[engl] Pazi kuce (Beware of the Puppy) is an album by one of Macedonia's leading underground recording artists, Vasko Atanasoski of the Bernays Propaganda fame (to name just one of his bands). He is a perfect embodiment of punk rock ethos within the context of Macedonian or even Balkan music scenes. Pazi ku?e doesn't sound like punk-rock, but it's punk-rock of the highest order. And no compromises had to be made in doing it. You, in fact, are compromised.

[engl] "Voyage", to Pierre Vassiliu, was not only the title of an album of his, but also a philosophy of life. Travels were not for vacation or rest. They were synonyms of meetings, new music and sometimes, simply, life. These experiences around the world nourished his work, and his career allowed him to set foot on every continent. But his most beautiful travels took place in recording studios. "My parents showed up on a beach, with a camper. They landed there and we stayed for years." Sitting by a lake in Sète, Lena Vassiliu recounts how her parents Pierre and Laura chose an empty spot in the Casamance region to enjoy a few years loving each other under the sun. The legitimate child of this trip, she was conceived in Senegal. At the time, her mother said: "I want to give birth standing on my feet, holding a tree, in the sacred wood where only women can enter!" Today her mother adds: "Pierre was reluctant, so we ended up in a private hospital in Dakar." Laura Vassiliu still lives in the same apartment in Sète. Folon's original drawing for the artwork of the ‘Voyage’ LP is framed in the living room, making Pierre’s ghost more present. Laura remembers well the beautiful moments, and travels were a part of them. "Not only the moments were beautiful. On trips, he was more beautiful as well." Pierre felt good turning his back on France – which was probably already ugly –, turning his back on the fickle, mercantile record industry, as well as on an entourage that recognized his mustache but not his talent. A traveler out of obligation in his youth (Algeria and its war), he became a traveler by taste and acquired an interest in people, an essential for anyone willing to travel the Globe. He also traveled out of necessity. When smiles faded, a boat, a plane, and bye bye idiots. And he brought all those trips back into his songs. "Anytime we traveled anywhere, music attracted us. Pierre sensed the rhythm of the country we were in and he found a song." Laura Vassiliu

[engl] 2008. François Virot releases his first album - at least the first that is not a burnt CD-R. Presented with a yes-no question, both the public and the critics unanimously went for the first option. He was praised for the nervous urge and the staggering melodies of his lo-fi pop folk, and even got nicknamed a one-person Animal Collective. He found himself dragged out from the invisibility of Lyon’s squats and rushed hastily on stage. He was expected to give his opinion, but no one realised how unprepared he was. He had crafted his songs for himself, the hard way, without hindsight. For a hyperactive such has himself, versed into song-writing since he was a child, naivety was not a ploy, and DIY is not a fancy gadget. The honey of his first success had a bitter taste. « The first time they dimmed the lights at one of my concert, I didn’t understand what was going on. I came on stage, everyone cheered. I needed to change a string, so I said so, the crowd answered by applauding once again. I changed my string, I finished my beer, 10 minutes had passed, the lights were still on me. People found the scene delightful, they were laughing hysterically. For me, it was hell. There have been many moments such as this one where I felt at odds.” 2010. François Virot appeared in the credits of two of the most beautiful records of the year. The first one (Comfortable Problems from the trio the Clara Clara) put to shame every claimant to Deerhoof’s throne. He showcased his rowdy yet vacillating drumming skills, his acidly borderline chanting, wandering somewhere between happy hardcore and subtle power pop. The second one (Time & Death of Reveille duet) was as touching, addictive and imperfect as a collection of demos from The Evens. He would no longer walk into the lion’s den by himself. He would not sing his torments playing nervously on his acoustic guitar. No one was laughing anyway: applause sprung from shock, desire, respect. “I stopped making funny faces, talking to the crowd or make them sing along. I focused on the music and ignored everything around it. Still to this day, if no one shows up at a concert, I don’t care. What I want is to be satisfied with what I hear.” 2016. François Virot comes out of the woods again and plays the trick of the majestic double. After Clara Clara’s third album (Bugarach), a gem of shimmering pop, he’s back to sobriety for a second solo album that we had never ceased to wait eagerly for. A record that is as much a laid-back digest of his discography, an actualisation of his obsessions (colourful drums, catchy but devious melodies, referential tangle - Police vs. The Ex vs. Joe Dassin?), then a declaration of independence from the current indie pop laws. “Lately I couldn’t find any record without reverb effects, or a band that doesn’t use a chorus pedal or some recorded material live. It annoyed me. Music making should not be about composing the most beautiful thing there is. You need to catch a glimpse of what’s inside, hear an actual human being sing and play.” Marginal Spots is François Virot at his core, oblivious to the illusion of success, directly plugged on his heartbeats.

[engl] “Under Pressure” is Von Spar's fifth album, not counting their homage to Can (recorded live with Stephen Malkmus). 15 years have passed since their debut “Die uneingeschra?nkte Freiheit der privaten Initiative”, five since the “Streetlife” album. On closer examination, there is a somewhat chameleonesque quality to Von Spar’s discography. Their records are the result of continuous metamorphosis, opening wormholes to post punk, krautrock and 80s art pop. The constants: rhythmic refinement and harmonic quantum leaps, swirling synthesizer arpeggios, backwards guitars with no hint of retrogradation. The eight songs on “Under Pressure” were recorded in Von Spar’s Dumbo Studio in Cologne, with guests from Toronto, Tokyo, New York, London and Nashville adding noteworthy contributions. As on “Streetlife”, the formative voice belongs to Chris A. Cummings alias Marker Starling. His distinctive falsetto graces over half of the songs, asking: “Is there a cure for this / Unhappiness, happiness?” On the opening track, Cummings is joined by Eiko Ishibashi (Kafka's Ibiki, Jim O'Rourke, Merzbow) in a Japanese dream sequence exploring where they might get to if the shackles of the flesh are cast off. Punk and reggae professor Vivien Goldman (The Flying Lizards) picks up the thread and liberates herself from the ghosts of the past on “Boyfriends (Dead Or Alive)”. Lætitia Sadier (Stereolab) sings on the album’s kraut-pop hit “Extend The Song” which could run and run for ever, powered by motoric energy: “If someone would ask me / Could I go on?”

[engl] An amazing personal, power-pop record from Bristol, UK's Woahnows!

[engl] You Could be a Cop started out with two brothers rocking out in their parents basement in the suburbs of the third largest city in Norway, Trondheim. Morten had years behind him in different indie, punkrock and emobands as a drummer and producer, while brother Marius just had learned to play bass through the guitar game Rocksmith on Playstation. Morten then tried to take som online guitar lessons on YouTube, but failed miserably as he just had gotten a kid back home. In between baby crying and sleepless nights he still managed to write some songs on the guitar without even knowing one single chord. After some weekends in the basement they had four songs on tape, but no vocals. Luckily Morten had crossed paths with the UK singer songwriter Natalie Evans before. She put up a microphone in her bedroom in London and not soon after, they could call themselves a band with four songs on their hands. After some chatting around as many as ten labels all over the world agreed to join in on a release. And here it is! Four songs rooted in 90s emo - genuine, raw and heartfelt. What you hear is what you get - with limited resources from the start until the end, the band has proved that it is still possible to «do it yourself».

[engl] A dillusioned album for broken hearts, A heart full of sorrow is the work of Benjamin Daures, 24 years old, heir against his will of a tradition of loner, which from Ian Curtis, through Morissey, to Kurt Cobain, played everything they had on a record. their lives were saved (for a while, at least) by Rock'n Roll. Made in his surburbian bedroom while smoking joints, A heart full of sorrow is a first album, dreaming of other places (the Death Valley or the dry plain of Texas, you chose) as a way to escape the local boredom, the gloominess of Paris' outskirts. Draft ballads, thrown on a 8 track like break up letters to these stalling teenage years. Benjamin here plays all the instruments : A skullish drum machine, a shy guitare, and uncomfident vocals... While listening attentively, you understand that the fragileness is the force here, that's his style is forged in his akwardness that never sound like a pose. We're talking about sincerity, nakedness, a striking will of not hiding behind the primitive energy of Garage-Rock, to put back songwriting into angrily-played songs. Think here of missed Jay Reatard. We also know that Benjamin Daures is the leader of The CRETEENS, punk band who's had numerous 7" out on american labels, and that after two months of tour in the USA to support A heart full of sorrow (released there on Floridas dying) the past year, Yussuf Jerusalem almost imploded. But to learn more about Benjamin Daures, no need to go further, just listen to A heart full of sorrow and instantly become a follower of Yussuf Jerusalem