12“ RED/YELLOW MARBLED (incl. poster & download)

Tracklist:
A1) No More Love (No More Hate)
A2) Special A
A3) A Noise Rose
B1) New Territory
B2) Italian Sex Drive
B3) The Eastern Pale Christ

Release Info:
Internationally revered, multi-faceted artist Arnaud Rebotini arrives on Veyl with the new EP, 'New
Territory'. While venturing into a wide array of musical genres and sonic realms, the release is still
unmistakably Rebotini, fueled by infectious electro-body grooves and hypnotizing vocals.
From the utterly addictive, pulse pounding allure of 'Special A' to the more industrial techno strains of 'A
Noise Rose', Rebotini delivers a myriad of interconnected tracks which traverse fresh auditory
landscapes but maintain a common circuitry. The poignant, anthemic lyrics of 'No More Love (No More
Hate)' resonates loud and clear while the throbbing, Giallo flaire of 'Italian Sex Drive' sends shivers down
the spine.
'The Pale Eastern Christ' injects a haunting atmospheric mood while the title track is irresistible ebmwave that falls perfectly in between the lines for an indelible sound that only the French producer can
conjure. Rebotini’s work continues to shatter boundaries and fuse genres while essentially pioneering a
category all of his own. 'New Territory' furthers the legend and keeps us begging for more. More

Territory: World excluding FR. Blackstrobe Records under exclusive licence to Because Music . LP with Printed Inner Sleeves.
House music broke through in 1987, at the same time when AIDS arrived in France with the first contamination peak in gay and drug addict circles. In 1989, the founders of Act-Up Paris knew that both the fight against AIDS and triumphant house music should be joined together.

Tracklist:

CD
1.120 Battements Par Minute
2.Premiers Battements
3.Sean & Nathan la Nuit
4.Meltonpharm
5.Jeremie est Mort du Sida
6.Pride
7.La Parade
8.Bronski Beats - Smalltown Boy (Arnaud Rebotini Remix)
9.Le Scanner
10.Le Premier Club
11.Azt Ddi Ddc
12.Le Pont
13.What About This Love (Kenlou Remix)**
14.Sean & Nathan
15.Minority's Swing (Bonus Track)
16.Housing Committee (Bonus Track)
17.A Prayer For You (Bonus Track)


Short info:
House music broke through in 1987, at the same time when AIDS arrived in France with the first contamination peak in gay and drug addict circles. In 1989, the founders of Act-Up Paris knew that both the fight against AIDS and triumphant house music should be joined together.

From 1992 to 1995, the period covered by "120 BPM", house reached its most beautiful plateau even though techno was becoming dominant. "120 BPM" is a get-together moment through clubbing, this moment where fears are forgotten by dancing with one's friends, what we called "the chosen family" at Act-Up. Boys and girls dancing in a club where the walls cannot be seen, flooded with simple light. This is their activist recess.

Arnaud Rebotini, composing the soundtrack of Robin Campillo's previous film, "Eastern Boys", is a recognized DJ, a composer and a kind man, which is for me the most important quality. Here, his work is marked by restraint of his love for house and after techno. I believe he deliberately withdrew himself in relation to the film's power and the AIDS theme. He accompanies and supports the image on the screen and even his remix of Small Town Boy by Bronski Beat is in a process marked by respect and almost intimidation (even if I would have done it differently). But this record is not nostalgic, it's a modern look at what occurred a long time ago, with the same fascination for synthesizers of that era where the analog was so important. The soundtrack is what balances this film and what justifies such a conceptual title: "120 BPM", the natural rhythm of both house and the heart, the music that kept us going when we were losing hope, the most important musical movement of the last thirty years along with Hip Hop.

The movie had its world premiere at the 2017 Cannes Film Festival, followed by screenings at other festivals. At Cannes it received critical acclaim and won four awards, including the Grand Prix of the Festival.


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Territory: World excluding FR. Blackstrobe Records under exclusive licence to Because Music . LP with Printed Inner Sleeves.
House music broke through in 1987, at the same time when AIDS arrived in France with the first contamination peak in gay and drug addict circles. In 1989, the founders of Act-Up Paris knew that both the fight against AIDS and triumphant house music should be joined together.

Tracklist:

VINYL

SIDE A
A1. 120 Battements Par Minute
A2. Premiers Battements
A3. Sean & Nathan la Nuit
A4. Meltonpharm
A5. Jeremie est Mort du Sida
A6. Pride
A7. La Parade

SIDE B
B1. Smalltown Boy (Arnaud Rebotini Remix)
B2. Le Scanner
B3. Le Premier Club
B4. AZT DDI DDC
B5. Le Pont
B6. Sean & Nathan

Short info:

House music broke through in 1987, at the same time when AIDS arrived in France with the first contamination peak in gay and drug addict circles. In 1989, the founders of Act-Up Paris knew that both the fight against AIDS and triumphant house music should be joined together.

From 1992 to 1995, the period covered by "120 BPM", house reached its most beautiful plateau even though techno was becoming dominant. "120 BPM" is a get-together moment through clubbing, this moment where fears are forgotten by dancing with one's friends, what we called "the chosen family" at Act-Up. Boys and girls dancing in a club where the walls cannot be seen, flooded with simple light. This is their activist recess.

Arnaud Rebotini, composing the soundtrack of Robin Campillo's previous film, "Eastern Boys", is a recognized DJ, a composer and a kind man, which is for me the most important quality. Here, his work is marked by restraint of his love for house and after techno. I believe he deliberately withdrew himself in relation to the film's power and the AIDS theme. He accompanies and supports the image on the screen and even his remix of Small Town Boy by Bronski Beat is in a process marked by respect and almost intimidation (even if I would have done it differently). But this record is not nostalgic, it's a modern look at what occurred a long time ago, with the same fascination for synthesizers of that era where the analog was so important. The soundtrack is what balances this film and what justifies such a conceptual title: "120 BPM", the natural rhythm of both house and the heart, the music that kept us going when we were losing hope, the most important musical movement of the last thirty years along with Hip Hop.

The movie had its world premiere at the 2017 Cannes Film Festival, followed by screenings at other festivals. At Cannes it received critical acclaim and won four awards, including the Grand Prix of the Festival.


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TERRITORY:World excluding France

Tracklist :

Side A
1- Visage
2- Dark Candies feat. Romance Disaster
Side B
1- Come Here Come Down
2- Never Control Part 2
3- Accident Sentimental
Side C
1- Le Prince De La Cuite
2- J'ai Peur De Mon Ombre
Side D
1- Destination l'Amour
2- En Cas d'Urgence
3- Vision Parallele

Short Info:

David Carretta, well known for his releases on International Gigolo and as a pioneer of french electro/techno, is the author of a modern techno that paradoxically draws its roots in the best of the 1980s.

On Nuit Panic, his first solo album for ten years, the incisive and hypnotic melodies of "Face" and "Prince of the Cook", interpreted by David, or "Dark Candies" sung by the Berlin artist Aga Wilk, evoke his obsession for disco italo and the seductive tones of the synth-pop of New Order or Depeche Mode.


The martial beats and hypnotic synth lines of "Come Here Come Down", "Destination love" or "In case of emergency", recall the sound of the cold and percussive electronics of the EBM, a music nourished by the nihilism of punk and the metallic sounds of the industrial current, which had then invented Front 242 or Nitzer Ebb.

However, on this fourth solo album, let us specify that the French musician is never satisfied with pasticher the music of yesterday. Let's say it draws its DNA, vocabulary and of course some of its instruments, especially its favorite synthesizer, the Sequential Circuits Pro One as well as the Korg MS-20, synthesizers formerly used by Vince Clark, DAF or Dangerous Liaisons.


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TERRITORY: GERMANY/AUSTRIA/SWITZERLAND , RECORD STORE TITLE , DON`T RELEASE BEFORE 13.4. !
First vinyl issue for this iconic French Electro-pop album (only available on CD), written by Arnaud Rebotini with featuring from Alain Bashung, Roya Arab, Kas Product's Mona Soyoc and many more.


Tracklist LP:

Side A
1 Ich will dir helfen
2 A la manière (with Roya Arab)
3 Ondine

Side B
4 Aspiration (with Mona Soyoc)
5 One of these days (with Hafdis Huld)
6 Théorème
7 Mortel battement / Nocturne (with Alain Bashung)

Side C
8 Organique
9 The watcher (with Mona Soyoc)
10 Qu'est-ce qui m'a pris (with Philippe Poirier)

Side D
11 XR 116 / Messe rouge
12 Untitled
13 Ondine (Alt take)
14 Piasong


" The sensitive mountain " (la montagne sensible) is the nickname Alain Bashung came up with for Arnaud Rebotini. At the height of his fame, after the success of Fantaisie Militaire in 1998, Bashung readily agreed to create an album with Rebotini. The two men didn't know each other; their record label had introduced them. Bashung brought in "Mortel Battement" and "Nocturne," two poems by Jean Tardieu, which he recited in a voice simultaneously warm and flat, and Arnaud produced an impressionist soundscape that ended with an apocalypse of metal. Bashung was so proud of their collaboration that he offered to give several interviews to promote the record. Today, listening back to this moving Léo Ferré influenced "talking singing" exercise, it's hard not to hear the template for L'Imprudence, the album that Bashung went on to record with Rebotini two years later. In a similar way, the album Organique sparked a productive partnership between Rebotini and filmmaker Robin Campillo, which resulted in their being awarded a César for Best Original Music in 2018. The director, who trusted Rebotini to create the soundtracks for his films Eastern Boys and 120 Beats per Minute, never kept his love for the 2000 record a secret.

Yet it's an understatement to say that when it was released, Organique was not in the spirit of times. That year was all about the French touch. The funky samples of Modjo's "Lady" and Superfunk's "Lucky Star" ruled the sweaty dancefloors. Although Rebotini was familiar with the electronic scene, he had something else in mind when he set about creating Organique. Under his own name or under the pseudonyms Aleph, Avalanche, Black Strobe, Maison Laffitte, and of course Zend Avesta, he had already released several quite bizarre and experimental techno, house, or jungle maxi singles on pioneering labels like P.O.F., Source, and Artefact, run by his friend Jérôme Mestre's, whom he had met back when both were working as record salesmen at Rough Trade's ephemeral Parisian store. It was at Artefact, still financed at the time by Barclay and Universal, that he naturally proposed this record project, which was a bit "different." It was his first real album.

Arnaud Rebotini has never hidden his love-hate relationship with the electronic scene. He's a fan of rave music, Rex, and later Pulp, but he listens mostly to metal and contemporary music, mainly American minimalists such as Terry Riley, Philip Glass, Steve Reich. He wanted to mix this genre with a more French aesthetic inspired by Debussy, whose unconventionality fascinates him. From the first suspended guitar note of Organique, you can pick up another influence, possibly poppier. In the style of Mark Hollis, the erratic leader of Talk Talk, whose only solo album's silences and dissonances left their mark two years earlier, we hear the fingers touching the keys of the clarinet on "Ondine." The instruments have presence, character. Nothing is smooth. Everything is organic.

Although it's sometimes labeled as electronica because of Rebotini's career, there's nothing digital about Organique. No "pro tools" editing or samples, only programmed drums and some synth layering. And his guest vocalists. Playing the role of electro producer, he invited Bashung, of course, to join him on the album, but also Roya Arab, who Rebotini first spotted while she was playing in Archive, and her sister Leila, Gus Gus alum Hafdis Huld, Kat Onoma's Philippe Poirier on the "Samuel Hall" inspired track "Qu'est ce qui m'a pris," and former KaS Product member Mona Soyoc.

The frustration of a tour where he had "little to do on stage," the desire to sing himself, and the creation of the Black Strobe project, a haunting mix of blues and rock, stopped Zend Avesta from putting out another album. Eighteen years later, the Organique we rediscover today has lost nothing of its strangeness, nor beauty. When it came out, Bashung said, "What is interesting for a musician is to feel that you have a piece of wasteland in front of you, something to clear." That remains true today.


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