CRU001: V/A "Tartare de subconscient infini" (CS 60)


First release of sdz's new imprint "Crudites Tapes". Llimited edition (150 copies) tape compilation with 18 tracks from 18 different bands. This includes current or past side-projects from bands like Bosom Divine, Pierre & Bastien, Cheveu or Les Hulks. Mastering by El Mofo. Artwork by Pierre.

We truly hope you'll have as much fun listening and reading this as we had preparing the whole thing!

"No less than 18 projects from France and possibly elsewhere are crammed into a C60, with discovery and awareness for you, the listener, in mind. This is about as various as Various Artists gets, though acceptable Francophone punk/undergrowth parameters are adhered to, so you’ll find noise and tape/splice manip jobs up against parping new wave/synth romps, lots of garage, weird punk, tensed-up bedroom thrash, overdriven drum machine stomp, and the like – the obsession with early rock/roll and rhythm/blues comes to the fore, as is expected, though I was duly impressed by the 2050s’ passionate read of “I Stand Accused,” tearing a few chapters from the Reigning Sound playbook. Would take more listens than I’ve got the time for to suss out any further standouts, but once you get through most of the xpr tangle of side one, those of you who dig activities from the Les Disques Steak/Born Bad/SDZ triangle (these are probably a bunch of side projects of their artists) will find yourselves enjoying the spiel, as the sounds are familiar, and the names are intriguing. Who knows when you’ll encounter Saigon Automat or Free Kaxti again?!? Numbered edition of 150." - Doug Mosurock / Still Single - Dusted Magazine

You can listen to the whole comp right here // Ecoutez toute la compilation par ici:


Available for download on our Bandcamp


CRU 002: V/A "Marécages Restauration" (CS 60)

A new 20-songs, 20-bands tape compilation (60mn) on SDZ's sub label Crudites Tapes. Limited edition of 100, tape's color is "rustic orange".
Featuring Tretetam, Lahundoj, Ilth, Flowerman, Les Choeurs de la mer noire, Opéra Mort, Mulan Serrico, Tette Chèvre and many more!

"With a cover depicting a gator’s head on a child’s body, you can’t help but be a bit worried that the sounds won’t quite live up to the sights, but this French compilation is packed with enough sonic goodness to do a picture of the pope in a rhinestone suit justice. It’s a bit lengthy (twenty tracks clocking in at an hour), but the affair never grows dull thanks to the sheer variety of sounds scattered throughout. Windswept soundscapes and manipulated samples of speakers discussing schizophrenia saddle up beside uneasy folk and good ol’ guitar-driven rock. Electronics run the gamut from dying machine to fast-motion dream. The vocals are playful just as often as they are downright creepy, and the songs are sung in English almost as frequently as they are in French. There’s even a cover of “Strychnine” thrown into the mix, because why not throw a cover of “Strychnine” into the mix. Definitely worth trekking on over to Bandcamp to try/buy" - Cassette Gods

"Tout ce qu’il nous faut. Objectif jouissance. Jusqu’à plus soif." - Message to our folks

You can listen to the whole comp right here // Ecoutez toute la compilation par ici:



CRU 003 : Ilth Zongz "The Demolition Of A Ghost" (CS 30)

Incroyables collages reel-to-reel de notre homme à Chicago, Christopher Ilth (Functional Blackouts, Daily Void). 9 morceaux de sombres manipulations analogiques qui ont de grande chance de vous faire tourner la tête dans tous les sens comme la B.O. d’un vieux film d’horreur.

Reel-to-reel collages from our man in Chicago, Christopher Ilth (Functional Blackouts, Daily Void). 9 tracks of dark analog manipulations very likely to make your head spin like the soundtrack of an obscure old-school horror flick.

"Ilth Zongz's The demolition of a ghost is like listening to a noir-industrial soundtrack. Ilth Zongz is Chicagoan Christopher Ilth (Functional Blackouts, Daily Void) and the album was made with reel-to-reel collages according to the label. I'm impressed. This sounds way more digital and as each track is simply titled "Song 1-9" we as listeners are encouraged to draw our own conclusions. Both tapes add a great deal to the musical dialog of our times." - Cassette Gods

"Ith Zongz is a project by Chicago analogue manipulator Chris IIth (Daily Void, Functional Blackouts).  'The Demolition of a Ghost' is a new release from Crudites Tapes comprised of nine brooding instrumentals delivering cold static you might expect from an Industrial band touched by electronic experimentalism.  This recording is super minimal so the smallest of shifts feel all the more gnarly for it, stark digital tones tweak and twitch whilst coalescing together with undercurrents of murky fuzz.  The spooked collage of noises 'The Demolition of a Ghost' offers up is a great addition to the Crudites Tapes cannon and I'm really excited to see what else this label has in store for 2013." - Gilded Gutter

You can listen to the album right here // Ecoutez l'album ici:


CRU 004 : The Spectrometers "Off" "Off" (CS 30)


Projet parisien minimal electronics / old school indus, combinant sonorités analogiques vintage, guitares post-punk et drum-machines à l’ancienne. Un minimalisme authentique, froid et mystérieux qui place The Spectrometers quelque part entre Delia Derbyshire, Young Marble Giants, Cabaret Voltaire et Suicide. “Off” fait suite à deux disques formidables: “Dead Soul Music” LP
          (Decasin, 2008) et “1/2 Mechanism 1/2 Organism” 10” (Autoproduit, 2010).

French minimal electronics / old school industrial band, combining vintage analogue sounds, post-punk guitars and old-fashioned drum-machines. Authentic, cold, haunting
          minimalism somewhere between Delia Derbyshire, Young Marble Giants, Cabaret Voltaire and Suicide. “Off” follows two fantastic records: “Dead Soul Music” LP
          (Decasin, 2008) and “1/2 Mechanism 1/2 Organism” 10” (Self-produced, 2010).

"Spectrometers’ latest release, Off, is extremely minimal music that makes intense and unexpected uses of the few pieces of sound that it allows itself. Pointedly machine beats collide and spark with less rhythmically inclined loops to create a harsh light that illuminates
          what seems like the angular edges of what must be a much larger structure. It’s music to stare into a microscope by, while standing in between two malfunctioning cloning tanks, oblivious to the strange party that is happening inside them. It’s real life, scary industrial hissing off your tape deck."
- International Tapes

"Industrial in parts, electronic blippity-boppity here and there, and warm all over, The Spectrometers album Off is a  thumper of listen. The group is clearly indebted to bands like Cabaret Voltaire and Suicide, which isn't a bad thing necessarily, yet they concoct a set of pieces that combine elements of stuff we've all heard before into a satisfying new whole. The title composition frames the album in mystery static as it is also the finale, but in between is good, quality music. I'd like to seek out more works by The Spectrometers" - Cassette Gods

" cassette de Spectrometers séduit par ses aspects compacts : peu d’informations, une pochette tout en gris et une musique du même alliage, faisant un tour d’horizon depuis le minimalisme électronique jusqu’à la no-wave lo-fi, le tout fabriqué en chambre. Un artisanat séduisant (...) sa cassette est un tube chez nous" - Joseph Ghosn

"First up is a tape by The Spectrometers called 'Off', a chilling post-punk piece utilizing drum machines and archaic analogue sounds; I didn't come up with much after researching The Spectrometers except their bandcamp which cited, "French minimal electronics / old school industrial band". The fact it's hard to discern whether this is a new tape influenced by said genres or unearthed recordings speak volumes about the authentic sound on 'Off'. Title track and opener Off" sets an isolating tone with raspy tape
          hissing.  "Fallacy" follows with looped beats, sharp synthesizers and a low repetitive bass line; It's a sense of paranoia that threads through the tracks, made all the more tense by the tracks never quite resolve themselves - aptly displayed on one of my faves
          "Orgone"; Locked into one arcing arrangement "Orgone" intensifies and as it reaches a point of climax plaintively ends, then repeated. 'Off' is a great listen as there's no release from the fraught atmosphere propelling a state of anxiety throughout."
- Gilded Gutter

You can listen to the album right here // Ecoutez l'album ici

CRU 005 : V/A "Réviviscence Ectoplasmique" (CS 60)

Reviviscence Ectoplasmique

A new compilation from SDZ's sub label Crudités Tapes: 16 bands from all over the world. From Charentes to Melbourne, from Montréal to Bruxelles, from London to Belarus with stops in Saint-Ouen and Varennes-sous-Dun, "Réviviscence Ectoplasmique" is the revenge of the ghosts. Like the legend of the phenix, the truth is hidden somewhere in Sermaize-les-Bains in a room full of sugar. You are not a dentist, you want music and here's what you get: raw vegetables and no smiles. Dig!

Nouvelle compilation de Crudités Tapes: 16 groupes du monde entier. Des Charentes à Melbourne, de Montréal à Bruxelles, de Londres à la Biélarussie en passant par Saint-Ouen ou Varennes-sous-Dun, "Réviviscence Ectoplasmique" est la revanche des fantômes. Comme la légende du phénix, la vérité est cachée quelque part à Sermaize-les-Bains dans une pièce pleine de sucre. Tu n'es pas dentiste, tu veux de la musique et voilà ce que tu obtiens: des crudités et pas de sourire. Kiffe!.

"I've put off reviewing this fantastic compilation of forward thinking noise, rock and pop artists from what I believe is a French Cassette label, Crudites Tapes, because it's a daunting challenge to really review a compilation that gives the release justice. All the songs don't necessarily correspond to the one before as various acts have very varying styles of approaching music. To put it simply, there's a lot going on here. So I'm just going to wing it, who cares? If you desire sonic variety in your cassettes, look no further. This cassette offers a great range of flavors for those who don't mind their music super noisy or psychedelically loungey. From challenging foreign vocal scream fests to surf reverb distortion can be skuzzy and cool, as harsh as a microphone crushing a half stack - and as psychedelic as minimal hip hop beat accompanied by dark phoenix feedback and LSD handclaps. It's not without acoustic guitars, vocal harmonies and brass arrangements as well! There's songs in here that can meet the needs of a young dark-synth fanatic to a cool grandparent in a beach resort nursing home. There's also just strange foreign reinterpretations of classic rock/ballad structures, garage rock in different languages that I don't even know, you know ...if you like obscure, cool music from lands far away, ... wow, hey, what more do you want? Also, the cover artwork by Pierre Tatin is FANTASTIC! I wonder how big it is in real life? Kind of reminds me of the ghosts from and the color pallette of "Princess Mononoke". So yeah ... blast it for new and neat surprises ... ! I recommend highly." - Cassette Gods

Listen and download over here // Eoute et téléchargement disponible via Bandcamp


CRU 006: Red Math "Submarine" (CS 60)

Red Math

From the bowels  of the deepest depths locked in a submarine, Lance Dibblee as Red Math (a Nashville-based producer with previous releases on labels like Digitalis or Further) delivers a harrowing journey of electronics at the brink. The album follows a submarine and the sonar acoustics that come with it detailing evasion, pursuit, attack, victory and return home.  At times it sounds as if water is leaking in and the electronics are going haywire barely kept running by the frantic crew trying to survive the torpedo attacks and the tremendous pressure on the haul due to evasion depths. 

Des entrailles abyssales d'un sous-marin en pleine activité, Lance Dibblee alias Red Math (musicien américain originaire de Nashville dont les précédentes productions sont sorties sur des  labels comme Digitalis ou Further) nous embarque dans un voyage qui va mettre l'électronique de l'appareil à rude épreuve. L'album propose de suivre ce sous-marin et l'acoustique de son sonar lors de séquences d'évasion, de poursuite, d'attaque, de victoire et de retour à la base. Parfois l'eau coule sur les équipements et l'électronique devient folle malgré les efforts frénétiques de l'équipage qui tente de survivre à la fois aux torpilles et à l'éprouvante pression des grands fonds marins. Embarquement immédiat!

You can listen to the record right here // Ecoutez le disque ici:

CRU 007:
Armure (CS 45)


Armure is a Toulouse-based solo project by Tibo Padlock (Space Padlocks, Asphalt). Written and recorded over a few days during summer 2013 on a 8 track tape recorder, the eleven songs of this first album are not minimalist and lo-fi enough to hide a real songwriting talent. Cleverly mixing traditional instruments (bass, guitars, 12-strings, folk, melodica, tambourine...) with cheap synths and drum machines, Armure subtly find his way in a kaleidoscopic environment where one can meet The Seeds or C.Q-era Outsiders as well as Suicide, Cabaret Voltaire, The Glove and Joy Division. A stunning album with delicate night-time melodies that might end up being your new accomplices.

Armure est un projet du toulousain Tibo Padlock (Space Padlocks, Asphalt). Composé et enregistré sur quelques jours pendant l’été 2013 sur un 8 pistes à K7, les onze morceaux de ce premier album, aussi minimalistes et lo-fi qu'ils puissent être, permettent de découvrir les talents d'un vrai songwriter. Mélangeant habilement instruments traditionnels (basse et guitares mais aussi à l'occasion 12-cordes, folk, mélodica, tambourin, etc.) aux claviers et boîtes à rythme cheap, Armure se fraye subtilement un chemin dans un paysage kaléidoscopique où l'on croise autant les Seeds et les Outsiders (période C.Q) que Suicide, Cabaret Voltaire, The Glove et Joy Division. Un album étonnant dont les fines mélodies nocturnes deviendront peut-être vos complices.

"Voilà un disque bien étrange qui nous arrive de Toulouse. Derrière Armure on retrouve Tibo Padlock des Space Padlocks qui avaient sorti un très bon EP chez Close Up Records en 2012. Pour ce projet solo, le sieur Tibo offre un disque intrigant où se côtoie post punk minimaliste, rythmiques garage noyés dans des tonnes d'effets en tous genres et cold wave pour onze titres en mode lo-fi. Difficile de définir en quelques mots le cocktail improbable que nous sert Armure, le mieux est encore de l'écouter. Et croyez nous dans le genre c'est excellent !" - Raw Power Magazine

"On le sait bien, l'été c'est chiant! Il fait chaud, y'a des cons de touristes dans les rues...Mieux vaut s'enfermer et faire de la musique! C'est assurément ce que s'est dit Tibo Padlock (Space Padlocks, Asphalt, Dividers...) quand il a commencé à cogiter sur ce plan post-punk electro ambiant...Armure! Boîtes à rythme cheap, synthé, 12 cordes, percus, basse, il a tout concocté à la maison avec talent et savoir-faire, mélangeant allègrement les ingrédients issus du garage psyché américain, de la pop anglaise en passant par Joy Division, Chrome, le shoegaze ou White Fence (et y'en a d'autres). Frais, surprenant, inédit...Continue comme ça mon pote! " - Dig It!

"Armure. Oui, Armure. Le projet absolument génial, et je pèse mes mots, d’un homonyme, Tibo Padlock, déjà à l’œuvre au sein du groupe garage psyché The Space Padlocks et responsable en avril dernier d’une cassette éponyme sur SDZ Records. Seul, il s’émancipe d’un ferraillage en règle pour dépeindre une morosité blême, plus répandue dans les villes anglaises empilant les bâtiments aux briques rouges crasseuses que dans celle, au pied des Pyrénées, arborant fièrement ses découpes soigneuses de grès rose. Intemporel et blafard, enregistré sur un huit pistes rudimentaire, et faisant se côtoyer synthétiseurs, boîtes à rythmes et guitares tantôt graciles, tantôt souillées, on croit déceler, au loin, dans la brume de ces quelques morceaux aux relents grisâtres, les fantômes d’un Joy Division ayant viré Terry Mason ou d’un Suicide plus mélancolique que cheap. Mais finalement, ce ne sont pas ces réminiscences qui prédominent et donnent le la : le lyrisme brinquebalant d’Armure met impitoyablement Dirty Beaches à l’amende, chacun boxant dans cette même catégorie des crooners lo-fi, dressant un pont entre la rugosité de Dan Melchior - que l’on a pu croiser sur Sdz Records – et la subtilité mélodique des célestes Life of Angels de Gerald O’Connell (...) on recommande la triade Old Stories, We Can’t Stay et Red Sea comme on glisse un vieux disque entre les mains d’un ami, avec la certitude de ne pas se gaufrer. " - Hartzine

"New wave, dark wave, post punk, folk, psych, lofi, bedroom pop. There's about a million genres I could throw out there to describe this album, but it's the truly great songwriting capabilities of Tibo Padlock, aka Armure, that will truly catch your attention. Recorded over just a few days in Toulouse, France during the summer of 2013 via 8-track tape recorder, this is an extremely rewarding album that will warrant repeated listens " - Ongakubaka

You can listen to the record right here // Ecoutez le disque ici:

Download available // Téléchargement disponible via Bandcamp


Space Blue

CRU008: Space Blue "s/t" (CS60)

First solo album from this former member of Electric Bunnies from Florida (a particularly versatile band with an album on Florida's Dying and singles on Sacred Bones, Columbus Discount and Die Stasi). Based in Los Angeles, Space Blue (possible nod to a Suicide song) is mainly electronic but keeps on with the twisted and intriguing psychedelics of Electric Bunnies. Nine tracks and as many galaxies or tropical gardens to discover, with acid moods subtly invading your brain. It's an home-made album with carefully constructed textures, voices and tracklisting. Space Blue       takes the time to surprise you and the sensations this album induce are not those that vanishe as quickly as they appeared.

Premier album solo du guitariste des regrettés floridiens d'Electric Bunnies (groupe particulièrement caméléon avec un album sur Florida's Dying et des singles sur Sacred Bones, Columbus Discount et Die Stasi). Basé à Los Angeles, Space Blue (possible référence à une chanson de Suicide) est de dominante électronique mais poursuit aussi le psychédélisme tordu et intriguant d'Electric Bunnies. Neuf morceaux comme autant de galaxies ou de jardins tropicaux, dont les ambiances acides se dévoilent doucement mais sûrement. Un album artisanal mais minutieusement construit, notamment les textures, les voix et les enchaînements. Space Blue prend le temps de vous surprendre et les sensations qu'il procure n'ont rien d'évanescentes.

"Entre post-proto-post-techno, proto-post-post techno et post-rock (ironique), cet ancien membre des Electric Bunnies prolonge en quelque sorte une oeuvre qu'on désespérait d'entendre prolongée quelque part en 2015 - celle de Black Dice et de son petit génie de
          leader Eric Copeland - et ça, c'est pas rien."
- The Drone

"Membre fondateur du groupe psyché The Electric Bunnies, responsable notamment de l’album Through The Magical Door en 2009 sur Floridas Dying, le néo-Californien Space Blue ouvre avec la longue
          Awareness, pétrie d’une monotonie électronique absolument captivante, son premier LP cassette sur SDZ Records. Parsemé de quelques bribes de voix, et parcheminé d’un beat s’arrachant progressivement des décombres d’un orgue
          carillonnant, ledit morceau plante non innocemment le décor pour les huit suivants (...) entre effet lysergique des boucles rythmiques, acidité des paysages sonores et minutie des arrangements."
- Hartzine

"Loin des fulgurances psyché-punk de son groupe The Electric Bunnies, la californien Space Blue nous fait plonger avec son premier album solo au titre éponyme, dans un univers aux volutes experimentales ambient captivantes. Dès le track d’ouverture Awareness, les boucles aux sonorités vaguement indus tournoient dans l’espace, pour se muter en une mélodie cristalline appuyée par une rythmique à la cadence langoureuse, montant progressivement vers des cieux traversés de pertubations électriques. Space Blue fige le temps dans un immobilisme mobile, élaborant des compositions au minimalisme rêche, enrobées de déflagrations à la retenue sous-jacente. Proche d’artistes comme Demdike Stare, Huerco S. ou Patricia, l’américain propose une oeuvre squelettique au système nerveux traversé de ramifications incandescentes, faisceaux drones mouvants aux saveurs tumultueuses, nous plongeant avec malice d’un titre à l’autre vers des contrées imaginaires au pouvoir catalyseur, changeant constamment de direction sans jamais nous perdre dans son dédale de sensations et d’émotions. Une oeuvre cathartique aux battements cinétiques. Très fortement recommandé." - Silenceandsound

"Space Blue, a solo electronic offshoot of Florida’s Electric Bunnies, gets me, I think. His new tape is a deep, dark look at the cosmos, that part of space that you see looking out of the window of a craft (like New Horizons maybe! If it were built to carry people, I guess). It’s dark, your field of vision isn’t overcrowded with romantic sci-fi imagery, and the only way you’ll get to see anything remotely up close is if you perform some severely advanced mathematical equation to get there. Space is freaking big, you guys – if you ever went out in it, you’d probably get that. So “Awareness,” then, drops you right in the middle of nothing, its barely-there beat glitching along, making you wait for any payoff. The song glides along on this for a while before adding a heavier bottom end, but even then it just propels itself forward, making you think for yourself instead of telling you how to feel. Are you awake in your spaceship? You’ve got a lot of time on your hands. You’ve got eleven minutes of this song. Maybe this song is the soundtrack to your own awareness. “Venus of” doubles down on the intensity of the rhythm and mood, and lumbers through its machinations in only seven minutes, but those seven minutes are among the most bracing you’ll ever experience while in deep space. I’m not sensing any danger in the track, so just enjoy it,  knowing that you’re puny, and human, and you’re at the mercy of something other than yourself. Space Blue says, you’re not in control, sucker! Listen to my awesomeness. “I Remember Something You Told Me While We Were in the Singularity,” great title aside, feels like time stops, especially after the great one-two opening punch. “A La Luna” has a similar feel to “Venus of,” but way  more industrial, and it’s a fun, scrappy mood switch after “Singularity.” There’s another version of the song, later, dubbed “(Mix Ambiente),” and it teases out a much more gauzy, ethereal center than its predecessor. The two tracks work nicely as juxtapositions of each other. “Green Eyes” almost sounds like a tossed-off Animal Collective track, and it even has vocals! An unlikely but welcome surprise, throwing just a large enough spanner into the works to cause your CPU to hiccup then resume. “Relax” ends the album on a beautiful ambient note, with chimes and a female voice whispering unintelligible words  in your ear. Perhaps in your hibernation tank aboard your vessel? Who knows, what am I, Isaac Asimov? Go finish your lunch. This is a wildly promising debut from Space Blue, and something I could listen to over and over again on headphones. I mean, seriously, that one-two opening punch of “Awareness” and “Venus of” takes me to all the right places. I’m gonna have to keep my eye on this fella…" - Critical Masses

"Space Blue, if that is his real name, is a straight-up banger, wetting his beak in several styles and never shrinking from the challenges presented by creating electronic music in a crowded field of competitors. “Lonely L.A.” is just one of the impressive
          compositions afoot, but its wiry frame and fascinating underbelly aptly represent why this tape is so unique: Its contents ever-so-patiently form a cocoon for the ear, fluffy and cushioned by all manner of digital distraction. “A La Luna” also tweaks the ear with a lofi
          drum-machine beat and strange flora/fauna that seem to bark at the listener. Quite the trip, quite the intrigue; Space Blue cracks enough codes to deserve a spot on your tape shelf, at the very least."
- Consequence of sound


CRU009: The Dictaphone "Tp Hss" (CS45)

Découvert via le groupe tourangeau Toddi Wellman (“Tano” sur la compilation “Flottante tension d'éclipse”) - groupe avec lequel il partage quelques accointances - The Dictaphone s'illustre depuis plus de cinq ans sur une demi-douzaine d'albums aussi mystérieux que passionnants, publiés sur des labels comme Kill Shaman, Tolmie Terrapin Press, Sweet Rot ou Cocktail Pueblo. Des bizarreries en chambre des débuts au kraut-wave cosmique d'aujourd'hui, il n'y a qu'un pas. The Dictaphone multiplie les expérimentations punk, pousse à l'occasion des envies psychédéliques à leur paroxysme et flirte régulièrement avec la minimal wave, le kraut, le garage ou la surf avec une frénésie minutieuse. Tour à tour sombre, sinueux, inquiétant, dansant ou allumé, The Dictaphone est imprévisible et inclassable. Crudités Tapes est fier de vous présenter le nouvel album “Tp Hss” qui sort presque simultanément avec un autre album, “Hazmat” (sur le label autrichien Totally Wired), enième preuve d'une créativité aussi débordante qu'enthousiasmante.

Discovered through Toddi Wellman’s “Tano” (on the “Flottante tension d'eclipse” compilation) on which he was drumming, The Dictaphone started as a one-man-wonder and released more than 6 albums in just five years on labels like Kill Shaman, Tolmie Terrapin Press, Sweet Rot or Cocktail Pueblo. Pushing punk experimentations to the fullest, The Dictaphone is now a full band and a total explosion of sounds: from extreme psychedelics to robotic minimal wave, from intriguing kraut-wave to savage garage-surf. There is simply no boundaries that can’t be trespassed by this band. Dark, frenetic, lit, tangled, The Dictaphone is quite unpredictable. Crudites Tapes is proud to present their new album “Tp Hss”, released almost simultaneously with the “Hazmat” LP (on Totally Wired).

"une avalanche de morceaux aussi géniaux que bancals" - Hartzine

"Did you hear me? Endlessly relistenable. I’m not lying." - Critical Masses

"Genuinely a great composition and worth infinite listens" - Lost in a sea of sound

"Suicide, A-Frames, Joy Division, all make appearances as spectral inspirations for The Dictaphone. The band churns out nihilistic anthems in a workmanlike fashion, but ropes you in to the proceedings with a sinister catchiness that’s impossible to ignore." - Cassette Gods


CRU012: Mattin "Songbook #6" LP
Co-production Crudités / Munster / Insulin Addicted


“Butthole Surfers meets Run The Jewels”, this is how Dean Roberts described the record.

Yes, there is rock, but it’s so deformed that not even No-Wave could help you make sense out of it. Imagine if a bunch of viruses filled with fake news and contemporary nastiness would go straight to the core of No-Wave, Punk and Rock’s integrity: authenticity. Not to say that the Buttholes Surfers were the most authentic band in the world or that this record matches the production of El-P, but instead here you have some of the most exciting musicians in Berlin coming together for the first time; interpreting some lyrics from Mattin, dealing with our fucked up times and the search for overcoming them.

To say that there is no authenticity is not to fall into the postmodern relativism that has been a debilitating force in the struggle against the new wave of neo fascism. In fact, the latter also claim their own authenticity: race-realism. Nor surprisingly, authenticity was also at the core of Heidegger which somehow connects National Socialism and  its French deconstructionist critics. Even if this record for some might sound like deconstructed rock through electronic noise and improv, it is also doing something else like building a Frankenstein monster in the form of rock-as-zombie-avatar: as if  Lou Reed would haunt us from the other side connecting the motherboards of our devices to our brains giving us all electroshocks for not being able to stop this fascism-as-the-new-punk regime, while he shout at us: they got the traction on danger and you need to take it back!

featuring Farahnaz Hatam, Pan Daijing, Colin Hacklander, Werner Dafeldecker and Dean Roberts
Recorded on the 6th of June, 2016
by Jeremy Nothman at Golden Retriever Studios, Kreuzberg, Berlin
Mastered by Rashad Becker

"Entre Butthole Surfers et Run The Jewels", c'est comme cela que Dean Roberts (White Winged Moth, Thela) décrit le disque.

Oui, il y a du rock mais il est tellement déformé que même la No-Wave ne vous aidera pas à lui donner un sens. Imaginez qu'un paquet de virus gavé de "fake news" et de saloperies contemporaines atteigne le cœur de ce qui fait l'intégrité de la No-Wave, du Punk et du Rock: l'authenticité. Il ne s'agit pas ici de dire que Butthole Surfers était le groupe le plus authentique du monde ni que ce disque puisse se hisser au niveau de production d'El-P mais tout simplement de présenter cette rencontre inédite entre quelques uns des musiciens les plus excitants du Berlin d'aujourd'hui; des musiciens qui interprètent les paroles de Mattin et essayent de faire face à notre époque troublée, voire à la surmonter.

Dire qu'il n'y a pas d'authenticité c'est tomber dans le piège du relativisme post-moderne qui est une des forces débilitantes à l'oeuvre dans la lutte contre la nouvelle vague du néo facisme. En
réalité ce dernier revendique lui-même une forme d'authenticité: le réalisme de race. Ainsi, il n'est pas surprenant que l'authenticité soit aussi au cœur de la doctrine d'Heidegger ce qui
établit une sorte de connexion entre le National Socialisme et ses critiques français déconstructivistes. Même si pour certains ce disque peut sonner comme du rock déconstruit à travers de la noise électronique et des improvisations, il s'agit aussi ici de construire une sorte de Frankenstein, avatar du rock-comme-zombie: un peu comme si Lou Reed nous hantait depuis l'au-delà en connectant les cartes-mère de nos appareils électroniques à nos cerveaux, nous électrocutant de ne pas parvenir à arrêter ce régime fasciste déguisé en nouveau punk, tout en nous hurlant: vous avancez vers le danger, il faut reprendre le contrôle!

avec la participation de Farahnaz Hatam, Pan Daijing, Colin Hacklander, Werner Dafeldecker et Dean Roberts
Enregistré le 6 Juin 2016 par Jeremy Nothman aux Golden Retriever Studios, Kreuzberg, Berlin

Mastering par Rashad Becker

"Active since 2005, Mattin's Songbook project find the Basque provocateur embarking on a number of day long sessions in instant songwriting, using improvisation and collaboration as a means of shredding paradigms, upturning structures, etc. Mattin has a habit of letting concept smother results, but this Berlin session - featuring musicians including Pan Daijing, drummer Colin Hacklander and the New Zealand guitarist Dean Roberts - largely hits the mark. His barked vocals address contemporary political concerns (neoliberalism, the refugee crisis, the failure of Syriza) from a radical left perspective, with a soupçon of Auto-Tune to make the polemic go down a little smoother. Elsewhere, scouring no-wave guitars, sterile electronic noise and approximations of African pop battle for dominance, sometimes settling into an agreeably lopsided groove ("Einbahnstrasse Des Selbst")." - The Wire

"Who would’ve thought the world would one day be treated to six of Mattin’s “songbooks”? Not me! Everyone’s favorite anti-music provocateur is constantly at it, and I rate this new one on the higher side of his impressively thick discography. The concept here (and for previous “Songbooks”) is that Mattin gathers a few musicians and artists and creates music with them in a severely limited time frame, with some abstract idea guiding the project. (In this case, the lyrics were “used as score”.) Mattin’s ideas are often choked-out by the weight of their conceptualization, but Songbook #6 is a record I’ve honestly wanted to listen to more than once, so I’ll consider it a success. There’s a lot of open space here, as is often the case, but the varied instruments find ways to interject themselves in the proceedings – sometimes it sounds like the players are merely plugging and unplugging their gear, but on certain tracks, like opener “Die Form, Die Sich Selbst Formt”, the tension is nail-biting. Mattin manically screams his words throughout, often with the aid of AutoTune (why don’t more screamers use AutoTune?), and I’m reminded of something Einstürzende Neubauten or Die Tödliche Doris would have discarded on the studio floor and later gathered for a retrospective boxset. I’d say Mattin should try relaxing for a minute, but I’m pretty sure that would result in three LPs filled with violently-edited field recordings of him relaxing." - Yellow Green Red

"Che Mattin fosse un genio già lo sapevamo, essendo grandi fans dei suoi progetti. Ora torna con 'sta bomba nucleare in cui praticamente tutto è negato e tutto è posto su un piatto d'argento, in cui sulla merda viene posta la ciliegina. Il rock viene smembrato e ridotto a una poltiglia, gli autotune vengono usati giustamente col culo, ci sono spokenword che ricordano un po' i Pigface, un po' Die Dominatrix, un po' quello che cazzo volete, forse anche i Trio presi a calci nelle palle. Certe volte odora anche di Einstürzende Neubauten che non si lavano la cappella da giorni o di Starfuckers che si cagano addosso. Ma anche momenti stile teatro No slabbrato mischiato con birimbau sciolti nel naso di una vecchia senza naso che ha esagerato con la cocaina. Poi synth tipo missilistici che ti sfondano il culo in maniera random. Un disco molto rilassante, gli diamo sei stelle." - Noisey Italia

"Neben Noise gibt es von MATTIN seit Jahren auch eine lockere Serie, die er Songbook nennt. Davon is jetzt Teil sechs erschien: Songbook #6. Hier helfen nun Profis wie Werner Dafeldecker und Dean Roberts bei den ziemlich hörenswerten Miniaturen zur sogenannten "Flüchtlingskrise" und vor allem dem deutschen Anteil an ihrer weiteren Entwicklung. Die Texte sind diesmal auf Deutsch, Mattin singt sie durch Harmonizer und andere Stimmverfremdungsmedien. Auch in diesen subtil krachernen, erhaben-dreckigen, aber nie lärmenden, auftrumpfenden Noise-Vignetten geht es gegen die (Songtitel:) "Einbahnstrasse des Selbst" und um die Frage "Wie können wir wirklich WIR werden?" - Spex

"Grundgütiger! Da passiert es einem ja doch tatsächlich immer wieder einmal, trotz freistilistischer Abgebrühtheit überrascht zu werden, ja sogar richtiggehend angerührt! Auf diesem Kleinod mit der profanen Betitelung Songbook #6 schreitet das Konglomerat um den hochaktiven Spanier Mattin Artiach, seines Zeichens ex-Billy Bao-Frontmann, Labelbetreiber, publizierender sozipolitischen Aktivist und schillernder Vertreter der globalen Anti-Copyright- Bewegung, entschlossen radikal und progressiv zur Sache. Mit chirurgischer Präzision gelingt es den Beteiligten, die zugrundeliegende dystopisch aber hoffnungsvoll anmutende (deutsche!) Textpartitur aus der Feder Mattins in ein beeindruckendes musikalisches Gewand zu hüllen, welches die expressive und emotionale Durchschlagskraft seiner sprachlichen Grundlage nicht bloß adäquat kontextualisiert, sondern um ein Vielfaches potenziert. Durchsetzt von Protuberanzen zeitgenössischer Frustration, sich virtuos der Formalitäten, Methodik und Dialektik einer postdigitalen Redundanz-Ästhetik bedienend, kulminieren die kollektiven Anstrengungen der beteiligten Akteure auf Songbook #6 in einer der wohl beeindruckensten Veröffentlichungen des bisherigen Jahres. Ein sich zu intellektueller Lyrik bekennender Hassbatzen akuter Punk-Authentizität. Post-Proto- Postfuturismus in Aspik. Anspielltipp: Die Form, Die Sich Selbst Formt." - FreiStil

"First off, I have to let you know what’s going on with me before I jump into this review. I lost my job last November and kinda went crazy for a bit. Now, it’s months later, and I find myself back with my family (don’t ask), working from home (again, don’t ask) and again watching the sweet LPs pile up on behalf of Cerberus (… ok, ask away!). And the first platter I wanted to return with is this feisty lil’ sucker by Mattin, Songbook #6, which is a SICK title for an outfit as non-song-based as this quintet, sort of like the decidedly non-charting John Wesley Coleman III’s Greatest Hits. But one thing I want to dispel amid the many comparisons I intend to make (BeNe GeSSeRiT, Puff!, Aa) is the idea that Mattin are one of those insanity-peddling bands that can’t actually play their instruments. NO. The members of Mattin (Farahnaz Hatam, Pan Daijing, Colin Hacklander, Werner Dafeldecker, and Dean Roberts, the latter of White Winged Moth, exp. supergroup Autistic Daughters, and Thela) can JAM and though they don’t whip out all the tools at their disposal at once, you get little tastes of mastery if you stick around and let each track unfold as it needs to. It’s amazing what Mattin accomplish together, their introspective experiments taking on new shapes/dynamics with each observation. You can be listening to the last track on Side B and ingest an earworm so tough to shake you’ll be spitting out bits of it on your lunch break the next day. The most succulent cut might be the first track (forgive me, the track titles on this record are impossible), as it reminds me of the way the world blurs into a strange blast of speed when one inhales salvia (in my case for the first and last time) while listening to that last double 12” Boredoms put out. WOAH. The world blurs, your fingers grope for something, anything, to grab onto, and before you know it you’re in a place of mystery; you don’t know how you got there, and damned if you know how to get out. I remember feeling like I was trapped underneath my carpet, and that paranoid claustrophobia returns every time the ZOOM-ZUM-ZOOUUUMMmm of the first track flies by my aural window. From there it’s all gravy. You won’t understand the lyrics if you don’t speak German; then again, what’s there to not understand? It’s all in the subtext, inflated and deflated with particular skill by the drummer, who jumps in randy as all get-out when he’s needed, then coexists patiently until he’s needed to again play ROK-STAR. If you thought Notekillers were a little too pop-driven, you’re… alone, but I can guarantee you’ll find kindred spirits in Hatam, Daijing, Hacklander, Dafeldecker, and Roberts, the holy five-umvirate of sacred noise-rock laced with no wave and, well, I guess, punk." - Tiny Mix Tapes

"Descritta dal "manipulator" sonoro Dean Roberts come "Butthole Surfers meets Run The Jewels", la musica di Mattin ha innumerevoli pregi e qualche difetto. Pregio numero 1: l'imprevedibilita. Nelle sei tracce in scaletta di questo disco i generi trattati sono molti, dall'elettronica alla no wave/neue deutsche welle passando per il folk e la musica concreta. Pregio numero 2: non ci sono due tracce che si somiglino. Pregio numero 3: l'autonomia creativa di ciascuna traccia. Questi i pregi. Poi ci sono i difetti: lo sperimentalismo fine a se stesso, al quale si unisce una certa monotonio di fonda, perlopiu frutto della mancanza di una scrittura musicale solida. Non e un caso, forse, che alla fin fine sorga un dubbio: che Mattin utilizzi i suoni come un mero canovaccio?" - Rockerilla

"Severe warp and fuxx / Genre-free rock played like jizz / Don’t resist – give in!" - Radio Free Midwich




CRU13: C.I.A Debutante "We Will play for spirits" CS45 x 2

Recorded May 1st 2017 at the Auber Mansion by Benoit Villeneuve/Doucement
Art by Eden Spetsnaz Editions and some Bapt Windrunner Dope Database
Special thanks to Michel Wisniewski

C.I.A Debutante est un duo formé par Paul Bonnet (Disposition Matrix, The Nightclub Toilet) et Nathan Roche (Le Villejuif Underground). Créé l'an dernier, le groupe a déjà à son actif une demi-
douzaine de cassettes sur des labels comme Officine, Tanzprocesz ou Royal Sperm. "We will play for spirits", leur nouveau double album sur Crudités Tapes/SDZ va vous transporter à 10 000 au dessus des océans, dans un radeau de fortune malmené par les vents, à moins que ce ne soit tout simplement le mauvais oeil. Librement inspiré d'un crash aérien, ces 18 morceaux cryptiques forment une mixture incongrue entre l'électronique vintage d'un pilote autodidacte, possiblement kamikaze, et le spoken word d'un enquêteur un peu déviant aux théories houblonneuses. Géomètre des chemtrails, passionné des carrousels à bagages et des signaux lumineux qui ne mènent pas à une issue de secours, C.I.A Debutante se fraye un chemin dans les interlignes des rapports officiels et actionne ses visions en plein ciel comme le long de longues plages abandonnées où, en courant un peu vite au bon endroit, il y a toujours moyen de trouver des débris d'avions. Dans les sous-sols d'un large bâtiment du tout puissant complexe militaro-industriel on écoute déjà cette double-cassette avec une attention fébrile.

C.I.A Debutante is a duo formed by Paul Bonnet (Disposition Matrix, The Nightclub Toilet) and Nathan Roche (Le Villejuif Underground). Created last year, the band has already released half a dozen tapes on labels such as Officine, Tanzprocesz or Royal Sperm. "We will play for spirits", their new double album on Crudités Tapes/SDZ will transport you to 10 000 ft over the oceans, in a raft of fortune mauled by the winds, unless it is simply the evil eye. Loosely inspired by an air crash, these 18 cryptic tracks form an incongruous mixture between the vintage electronics of a self-taught pilot, possibly a kamikaze, and the spoken word of a little deviant investigator, kean on hop-flavored theories. Chemtrails geometricians, luggages carousel enthusiasts and fond of light signals that do not lead to an emergency exit, C.I.A Debutante makes its way through the lines of official reports and operate its own visions both in the sky and along abandoned beaches where, by running a little fast in the right direction there is always a plane debris waiting for you. In the basement of a large building owned by the military-industrial complex, experts are already listening to
this double-cassette with a febrile attention.

Interview dans Gonzai

"Formé par Paul Bonnet (Disposition Matrix, The Nightclub Toilet) et Nathan Roche (Le Villejuif Underground) C.I.A. Debutante offre un premier album étrange et envoutant, construit autour de
sonorités spatiales et de bidouillages en tous genres.
We Will Play For Spirits est un aller sans retour vers une planète interdite, de laquelle on n’échappe pas forcément vivant, à moins de savoir naviguer entre les interférences et les vocaux parlers
qui parasitent l’ensemble constamment. Les 18 titres qui composent l’album, ne sont pas sans évoquer certains travaux de Martin Rev (moitié de Suicide), Cabaret Voltaire ou Throbbing Gristle entre
plongées expérimentales et éléments post-rock recouverts de poussière radio-active, électronique déglinguée et dérapages cryptaux.
Le duo se délecte à créer des atmosphères tendues, où les rythmiques forment un tapis sur lequel glisse les éléments autour. Le psychédélisme est aussi de la partie, de par cette volonté farouche
de distordre les sons et les exploser en kaléidoscopes vibrants, bâtis à coups de machines usées et de synthés épuisés jusqu’à la moelle. Le plus étonnant reste la faculté de C.I.A. Debutante de ne
jamais agresser nos tympans, tant leur musique déploie un arsenal de mélodies sous jacentes à la douceur ambient flottant dans un espace à l’énergie électrique vibrante. Très fortement recommandé."
- Silenceandsound

"will likely scratch the inch for those with an interest in, say, early industrial music, library music, The Shadow Ring, and spy films. A solid release." - FreeFormFreakout

"Like painting over a canvas so many times that the paint peels and cracks in places, while retaining a shadow of the original image beneath, ‘We will play for spirits’ is densely layered and
mysterious. On ‘Phonetapping’ and ‘Forty-eight dollars a night neon’, delicate synths and miniature drum machine cymbals are penetrated by crushing vocals and screaming frequencies swathed in
distortion. Loosely inspired by an “air crash,” each song seems guided by the harmony of alien lifeforms. A harmony disturbed by an unfamiliar relic - a muffled human voice captured on chewed up
tape-loop. One could listen for eternity and never unravel the code.."
- Critic