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LP
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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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CD
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BORNBAD 171CD
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Let the pagans and other grave desecrators tremble: Vox Low emerges once again as a messenger from the depths, ready to shake the foundations and carrying on its shoulders the weight of ancient legends of obscure mysteries. In their highly anticipated second album, Keep On Falling, the Parisians dare to don the ultimate sacred shroud of rock and roll mythology: Vince Taylor's black leather ski suit. The gang consists of Jean-Christophe Couderc (machines/vocals), Benoît Raymond (bass), Mathieu Autin (drums), and a newcomer: Jérôme Pichon (guitar) -- who oddly enough seems to use a box cutter blade instead of a guitar pick. To these preachers of anarchy, we must add one Aurélien Bonneau, whose role as the group's sound engineer -- a true wizard -- has become essential to the point of being a full-fledged member of the band. What seems to bind these renegades together is their fanatical devotion to Mark E. Smith and their passion for chaos. So, Vox Low releases their highly anticipated second album, following their flawless debut record in 2018. Keep On Falling was recorded in their secret batcave, located near the entrance of the Porte d'Aubervilliers on the dark border of the 18th arrondissement of Paris. One can notice a slight change in direction compared to their first album, perhaps with fewer club influences. In a macabre dance between shadow and light, each track on the album reveals an unexpected depth, inviting the listener to plunge into an enchanting trance. This work is more mature and fluid than their first opus, and Vox Low merges genres to create an enchanting blend of soaring krautrock, funereal post-punk, hazy dub, and minimalist rock and roll. While the tone may seem to harden, these scoundrels also appear in a more pop and strangely brighter light. Solitude, melancholy flesh, fervor for outlaws clad in a pair of blue jeans, and the taste of metallic blood in the mouth -- these are all the themes cherished by the post-punk bible -- here, they are all beautifully captured in a collection of songs about faith and devotion. Prepare to succumb to its enchanting power and lose yourself in the labyrinth of a captivating sonic ceremony.
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LP
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BORNBAD 171LP
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LP version. Let the pagans and other grave desecrators tremble: Vox Low emerges once again as a messenger from the depths, ready to shake the foundations and carrying on its shoulders the weight of ancient legends of obscure mysteries. In their highly anticipated second album, Keep On Falling, the Parisians dare to don the ultimate sacred shroud of rock and roll mythology: Vince Taylor's black leather ski suit. The gang consists of Jean-Christophe Couderc (machines/vocals), Benoît Raymond (bass), Mathieu Autin (drums), and a newcomer: Jérôme Pichon (guitar) -- who oddly enough seems to use a box cutter blade instead of a guitar pick. To these preachers of anarchy, we must add one Aurélien Bonneau, whose role as the group's sound engineer -- a true wizard -- has become essential to the point of being a full-fledged member of the band. What seems to bind these renegades together is their fanatical devotion to Mark E. Smith and their passion for chaos. So, Vox Low releases their highly anticipated second album, following their flawless debut record in 2018. Keep On Falling was recorded in their secret batcave, located near the entrance of the Porte d'Aubervilliers on the dark border of the 18th arrondissement of Paris. One can notice a slight change in direction compared to their first album, perhaps with fewer club influences. In a macabre dance between shadow and light, each track on the album reveals an unexpected depth, inviting the listener to plunge into an enchanting trance. This work is more mature and fluid than their first opus, and Vox Low merges genres to create an enchanting blend of soaring krautrock, funereal post-punk, hazy dub, and minimalist rock and roll. While the tone may seem to harden, these scoundrels also appear in a more pop and strangely brighter light. Solitude, melancholy flesh, fervor for outlaws clad in a pair of blue jeans, and the taste of metallic blood in the mouth -- these are all the themes cherished by the post-punk bible -- here, they are all beautifully captured in a collection of songs about faith and devotion. Prepare to succumb to its enchanting power and lose yourself in the labyrinth of a captivating sonic ceremony.
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12"
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BORNBAD 119EP
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Maxi 12" with remixes of Vox Low. The ethics of Tolouse Low Trax alias Detlef Weinrich stands out in his multiple releases on labels such as Idle Press, Infiné, Karaoke Kalk, Kunstkopf, Neubau, Themes For Great Cities, Antinote, or Cómeme. The German producer is no newcomer to the scene: still an active member of Kreidler and Toresch, he is the man behind the famous Düsseldorf Salon des Amateurs. Since 2010, the French trio of Abschaum, led by Chris Poincelot, has been navigating wilderness terrain. As if to better release the subtle tension of their music: a definitely krautrock heritage mixed, intrigued, blended with the influences of a raging Alan Vega. Hypnotic, synthetic loops, saturated riffs and black voice, Abschaum, "vermin" in German, has cradled his ears to the sounds of Spacemen 3, Ash Ra Tempel, and Can. Cédric Marszewski, aka Pilooski, started as a sound designer for Radio France. Later, he joined the journalists Guillaume Sorge and Clovis Goux of the D*I*R*T*Y collective. Cédric has published numerous remixes under the name Pilooski for Bryan Ferry, LCD Soundsystem, Tame Impala, Jarvis Cocker, Nina Simone, Alain Chamfort, Mark E. Smith Von Sudenfed, also Metronomy, Yelle, and Joakim. Boss of the label Evrlst.inc and of the famous record store of the same name in Nice, Orestt is also a rare and emeritus producer. A handful of EPs have been released under his name, notably on I'm A Cliché, Cosmo Vitelli's label. His first "remix" is here and it's in the same vein as his productions: synthetic, dark, and hypnotic.
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CD
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BORNBAD 101CD
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Enough with right-wing hedonist disco, let's put the Donna Summer records away and dig out Éliphas Lévi's big black book: Can, The Fall, or Peter Gabriel-era Genesis. This is a time for punk urgency, for depressed minimal krautrock, for the great shamanic hypnosis. This bunch of greasers from the Porte de St Ouen area now perform as Vox Low, with Jean-Christophe Couderc (vocals, synth) and Benoît Raymond (bass guitar, guitar, synth), later joined by Mathieu Autin (drums, percussions), and Guillaume Léglise (guitar, synths) for setting up live performances. Seeing the combo on stage is an act of faith, a celebration of dark forces. Far from lazy live performances on Ableton, Vox Low is like an acid-house version of the Jesus & Mary Chain on stage and now, after a few EPs and remixes, they turn up on an insolently rock n' roll label, Born Bad Records. They stylishly surf between '60s rockabilly influences and cold, minimal techno from around Cologne, or Berlin's Zoologischer Garten Station. These children of the court of the Crimson King, climb onto the tables, and piss on the silverware and hold a superb black mass for a bunch of hippies high on mandrax and dressed in rags and sheepskins. Vox Low manages to set a "sauerkraut" Morricone-rock atmosphere of its own, hypnotic and druggy. Krautrock with an inimitable '60s bass sound, a trippy discarnate voice combined with some Moe Tucker-style drumming. "You Are A Slave" is a punk, nihilist topic for a straightforward cold-as-a-razor-blade title. There are hits as well, such as "Something Is Wrong", their anthem for a jilted generation coming down from MDMA. A song like "Some Word Of Faith" places the record under the seal of the gospels, the holy scriptures, and Depeche Mode's Songs Of Faith And Devotion album (1993). Half muggy industrial, half leather rockabilly: like Frankie Goes To Hollywood covering Led Zeppelin. In "Rides Alone", Vox Low conjures up the suicided body of INXS' Michael Hutchence. With "Trapped On The Moon" and "Rejuvenation", the Parisians deliver a certain idea of modernity: a cardboard western feel à la Morricone, as goth as the Sisters Of Mercy, and VHS retro-futurism. Vox Low delivers a dark, poisonous, nihilist, and erudite piece of work for those who worship Primal Scream's Screamadelica (1991) and Gary Numan. CD version comes in a digipack; Includes 16-page booklet.
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LP
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BORNBAD 101LP
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LP version. Printed under sleeve. Enough with right-wing hedonist disco, let's put the Donna Summer records away and dig out Éliphas Lévi's big black book: Can, The Fall, or Peter Gabriel-era Genesis. This is a time for punk urgency, for depressed minimal krautrock, for the great shamanic hypnosis. This bunch of greasers from the Porte de St Ouen area now perform as Vox Low, with Jean-Christophe Couderc (vocals, synth) and Benoît Raymond (bass guitar, guitar, synth), later joined by Mathieu Autin (drums, percussions), and Guillaume Léglise (guitar, synths) for setting up live performances. Seeing the combo on stage is an act of faith, a celebration of dark forces. Far from lazy live performances on Ableton, Vox Low is like an acid-house version of the Jesus & Mary Chain on stage and now, after a few EPs and remixes, they turn up on an insolently rock n' roll label, Born Bad Records. They stylishly surf between '60s rockabilly influences and cold, minimal techno from around Cologne, or Berlin's Zoologischer Garten Station. These children of the court of the Crimson King, climb onto the tables, and piss on the silverware and hold a superb black mass for a bunch of hippies high on mandrax and dressed in rags and sheepskins. Vox Low manages to set a "sauerkraut" Morricone-rock atmosphere of its own, hypnotic and druggy. Krautrock with an inimitable '60s bass sound, a trippy discarnate voice combined with some Moe Tucker-style drumming. "You Are A Slave" is a punk, nihilist topic for a straightforward cold-as-a-razor-blade title. There are hits as well, such as "Something Is Wrong", their anthem for a jilted generation coming down from MDMA. A song like "Some Word Of Faith" places the record under the seal of the gospels, the holy scriptures, and Depeche Mode's Songs Of Faith And Devotion album (1993). Half muggy industrial, half leather rockabilly: like Frankie Goes To Hollywood covering Led Zeppelin. In "Rides Alone", Vox Low conjures up the suicided body of INXS' Michael Hutchence. With "Trapped On The Moon" and "Rejuvenation", the Parisians deliver a certain idea of modernity: a cardboard western feel à la Morricone, as goth as the Sisters Of Mercy, and VHS retro-futurism. Vox Low delivers a dark, poisonous, nihilist, and erudite piece of work for those who worship Primal Scream's Screamadelica (1991) and Gary Numan.
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12"
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CORR 048EP
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Vox Low come in hard, slow and dark on a new three-tracker for Correspondant. The psychedelic Parisian duo display various iterations of left field menace, ranging from glam rock on "The Hunt", electro-disco on "Some Words Of Faith" and pitched down acid on "I Am A Strange Machine Sometimes". All come with the signature analog pulse which Correspondant is famed for presenting.
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12"
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CORR 035EP
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Vox Low (Benoit Raymond and Jean Christophe Couderc) take their cues from krautrock, vintage psychedelia, minimal synth music, and new wave. Far from a conventional electronic/club music record, but aligned with Correspondant's cinematic, downtempo profile. The dread-laden "Something Is Wrong" features B-grade horror movie organs, a low-slung bassline, and droning guitar chords. Boot & Tax (Claudio Brioschi and Cristian Croce) supply the first remix, while Javi Redondo's rework seems to take influence from British post-punk revivalists. "It's 1940 in This Room" has a distinct late-'70s-American-cinema vibe, with a Nick Cave-esque drawl layered over spiky blues guitar and loose garage percussion.
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