get lost in it while the music does its work? To everyone who buys, steals, or downloads this record, you have my deepest gratitude." --Arthur Satan
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CD
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BORNBAD 180CD
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"Hi, it's Arthur. Here's a lesson on how not to fit into the modern music world (while still having fun). I want to make a big album. A brick. An intense, long, rich, dripping, ostentatious block. I want it to give me the feeling that I haven't overthought it. That I've listened to my lowest instincts as a musician, and I want to embark on an adventure while doing it. With its highs, lows, doubts, and moments of intense pride when you feel that massive chaos take the shape of what has, for me, become an odyssey. Forgive this lyricism, but it's also the foundation of this record. My first album, which arrived through the means of a global pandemic and the kindness of the Born Bad label in 2021, opened Pandora's box? I don't want to forget the obscure yet brilliant bands each decade has gifted us, but I also want to confront the ambition of the greatest? I want to tell myself that I don't have to write 'in' the footsteps of the Beatles, Emitt Rhodes, Bowie, or Neil Young, but that I can walk alongside them, as quietly as possible, while always pushing as far as my musical ambitions take me. So here's where it leads: A long, dense double album. The aforementioned brick? I now take the liberty to speak to those who will listen to this record, to share my idea of how to approach it. For me, it's a tribute to the adventurous, sprawling albums of the '60s, '70s, and even today, to be honest. Long, winding, baroque albums, that we listen to throughout our lives, and constantly rediscover. Albums we can listen to in small bits, sometimes one side, sometimes another, not always in the same order, not always in full. These enduring albums, by their very nature, have nourished me and still fascinate me (The Beatles' White Album, The Pretty Things' Parachute, The Kinks' Arthur, Pink Floyd's A Saucerful of Secrets, or the Desert Sessions in a more modern style)? A double album, in a gatefold format, is necessarily a strong, imposing object. So it only makes sense to accompany it with artwork that matches its weight. After all, a cover doesn't disappear once you've placed the record on the turntable. So why not get lost in it while the music does its work? To everyone who buys, steals, or downloads this record, you have my deepest gratitude." --Arthur Satan
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CD
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BORNBAD 184CD
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Some record crates deserve a sub-category called "play it again, Sam." Casablanca-level comfort tracks that spin on the turntables without a push. Funk Kraut, Zombie Zombie's second LP on Born Bad, is of this kind. This well-proportioned classic is a fine example of the style the trio has been embodying: instrumental music played live, for synths and drums. And as far as funk goes, it's not Bootsy Collins, but there's a whiff. Space is structured by synth patterns, for optimized drumming: forward, straight and fluid, top-notch suspension (Cosmic Neman/Dr Schönberg take care of business on drums). They treat themselves to a diversion via Darmstadt to take some musique concrete on board: mechanical birds chirp, the odd atonal piano here and there. This was a quick affair, recorded by Laurent Deboisgisson in the studio of Cheveu's singer. A pretty straightforward job, and a far cry from their previous concept album. The cover, designed by Dddixie, sets the tone with its "Motorik Vibes & Stereo Grooves" sticker. Motorik, absolutely, it's autobahn time for 45mn. With "Densité," comes a polyphonic milestone: outright chords! Long, suspended pads, pierced only by fat claps. Clapping hands are not far off. The band shows it has mastered concise pop formats. Zombie Zombie sounds ready to write themes for niche TV series. "Aurillac Accident" documents a haphazard soundcheck which, once in the studio, became a bitter ballad, breaking apart into dubby gravy. Live, the two drummers face each other, and it's always a treat to witness the very fine intertwining that makes the band's signature sound: rich drums, percussion and West Coast synths stabs. This aspect of their work appears in "Snare Attack" and "Double Z," with its jogging hi-hats and creepy little toy piano motifs. Cardio levels are high on "Dodorian," perfect track for depraved spinning classes, with its moving filter, disco arpeggios and flashes of synthetic brass. "Magnavox Odyssey," a nostalgic but bouncy synth lasagna, brings this album to a majestic close, picking up where the band left off: no more singing in Latin, back to basics, play it again Sam.
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LP
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BORNBAD 184LP
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LP version. Some record crates deserve a sub-category called "play it again, Sam." Casablanca-level comfort tracks that spin on the turntables without a push. Funk Kraut, Zombie Zombie's second LP on Born Bad, is of this kind. This well-proportioned classic is a fine example of the style the trio has been embodying: instrumental music played live, for synths and drums. And as far as funk goes, it's not Bootsy Collins, but there's a whiff. Space is structured by synth patterns, for optimized drumming: forward, straight and fluid, top-notch suspension (Cosmic Neman/Dr Schönberg take care of business on drums). They treat themselves to a diversion via Darmstadt to take some musique concrete on board: mechanical birds chirp, the odd atonal piano here and there. This was a quick affair, recorded by Laurent Deboisgisson in the studio of Cheveu's singer. A pretty straightforward job, and a far cry from their previous concept album. The cover, designed by Dddixie, sets the tone with its "Motorik Vibes & Stereo Grooves" sticker. Motorik, absolutely, it's autobahn time for 45mn. With "Densité," comes a polyphonic milestone: outright chords! Long, suspended pads, pierced only by fat claps. Clapping hands are not far off. The band shows it has mastered concise pop formats. Zombie Zombie sounds ready to write themes for niche TV series. "Aurillac Accident" documents a haphazard soundcheck which, once in the studio, became a bitter ballad, breaking apart into dubby gravy. Live, the two drummers face each other, and it's always a treat to witness the very fine intertwining that makes the band's signature sound: rich drums, percussion and West Coast synths stabs. This aspect of their work appears in "Snare Attack" and "Double Z," with its jogging hi-hats and creepy little toy piano motifs. Cardio levels are high on "Dodorian," perfect track for depraved spinning classes, with its moving filter, disco arpeggios and flashes of synthetic brass. "Magnavox Odyssey," a nostalgic but bouncy synth lasagna, brings this album to a majestic close, picking up where the band left off: no more singing in Latin, back to basics, play it again Sam.
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CD
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BORNBAD 170CD
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Martin Circus was formed in the late '60s by bassist and composer Bob Brault as well as lyricist and multi-brass player Gérard Pisani. Both eclectic and talented personalities, they lived between Paris and various French provinces, constantly moving back and forth. By having their friends Patrick Dietschand and Paul-Jean Borowsky sing in French, Martin Circus invented a whole concept. By summoning figures such as Bluebeard, Asterix, Robert Desnos and Frank Zappa, they infused words with bold, playful references to French poètes maudits and countercultural material. The people who saw them on stage witnessed a dangerous and violent aspect to them. There was screaming, there were challenging lyrics blurted out, the audience was exhorted to face their own dullness. Sometimes an angry mood would run through the set and everybody seemed on edge, making the atmosphere even more electric. In 1973, the Martins were invited to join the huge cast of a musical called La révolution française, alongside young Bashung, Balavoine and Les Charlots. They produced some of the best songs on the record. They were also heard on the credits of the À vous de jouer Milord series, which they cowrote with François de Roubaix. Their music blended doo-wop and rockabilly with glam rock and funk music. They eventually hit disco when starring in a really bad, corny film called Les bidasses en vadrouille, which was first intended for Les Charlots. Vogue label president Léon Cabat and his lieutenant Gérard Hugé harbored dreams of greatness for their band. They commissioned a new disco album sung in English. Only three musicians were left in charge, who heavily resorted to some Bee Gees/Village People-aesthetics. Unfortunately, at the time, the disco wave was coming to an end. As the '80s arrived, Martin Circus once again changed the way they looked and their style. Inspired by Devo and their cold dance music, by Buggles' synthpop and Plastic Bertand's postpunk, the three of them crafted a highly modern album, in which Gérard Pisani returned as a lyricist and a saxophone player. As inspired as ever, he wrote genuine punchlines for lyrics, managing to encapsulate and reveal, here and there in just a few words, what was the epitome of the early decade. Despite a few revival attempts without him, the band eventually really came to an end. Throughout their career full of ups and downs, Martin Circus nonetheless managed to keep up with one stable element: contrary to what they seemed, the musicians never took the easy way out.
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LP
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BORNBAD 170LP
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LP version. Martin Circus was formed in the late '60s by bassist and composer Bob Brault as well as lyricist and multi-brass player Gérard Pisani. Both eclectic and talented personalities, they lived between Paris and various French provinces, constantly moving back and forth. By having their friends Patrick Dietschand and Paul-Jean Borowsky sing in French, Martin Circus invented a whole concept. By summoning figures such as Bluebeard, Asterix, Robert Desnos and Frank Zappa, they infused words with bold, playful references to French poètes maudits and countercultural material. The people who saw them on stage witnessed a dangerous and violent aspect to them. There was screaming, there were challenging lyrics blurted out, the audience was exhorted to face their own dullness. Sometimes an angry mood would run through the set and everybody seemed on edge, making the atmosphere even more electric. In 1973, the Martins were invited to join the huge cast of a musical called La révolution française, alongside young Bashung, Balavoine and Les Charlots. They produced some of the best songs on the record. They were also heard on the credits of the À vous de jouer Milord series, which they cowrote with François de Roubaix. Their music blended doo-wop and rockabilly with glam rock and funk music. They eventually hit disco when starring in a really bad, corny film called Les bidasses en vadrouille, which was first intended for Les Charlots. Vogue label president Léon Cabat and his lieutenant Gérard Hugé harbored dreams of greatness for their band. They commissioned a new disco album sung in English. Only three musicians were left in charge, who heavily resorted to some Bee Gees/Village People-aesthetics. Unfortunately, at the time, the disco wave was coming to an end. As the '80s arrived, Martin Circus once again changed the way they looked and their style. Inspired by Devo and their cold dance music, by Buggles' synthpop and Plastic Bertand's postpunk, the three of them crafted a highly modern album, in which Gérard Pisani returned as a lyricist and a saxophone player. As inspired as ever, he wrote genuine punchlines for lyrics, managing to encapsulate and reveal, here and there in just a few words, what was the epitome of the early decade. Despite a few revival attempts without him, the band eventually really came to an end. Throughout their career full of ups and downs, Martin Circus nonetheless managed to keep up with one stable element: contrary to what they seemed, the musicians never took the easy way out.
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CD
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BORNBAD 181CD
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Back in the day, when he was the drummer for Poni Hoax, Vincent Taeger would sing in French whatever came to his mind backstage after concerts, just for fun, to amuse his friend the late Nicolas Ker. Since then, time has flown by, undoubtedly bringing its share of ups and downs. Nonetheless, today, this artist with a long career is finally releasing his debut album as a singer, OK Crooner. It's indeed an album for a singer, but also one for a musician. For this part, Taeger doesn't come alone; he brings along the Jazz Kamasutra, a sexy sextet that knows how to play everything and will later accompany him on stage. To get to this point, Vincent Taeger had to stop playing around with big names like Air, Damon Albarn, Justice, Lenny Kravitz, Skepta, Tony Allen, Oumou Sangaré, Jeff Mills, Archie Shepp, Sampa the Great, and Andrea Laszlo de Simone. Coming from rap, he has a knack for punchlines. Throughout the album, he delivers just as many harsh or soft words as good ones, alternating between risqué humor, Gaulish wit, and poetry. Partially recorded at Studio Ferber, but mainly at home with his partner, known by the alias La Plongée, who co-produced the album for the occasion, OK Crooner is a key album in Vincent Taeger's discography. Besides being the one where he finally unveils his voice to the public, without pretense as it is prominently featured and minimally, if at all, retouched, Taeger also offers music that suits him perfectly. Sharp yet accessible, jazz, pop, baroque, classical, modern, and resolutely marked by Tony Allen's legacy, which he daringly mixes with Beethoven in the Fifth Symphony. While Vincent Taeger is the chief fireworks maker, playing most of the instruments, some of his longtime collaborators come to support him on a few tracks, forming the Jazz Kamasutra: Ludovic Bruni (bass), Sylvain Daniel (bass), Arnaud Roulin (piano, synth), Fred Soulard (synth), Maud Chabanis (vocals), Bettina Kee (vocals), Mathias Allamane (double bass), Émile Sornin (ondioline), and Rémi Sciuto (saxophones).
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LP
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BORNBAD 178LP
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LP version. Summer of love: they weren't around for the first, they've studied the second, and they're planning the next. Bryan's Magic Tears release their fourth album, Smoke and Mirrors, on Born Bad. The famed pupil-dilated Parisian shit-stirrers usually have a way of demolishing compositions in style when they go live. They'll have their work cut out for them with these new tracks bricked up in studio with Marc Portheau. Still a thing on previous records, 4AM (BORNBAD 108CD) and Vacuum Sealed (BORNBAD 146CD), their garage/noise legacy fades away, not denied though. Benjamin Dupont (guitar/vocals) collaborated with Lauriane Petit (bass/vocals) on four tracks, and recorded each instrument for this unabashed pop album. This confusing specimen will rave about fashionable shoegaze oldies while admitting a kink for All Saints. Aptly named, this new album pokes fun at stadium music while respecting its codes. Looks and sounds like Shaun Ryder had eaten Liam Gallagher, shamelessly churning out hits, leaning on a well-built wall of sound, held together by Raphaël Berrichon and Nicolas Boursier (guitars). The record heavily features that typical '90s shuffle beat, with which Bryan was already flirting, but they're an item now. Two-thirds of the tracks have that groove on. Lauriane and Benjamin offer matching vocal delivery, alternating rhythmic phrases crafted like riffs, and sweet dragging harmonies. This record offers a plump sound, tailor-made to spread arms, bob your head, and level the ground in festivals. Smoke and Mirrors ends with "Lady D," a clever dunce's essay on a rare subject. Went for the kill with acoustic guitar intro, strings on the chorus, warm heavy-hearted vocals, flanger on the drums when it's time to light the lighters, and put spoons on top. Because yes, it's still music to take drugs to make music to take drugs to listen to music.
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LP
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BORNBAD 181LP
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LP version. Back in the day, when he was the drummer for Poni Hoax, Vincent Taeger would sing in French whatever came to his mind backstage after concerts, just for fun, to amuse his friend the late Nicolas Ker. Since then, time has flown by, undoubtedly bringing its share of ups and downs. Nonetheless, today, this artist with a long career is finally releasing his debut album as a singer, OK Crooner. It's indeed an album for a singer, but also one for a musician. For this part, Taeger doesn't come alone; he brings along the Jazz Kamasutra, a sexy sextet that knows how to play everything and will later accompany him on stage. To get to this point, Vincent Taeger had to stop playing around with big names like Air, Damon Albarn, Justice, Lenny Kravitz, Skepta, Tony Allen, Oumou Sangaré, Jeff Mills, Archie Shepp, Sampa the Great, and Andrea Laszlo de Simone. Coming from rap, he has a knack for punchlines. Throughout the album, he delivers just as many harsh or soft words as good ones, alternating between risqué humor, Gaulish wit, and poetry. Partially recorded at Studio Ferber, but mainly at home with his partner, known by the alias La Plongée, who co-produced the album for the occasion, OK Crooner is a key album in Vincent Taeger's discography. Besides being the one where he finally unveils his voice to the public, without pretense as it is prominently featured and minimally, if at all, retouched, Taeger also offers music that suits him perfectly. Sharp yet accessible, jazz, pop, baroque, classical, modern, and resolutely marked by Tony Allen's legacy, which he daringly mixes with Beethoven in the Fifth Symphony. While Vincent Taeger is the chief fireworks maker, playing most of the instruments, some of his longtime collaborators come to support him on a few tracks, forming the Jazz Kamasutra: Ludovic Bruni (bass), Sylvain Daniel (bass), Arnaud Roulin (piano, synth), Fred Soulard (synth), Maud Chabanis (vocals), Bettina Kee (vocals), Mathias Allamane (double bass), Émile Sornin (ondioline), and Rémi Sciuto (saxophones).
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BORNBAD 178CD
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Summer of love: they weren't around for the first, they've studied the second, and they're planning the next. Bryan's Magic Tears release their fourth album, Smoke and Mirrors, on Born Bad. The famed pupil-dilated Parisian shit-stirrers usually have a way of demolishing compositions in style when they go live. They'll have their work cut out for them with these new tracks bricked up in studio with Marc Portheau. Still a thing on previous records, 4AM (BORNBAD 108CD) and Vacuum Sealed (BORNBAD 146CD), their garage/noise legacy fades away, not denied though. Benjamin Dupont (guitar/vocals) collaborated with Lauriane Petit (bass/vocals) on four tracks, and recorded each instrument for this unabashed pop album. This confusing specimen will rave about fashionable shoegaze oldies while admitting a kink for All Saints. Aptly named, this new album pokes fun at stadium music while respecting its codes. Looks and sounds like Shaun Ryder had eaten Liam Gallagher, shamelessly churning out hits, leaning on a well-built wall of sound, held together by Raphaël Berrichon and Nicolas Boursier (guitars). The record heavily features that typical '90s shuffle beat, with which Bryan was already flirting, but they're an item now. Two-thirds of the tracks have that groove on. Lauriane and Benjamin offer matching vocal delivery, alternating rhythmic phrases crafted like riffs, and sweet dragging harmonies. This record offers a plump sound, tailor-made to spread arms, bob your head, and level the ground in festivals. Smoke and Mirrors ends with "Lady D," a clever dunce's essay on a rare subject. Went for the kill with acoustic guitar intro, strings on the chorus, warm heavy-hearted vocals, flanger on the drums when it's time to light the lighters, and put spoons on top. Because yes, it's still music to take drugs to make music to take drugs to listen to music.
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BORNBAD 179LP
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For the first time, some hard-to-find tracks released by VOX LOW on different smalls labels. Some tracks have previously only been released on 7". Featuring Tarik Ziour.
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BORNBAD 177LP
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The Wild Classical Music Ensemble is a Belgian experimental rock band formed in 2007 by artists with mental disabilities within the social-artistic non-profit organization Wit.h in Kortrijk. Their unique sound is a blend of punk/rock riffs, fanatical rhythms and soaring flutes and fiery synths, over which gravitate multiple, multilingual voices that scratch harshly as much as they comfort. There's something very Belgian about this harshness and noisiness. During the Covid crisis, the disabled members of the Wild Classical Music Ensemble were undoubtedly subjected more than others to the harsh conditions of confinement, alone in their rooms. Damien Magnette was still able to visit them with sound equipment. This was one of their all-too-few windows onto the world. Forbidden to meet, let alone play together, the members of Wild were nevertheless able to compose songs in tandem with Damien. The tracks were then sent to musician friends -- Fabrice Gilbert, Ava Carrère, Wim Opbrouck, Shht, Arthur Satàn, Nathan Roche, and Julien ZLDR -- who added their artistic touch. Jean Lamoot and Carl Roosens joined the adventure, one as mixer, the other as video director. Leader Damien Magnette says: "For over a year, we were all confined. But what about when you're a mentally handicapped person? Well, it's very different from you and me. We have the right to choose, the luxury of deciding for ourselves what rules we want to follow or not. We have free will. They don't. This series of confined songs is dedicated to all the people who have gone through this crisis, deprived of their free will. We send them our thoughts, hugs and kisses full of true love!" The songs respond to a deep desire to look out for each other in adversity (the so obvious 'Comment ça va?' by Johan Geenens and Wim Opbrouck, or 'Waarom ben je boos' by Sébastien Faidherbe with Wim Decoene, the latter full of empathy). A sense of loneliness is logically present on the album ('Dat is mijn verdriet' by Linh Pham, a very real, very concrete and particularly touching poem, or 'Loneliness,' whose text was improvised by Wim), if not an understandable rage ('Je ne veux pas' and 'My Frustrations'). It worth noting that on "On reste heureux", Sébastien Faidherbe composed all the parts in one go, with an optimism that stands out from the anger expressed in his other songs.
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BORNBAD 176LP
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Gwendoline is the project from Micka (a.k.a. Mikoune) and Pierre (a.k.a. Daniel). Based in Brest in France, musically influenced by the classic cold wave which originated in their country, precarious and aimless, they shape Gwendoline to their own image. Pure DIY ethics, quick recordings at their home studio. Dark lyrics, self-mockery, criticism, sarcasm derived from the world's mediocrity. Après C'est Gobelet is their first album. Melodic but dark, ironic but direct, sophisticated but absolutely minimalistic. A testimony of today's world viewed under a grey prism of sarcasm and wrapped around beautiful melodies and rhythms.
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BORNBAD 175LP
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LP version. Among the figureheads of French disco, Bernard Fèvre, better known as Black Devil, probably had the shortest-lived career but was the most brilliant and unique mind of them all. Although his first album Disco Club, released in 1978, went unnoticed at first, it has since become a must-have, a collector's item which has led a lot of listeners to further investigate into his extensive work. From rock music to music hall, sound illustration to disco, pop to reggae, through film music and advertising, Bernard Fèvre has experimented with so many genres that it has been hard not to lose track. One of his best albums even has such an unambivalent title as The Strange World of Bernard Fèvre. Please make your way to a cosmic dimension, verging on the unknown.
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BORNBAD 175CD
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Among the figureheads of French disco, Bernard Fèvre, better known as Black Devil, probably had the shortest-lived career but was the most brilliant and unique mind of them all. Although his first album Disco Club, released in 1978, went unnoticed at first, it has since become a must-have, a collector's item which has led a lot of listeners to further investigate into his extensive work. From rock music to music hall, sound illustration to disco, pop to reggae, through film music and advertising, Bernard Fèvre has experimented with so many genres that it has been hard not to lose track. One of his best albums even has such an unambivalent title as The Strange World of Bernard Fèvre. Please make your way to a cosmic dimension, verging on the unknown.
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BORNBAD 174CD
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Cyril Cyril's music seems familiar because it's not deaf to its neighbors, in the broadest sense: Geneva, their lair, Europe, their playground as a duo, and the world, their grocery store. There's plenty in those two heads, but just the two of them on stage. Cyril Yeterian fiddles with a polyglot banjo and catches his tangy voice on the fly with pedals. Cyril Bondi hauls around a huge drum kit (voted wackiest of the decade), covered in sonic shells and the occasional pad. For their third Born Bad album, they have invited two lads from Orchestre Tout Puissant Marcel Duchamp, Inès Mouzoune (multi-instrumentalist from Amami), and Violeta Garcia (whose cello features on Le Futur ça marche pas). Genosidra, aka Carlos Quebrada, who crafts club delicacies in Bogotá, mixed heavy, full gravy, a challenge given the quantity of material, recorded as a family affair at Insub Studio. This album features heavy guitar/drums text-driven ballads, polyrhythmic noisy drum splatter with crafty vocal knitting, deconstructed and harmonically ambitious compositions, and Latino frogs croaks. Since their previous efforts Certaine Ruines (BORNBAD 109CD) and Yallah Mickey Mouse (BORNBAD 138CD), it turns out that the future isn't working out so badly for the two Cyrils, who each have a label to run. Bongo Joe for Yeterian, Insub for Bondi -- who also beats the drum for La Tène in his rare spare time. And that's not counting with their supergroup Yalla Miku (with Hyperculte, Anouar Baouna, Ali Boushaki, and Samuel Ades). Quietly sitting on crates of records, they patiently build their sound. Never tired of sick networks and never-ending struggles, Cyril Cyril live is a rousing mess, shouting out the common spleen while still managing to have a good laugh.
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BORNBAD 174LP
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LP version. Cyril Cyril's music seems familiar because it's not deaf to its neighbors, in the broadest sense: Geneva, their lair, Europe, their playground as a duo, and the world, their grocery store. There's plenty in those two heads, but just the two of them on stage. Cyril Yeterian fiddles with a polyglot banjo and catches his tangy voice on the fly with pedals. Cyril Bondi hauls around a huge drum kit (voted wackiest of the decade), covered in sonic shells and the occasional pad. For their third Born Bad album, they have invited two lads from Orchestre Tout Puissant Marcel Duchamp, Inès Mouzoune (multi-instrumentalist from Amami), and Violeta Garcia (whose cello features on Le Futur ça marche pas). Genosidra, aka Carlos Quebrada, who crafts club delicacies in Bogotá, mixed heavy, full gravy, a challenge given the quantity of material, recorded as a family affair at Insub Studio. This album features heavy guitar/drums text-driven ballads, polyrhythmic noisy drum splatter with crafty vocal knitting, deconstructed and harmonically ambitious compositions, and Latino frogs croaks. Since their previous efforts Certaine Ruines (BORNBAD 109CD) and Yallah Mickey Mouse (BORNBAD 138CD), it turns out that the future isn't working out so badly for the two Cyrils, who each have a label to run. Bongo Joe for Yeterian, Insub for Bondi -- who also beats the drum for La Tène in his rare spare time. And that's not counting with their supergroup Yalla Miku (with Hyperculte, Anouar Baouna, Ali Boushaki, and Samuel Ades). Quietly sitting on crates of records, they patiently build their sound. Never tired of sick networks and never-ending struggles, Cyril Cyril live is a rousing mess, shouting out the common spleen while still managing to have a good laugh.
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BORNBAD 172CD
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The relative classicism of Frustration's sixth album, Our Decisions, quenches the thirst of fans whose reputation is well established. Their music is driven by an initial desire that is sufficiently complex that its expression is never a repetition. Frustration doesn't teach music history, but that doesn't mean they don't know where they come from. One of the great joys of listening to a band that's had time to figure out what it wants is that it plays together. The keyboards have six strings, the drummer has a mediator, the bass sings, no one's pulling their punches, and it shows. No doubt there are plenty of presets on his synths, but Fred Campo had to rip out what wasn't being used, and the result: no lasagna of layers, it's played like a scraper. If this is your first knife, be confident: the quintet crafts its blades with the savoir-faire of a Thiers cutlery factory. For snobs who roll on the floor when English is sung on the wrong side of the Channel, two tracks in French, "Omerta" and "Consumés," remind listeners that Fabrice Gilbert sings in an interlanguage that has kept the best of both idioms. It's the perfect way to savor his acid, no-holds-barred rants, which cut a swath through this "generation of apathetic truffles/fantasizing about assholes full of money." Produced in-house at Mains d'Oeuvres, premixed by guitarist Nicus, mixed by Jonathan Lieffroy, with Krikor on mastering: there's been a bit of a shift to port since their last album, So Cold Streams. The sound is less radically cold wave, and seeks a balance close to the instruments (the guitar plays inside your face, closer is in). There are traces of Indus on the drum skins of "Riptide," tunnel produced like a banger, and sung like new wave. Anne, from the Rouen combo Hammershøi, sings in German on "Vorbei," a rare moment of pause in this very intense record. The cardio-packed drums of "Catching Your Eye" recall the joyful drone of "Shades from the past," an instrumental from their first album, and confirm, if confirmation were needed, that Mark Adolf forms a formidable tandem with Pat Dambrine on bass. "Secular Prayer," which closes the album, confirms that Frustration are as much in the Ian Curtis family as they are in the Ian Dury family: it takes great care not to take themselves so seriously with such success.
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BORNBAD 172LP
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LP version. The relative classicism of Frustration's sixth album, Our Decisions, quenches the thirst of fans whose reputation is well established. Their music is driven by an initial desire that is sufficiently complex that its expression is never a repetition. Frustration doesn't teach music history, but that doesn't mean they don't know where they come from. One of the great joys of listening to a band that's had time to figure out what it wants is that it plays together. The keyboards have six strings, the drummer has a mediator, the bass sings, no one's pulling their punches, and it shows. No doubt there are plenty of presets on his synths, but Fred Campo had to rip out what wasn't being used, and the result: no lasagna of layers, it's played like a scraper. If this is your first knife, be confident: the quintet crafts its blades with the savoir-faire of a Thiers cutlery factory. For snobs who roll on the floor when English is sung on the wrong side of the Channel, two tracks in French, "Omerta" and "Consumés," remind listeners that Fabrice Gilbert sings in an interlanguage that has kept the best of both idioms. It's the perfect way to savor his acid, no-holds-barred rants, which cut a swath through this "generation of apathetic truffles/fantasizing about assholes full of money." Produced in-house at Mains d'Oeuvres, premixed by guitarist Nicus, mixed by Jonathan Lieffroy, with Krikor on mastering: there's been a bit of a shift to port since their last album, So Cold Streams. The sound is less radically cold wave, and seeks a balance close to the instruments (the guitar plays inside your face, closer is in). There are traces of Indus on the drum skins of "Riptide," tunnel produced like a banger, and sung like new wave. Anne, from the Rouen combo Hammershøi, sings in German on "Vorbei," a rare moment of pause in this very intense record. The cardio-packed drums of "Catching Your Eye" recall the joyful drone of "Shades from the past," an instrumental from their first album, and confirm, if confirmation were needed, that Mark Adolf forms a formidable tandem with Pat Dambrine on bass. "Secular Prayer," which closes the album, confirms that Frustration are as much in the Ian Curtis family as they are in the Ian Dury family: it takes great care not to take themselves so seriously with such success.
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3LP
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BORNBAD 166LP
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The French equivalent of the English "Derby Service," the Kiosque d'Orphée, formerly at 7 Rue Grégoire de Tours in the 6th arrondissement, was taken over by Georges Batard in 1967 and moved to 20 Rue des Tournelles in the 4th arrondissement of Paris. The adventure lasted until 1991. Georges Batard was a sound engineer who used a Neumann tube engraver to engrave acetates from the tapes he received, before printing the precious vinyls in the press factories of the day, where he was able to produce very small runs of between 50 and 500 copies. Le Kiosque d'Orphée was neither a label nor a publisher, but a structure that allowed you to press your own vinyl, at a time when it was quite an adventure to get your first 45 rpm or 33 rpm album released! When you finally had your own record, you could give it away or sell it to friends, family or after concerts. You could also drop it off at the nearest record shop, with undisguised pride. It was also a calling card that could be sent to radio stations or music labels, in the hope of launching a career. At the time, the advertisements published in the press by the Kiosque d'Orphée opened up the field of possibilities for provincial composers. It was now possible to make their own record, without having to go through the process of signing with a label. This album is the conclusion of a long investigation, begun six years ago. It took a long time to find the records, scattered all over the place, in the homes of collectors and sometimes the musicians themselves, and then to listen to them, sometimes painstakingly, to unearth these moments of grace. From this work, 23 tracks remain, but there are dozens of others that could have been included, so Born Bad had to choose, and the choice had to be as universal as possible. Featuring Mar Vista, Kënnlisch, Crystal Eyes, Walrus, Gérard Alfonsi, Geoffroy, Amphyrite, Eole, Capucine, Rictus, Inscir Transit Express, Polaris, Joël Boutolleau, Spotch Forcey, Demon & Wizard, Temple Sun, Chantal Weber, Jean Claude Zemour, Rhodes & Co, Guidon, Edmond et Clafoutis, Dominique A, Didier Bocquet, and Alain Meunier.
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