[engl] On their first four albums, most bands go by the Wagner handbook, roughly drafted according to the Ring des Nibelungen : birth, conquest, war, destruction. They usually give it all on their first record, keep on trucking at a higher speed on the second, start back from scratch on third effort -most preferably in a totally opposite way- and gamble it all on a fourth album, for a sad epitaph or a one-way ticket to Valhalla. Cheveu has now reached album #3 and since they totally fucked-up the first two steps, there’s nothing surprising in seeing them come back at full speed on a countryside road stuck in a beat-up van on fire, with BUM, their most incredible piece of work to date. After a quick introduction (the promising but sketchy Cheveu), the parisian trio blew up on the world’s face with their second LP, 1000, a record thrown at the bored masses in full ragged glory. Cheveu now enters 2014 heavy-hearted and red-eyed, just like those wrecks of humanity blinded by the lights at closing time, their misery, bad skin and unachieved schemes exposed before dawn. Cheveu built its third LP on the ashes of those unholy hours, around the majestic « Polonia », a track on which David Lemoine recites a few lines from Bertrand Blier’s Buffet Froid with the set expression of a man empowered by the fact he just shit his pants, while Etienne Nicolas and Olivier Demeaux slowly unwind the rapturous scenery of a theologian western. The song is beautiful, grotesque, heart-rending, just like a scene out of Jean Ray’s Malpertuis backed by a funeral choir of angelwitches, and is definitely one of the most amazing things you’ll hear this year. BUM, just like « Polonia », is an inner trip, an odyssey bordered by the walls of an antique mansion, full of baroque embroidery and padded club chairs, perfect aural counterpart for the paintings, of Rousseau, master of the exotic which –paradoxically- never ventured out of France. Cheveu’s third record is full-on excess and absurdity, but is also much more legible and effective than their previous efforts (see « Juan In A Million » or the sure-fire hit « Albinos », which lyrics are taken from a monologue in Harmony Korine’s Gummo), even traditional at times (« Pirate Bay » seems like the very first Cheveu song where guitars sound like guitars). This time, the band opted for a much more live-based, organic and fully-produced sound, replacing 1000’s messy cut-ups and Cheveu’s shitgaze blur by throbbing organs (played by Xavier Klaine and recorded at Saint Merri Church) and wall-of-sound choirs (arranged in Tel-Aviv by Maya Dunietz, already in charge of the lush string arrangements on 1000). The result : 10 tracks drier and sharper than anything Cheveu has done before, definitely out-of-this-world but elegantly mannered, veined with unaltered genius and ending with the spectacular « Johnny Hurry Up », an unreal track which owes Wall Of Voodoo and X as much as François de Roubaix and crowns Cheveu as the masters of a new world where love burns over piles of rotting meat and shit.

[engl] Sérgio Augusto Bustamante was a flight attendant. He flew by the Southern Cross, Panair and Varig. In the sky, above the clouds, he used to daydream about Elvis. One day, he came down from the heights and he added a "u" to the Russian name Sergei, which he took out from a friend. He put on his boots and with them he embarked in an exciting trail of Rock’n’ Roll. Like a dreamer, he let emerge in all its fullness the figure of a rebellious, argumentative, naive and, above all, authentic character. His true self, Serguei. With his colorful clothes, long hair, red contact lenses, and in his hands, the hippies’ flag of peace & love, the anti-commercial Serguei, through several decades, carried on his back the weight of a public image much bigger than the work he was able to produce. Marginalized by option, Serguei tried psychedelia, tropicalism, and even Brazilian folk music without, however, settling down in any musical style. Between 1966 and 1975, which correspond to his musically bolder period of time, his work materialized erratically through records released sporadically, which succumbed in the presence of the singer’s strong image. Archetype of Keith Richards rocker’s style but without the drugs (for many!), Serguei was just a caricature, whose work was just a prop. "I've never been recognized, few people give me value," he told to the magazine Pop in April 1978. Despite his short adventure with singer Janis Joplin (in the summer of 1970 in Rio) has always been the most prominent reason in articles about him, were the records he released between the years 60 and 70 that caught the attention of collectors and of people who have special appreciation for rock produced at that time .. Serguei self named “psychedelic” long before everyone. He sang his hallucinations, found someone from alpha centaur and went in search of peace, from sunrise to sunset. You can find his work in compilations like GUITAR FUZZ BANANAS. His music ranges from psychedelic to garage psych with some folk psych tunes. Fuelled in fuzz and arrangements that are typical of genius. This man, SERGUEI is maybe Brazil's best kept secret in music from the 60's/70's...

[engl] KURT are back, and they're better than ever! Their 3rd full album was exceeding the highest of our expectations! This LP finally captures their sound at its full potential: Razor-sharp guitars, a thundering bass and full-on driving drums, all totally tight and compact, and at the same time clear and crisp! All of the reations we ever got on this record, were exclusively like "Wow! Great! Amazing!" - So you can be sure that this is a record you don't want to miss out!

[engl] Hooray, here it is: Brandnew single, released on our very own label! Two new (previously unreleased!) SMASH hits by the SLEAFORD MODS, who stunned the world earlier this year with their "Austerity Dogs" LP! Rants and raps paired with sparse drum-beats and bass-sounds. As references to their sound, you may cite names like LAST POETS(!), Gil Scott-Heron or John Cooper Clarke, as well as the SEX PISTOLS, THE FALL, or early THE STREETS/Mike Skinner... All of that, and then again now for something completely different. Not to forget their savage poetic knocks (against the music-scene and industry, and all that consumerish crap of today). "Agit-Punk-Rap'n'Rant" maybe? Punk (as fuck) made with the means of Hip-Hop.

[engl] They are perhaps the best sound advert for a non- english speaking garage psych band living in the very instant of here and now. 12 tracks driven by the schizofrenic Diatron organ of Alex Romera and powerfull fuzz chords trough the fingers of Mr Fiuza. Ten original songs, and two covers, inspired on the most obsure music made in the 60’s. This brazilian guys aren’t here to play around, this is serious mindblowing music. ”Before redemption we can finally back too obscurity”. Sir Uly The LP brings a Download Card with a acess code to download the full tracks.

[engl] Marvin are a three piece band from Montpellier France. Two years of marathon songwriting sessions, passionate collaboration, and meticulous engineering have resulted in Barry, their third album, second for Africantape and the first in the USA for Sick Room Records LTD. Marvin is known across Europe for their frenetic live shows, and this record is an attempt to capture the feeling. Like three mighty gods, Emilie, Greg and Fred use all their powers to create some of the most glorious, sexy electro-punk to sweep across the landscape. Imagine that a storm is brewing, the heavens torn asunder. From the west you have solid, riff-heavy rock and roll, the electricity of AC/DC infused with the venom of the Jesus Lizard, blowing through town like a fierce wind. From the south we see another current approaching, bombastic, throbbing, sensual, Eno-inspired, big-beat electronica. These two forces collide and intermix to produce music that is upbeat, energetic and boisterous. The different elements hit you at different times, the visceral rumble of an 808, the squeal of a synth, thrashy-swirly live drum fills, guitar licks that pop and shimmer like lightning, all in all serious torrent of sound that ignites the whole room and gets everyone dancing. Drummer Greg Marvin adds, “We basically made this record because we love touring and were tired of playing the same songs at our gigs.” For that matter, to keep things fresh, Marvin has joined up on the road with colleagues and friends Pneu, Papier Tigre and Electric Electric, forming La Colonie de Vacances, a quadraphonic project were each band plays one corner of the room, with the audience standing in the middle, creating a one-of-a-kind experience, and managing to shape these affinities into a single exciting live act. Keeping things fun, keeping people excited, and keeping music alive is what this band is all about. RIYL: The VSS, Trans Am, Civil Civic, Holy Fuck, Chevreuil