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Forever Pavot: La Pantoufle
€17.90
Forever Pavot
La Pantoufle
LP (Vinyl)
We used to know Émile Sornin as the son, the pupil, who saw fathers of his among the pioneers of baroque, progressive and psychedelic pop; who found big brothers by heart and aesthetics in Aquaserge; the (nearly) solitary creator of the “fine retro-maniac piece of work” (The Drone), Rhapsode, in 2014. After experiences in metal, garage, hip hop, he had spent a lot of time exploring, mixing together, digging, getting to the roots with the seriousness of a young man on a quest for territories to occupy. An insatiable jack-of-all-trades, he directed delirious videos for Dizzee Rascal or Disclosure when he wasn’t combing the countryside to discover new instruments (the movie Le Bon Coin Forever). Here is Émile Sornin the (new) father, the dubbed artist, the one-man-studio fully aware of his essential influences (French 70s movie soundtracks – Philippe Sarde, François De Roubaix, Francis Lai – rather than Italian giallo soundtracks, synth pioneers such as Wendy Carlos or Mort Garson, library music à la Camille Sauvage, Claude Vasori and Roger Roger); the captain of a dense, tight live band. The man called by producer Sebastian to the bedside of – scoop – Charlotte Gainsbourg’s next album. The man who just gave birth to La Pantoufle. From shore to shore, Émile Sornin incorporated into his music the humor and self-mockery he didn’t dare to embrace in the past.
Various: Mobilisation Générale
€23.90
Various
Mobilisation Générale
Brigitte Fontaine
The Art Ensemble Of Chicago
François Tusques
Alfred Panou
Areski Belkacem
und 11 weitere ...
2×LP (Vinyl)
1968. France, Incorporated. The entire building was being consumed by flames and was slowly collapsing. Nothing would survive. Out of the rubble of the old world jumped the children of Marx and Coca-Cola, ripping the white and blue stripes off the French flag. Yet, the socialist revolution was more mythic than real and music did nothing to mitigate people's behavior. It was time for innovation. While singles from the Stones, Who, Kinks and MC5 provided an incendiary soundtrack for the revolution, it was Black Americans who truly blew the world from its foundations in the 60s. Ornette Coleman, Cecil Taylor, Eric Dolphy, Albert Ayler and Archie Shepp left behind the jazz of their fathers' generation, liberating the notes, trashing the structures, diving headfirst into furious improvisations, inventing a new land without boundaries – neither spiritual nor political. Free jazz endowed the saxophone with the power to destroy the established order. In 1969, the Art Ensemble of Chicago arrived at the Théâtre du Vieux Colombier in Paris and a new fuse was lit. Their multi-instrumentalism made use of a varied multiplicity of "little instruments" (including bicycle bells, wind chimes, steel drums, vibraphone and djembe: they left no stone unturned), which they employed according to their inspirations.
Various: Wizzz! Volume 2
€14.90
Various
Wizzz! Volume 2
Brigitte Fontaine
Philippe Nicaud
Bruno Leys
San-Antonio
Guy Skornik
und 9 weitere ...
LP (Vinyl)
Since the success of the first volume in 2002, WIZZZ has been considered the benchmark compilation of French sixties alternative pop. It launched an unprecedented craze for this rare breed of disc, featuring exceptionally danceable rhythms, twisted sounds from another world and demented lyrics, coupled with an underlying sense of mockery. It focuses on the creativity of these French artists who dared to break with the boring commercial conventions of their era. If your notion of French sixties music is based on innocuous hits from the likes of Adamo and Sheila, this new collection of rare and unreleased tracks, unearthed from the obscure depths of "Made in France" pop, will astonish you with the brilliance and daring of a few of their deranged cousins, who passed completely unnoticed in the epoch of Gainsbourg. WIZZZ 2 rediscovers and revitalizes these underground geniuses and freaks. Their audacity and inventiveness refutes those who sneer about the alleged inferiority of French pop.
Various: Bingo! French Punk Exploitation 1978-1981
€17.90
Various
Bingo! French Punk Exploitation 1978-1981
Too Much
Gérard Depardieu
Pierre Lasne
Soda Fraise
Stéfan
und 9 weitere ...
LP (Vinyl)
The real, great rock 'n' roll swindle? Don't look for it in the Pistols, well, in Mac Laren' movie The Great Rock 'n' Roll Swindle... you'd better search Belgium, and more specifically somewhere near Lou Deprijck and Yvan Lacomblez, two born-and-bred “Brusselians[1] ”. If their names don't ring a bell at first glance, you've most likely already wiggled to the interplanetary hit which brought them fortune (in every way): “Ça plane pour moi”! Oh yeah, France already had Antoine's “Élucubrations”, a mildly transgressive hit in its own way... and an unprecedented landslide in Gallic memory. But this time, another category was tackled! “Ca plane pour moi”? A moronic song by a crappy singer... The prank swept through the world and within a few months, no less than one million 45s were sold just in France. And the incredible part is that it was to spawn a mass-produced bunch of cover versions, finally becoming – how ironic – a universal punk anthem: think what you will, it IS the hold-up of the century! Of course, such a cash cow would arouse envy and create quite a few vocations among our fellow countrymen. The song's trademark derision was finally about to bridge the missing link between original punk – too violent, too dirty – and the general public eager to enjoy a little Saturday-night pogo.
Dorian Pimpernel: Allombon
€15.90
Dorian Pimpernel
Allombon
LP (Vinyl)
So what’s the purpose of pop music in 2014? It fills our head with silly things, It makes us better. Sometimes, it invents a little. Sometimes, it steals away from the past; sometimes it makes pristine copies from things we like. Sometimes, it guides us, sometimes it tortures us. Sometimes it makes us ecstatic. More than often, it disgusts us, and it demeans us, too. But one thing it does less than occasionally is making us dream, eyes open or eyes closed. Psychedelia is at a standstill, ecstasy is no longer effective on anyone, the terras incognitas of yore are squared from the Wild West to the Land of the Rising Sun and great songwriters are working for nobody as nobody is there to listen to their songs anymore. As for the great magicians of pop music, the children of George Martin, David Vorhaus, Syd Barrett or Don Van Vliet who used to command us in our dreams using potions, spell books and mirrors, they all went underground: if pop music's most beautiful race ever - the esoteric one - is still practiced by some, it is done so in secret laboratories and underground corridors that are buried deeper than those of garage rock, punk or black metal. A secret society of diligent practitioners of the cabalistic part of pop music for an eternity, Dorian Pimpernel only seems to be working with one goal in mind: restart the Machine that once made us dream and go into ecstasy.