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.

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.

French 60's compilation... finally reissued

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.

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.

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.

Two years of waiting before FRUSTRATION's first LP, "Relax", was ready… Two years of consensus around their previous maxi, "Full of sorrows", as popular with the in-crowd, the taliban of Rock'n roll, as it has been with the Goths…. In short, with 3000 maxis of Full of Sorrow sold, and a legitimate buzzzz around the group, FRUSTRATION's formula remains the same: powerful and virile pieces at the service of a cold and sombre post punk...

includes 7"

zwei Vinylplatten im Klappcover mit bedrucktem Innencover

Deep biguines & Gwo ka from 60’s french West-indies

Garage spiced r'n'r from France. Their music often gets compared to Thee O Sees, Mark Sultan, Gories, Mojomatics, Fuzztones etc...!!!

In the beginning, Lonely Walk was a post-apocalyptic and personal digression created by Mickael Appollinaire, AKA Monsieur Crane, being also a dark preacher in the band Strasbourg. The record label Satanic Royalty released V.I.H.S., Lonely Walk's first LP in stores in 2013, which was well received by the critics. Then followed the NGHTMR EP, then a more personal album called BORE in 2014. All these secluded compositions came on stage radically changed with the addition of a 5-piece live band, which counted Alice from JC Satàn on the bass guitar and Johan Gustafsson from Black Bug in its ranks. The label BORN BAD RECORDS will release the album TEEN at the end of 2015, Lonely Walk's first album recorded with the live band in the studio Mikrokosm in Lyon, France. What can we hear on this record ? Eleven dark and addictive songs. A hypnotic post-punk slumming it with pop and making a few psychedelic stops, led by an obsessive singing with catchy slogans.Happy innocent children shout because school's out (Burial Tomb), the epic violin of Tamara Goukassova shreds the toxic atmosphere (War, Black Dragonfish). To cut a long story short, Lonely Walk takes us right to Doomsday, but not the one we dread. The one we crave for, eyes wide open and dilated pupils, drinking a nice and cheap cocktail of liquid nitrogen. One can think of Clinic, Soft Moon or A-Frames, but you must look towards Australia to find cousins to Lonely Walk, with bands like Eddy Current Suppression Ring or Total Control.

Regal is probably the only french garage band whose members met on World of Warcraft. Very quickly confronted to their own limits of skill on banjo, Xavier (drummer from “The Last Rapes” and “Le Pécheur”) and Caelan (Toulousain and New Zealander) put their folk aspirations aside and called upon Maxime to play bass guitar. The trio asked Antoine Marchalot, the “living good of comical comic strips” still unknown at the time. His sense of humor,equal to his sense of rhythm -personal and unexpected- doesn’t stop the band from organizing several tours in Europe and release two albums, “Possible Endings” in 2012 (Frantic City/Azbin) and “Misery, Redemption & Love” (Azbin) in 2013 (Azbin Records being the label that Xavier erected in 2011). It is during the end of the year’s festivities that Maxime retires from Regal and from his bass amp to pursue other passions: the observation of the cosmos. The band then turns to Fadi, a Syro-Lillois metallurgist often present in “La Barrière”, thick and aging building in the ghost town of Chercq (Belgium) where Xavier and Caelan live.After a tour of 30 gigs in 31 days in May, Caelan and Xavier go back to the studio to record the band’s 3rd album

French 60's compilation

mit bedrucktem Innencover

limited edition blue vinyl

rotes Vinyl, mit Einlageblatt

Digipak

gatefold sleeve with insert

Klappcover

black vinyl double single

3-track CD single