Just another music blog............ et oui, un autre blog de musique


The Fall - Dragnet

Band: The Fall
Album: Dragnet
Country: UK
Release Date: 1979

The Fall's second album was also one of the hardest to find in later years, getting only sporadic represses and reissues. Though some opinions would have it that there was a good reason for this -- namely, that it was something of a dead end sonically -- it's not as bad as all that. It's true that more than a few tracks come across as Fall-by-numbers (even then, already better than plenty of other bands), but there are some thorough standouts regardless. There's also another key reason to rate Dragnet -- it's the debut album appearance of Craig Scanlon, who picked up on the off-kilter rockabilly-meets-art rock sensibilities of the initial lineup and translated it into amazing guitar work. No less important is the appearance of Steve Hanley, who would soon take over fully on bass from Marc Riley, who in turn moved to guitar, forming one heck of a partnership with Scanlon that would last until Riley jumped ship to form the Creepers. Generally the songs which work the best on Dragnet throw in some amusingly odd curves while still hanging together musically. The full winner is unquestionably "Spectre vs. Rector," an amazing combination of clear lead vocals and buried, heavily echoed music and further rants, before fully exploding halfway through while the rhythm obsessively grinds away. Another odd and wonderful cut is "Muzorewi's Daughter," which starts out sounding like stereotypical Hollywood music for Native American tribes before shifting between that and quicker choruses. "Dice Man," with its rave-up melody and slower vocal- and guitar-only chorus, not to mention the weird muttering elsewhere in the mix, says it all in under two minutes and has fun while doing it. Through it all, Smith rants and raves supreme, spinning out putdowns, cracked vocals, and total bile with all the thrill and energy one could want from a good performer.

1.Psykick Dance Hall3:48
2.A Figure Walks6:08
4.Dice Man1:45
5.Before The Moon Falls4:31
6.Your Heart Out3:07
7.Muzorewi's Daughter3:43
8.Flat Of Angles4:55
9.Choc - Stock2:37
10.Spectre Vs Rector7:56
11.Put Away3:30
12.Rowche Rumble4:01
13.In My Area4:05
14.Fiery Jack4:43
15.2nd Dark Age1:59
16.Psykick Dance Hall (No. 2)3:39
17.Rowche Rumble (Take 2)4:05
18.Rowche Rumble (Take 3)0:33
19.Rowche Rubmle (Take 4)3:53
20.Rowche Rumble (Take 5)1:35
21.In My Area (Take 1)0:48
22.In My Area (Take 2)5:06

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The No WTO Combo - Live From The Battle In Seattle

Band: The No WTO Combo
Album: Live From The Battle In Seattle
Country: USA
Release Date: 2000

The No W.T.O Combo celebrate and further the protests that took place against the World Trade Organization in Seattle during late November of 1999. Recorded live at a show amidst the protests' aftermath, he Combo brings elder punk statesman Jello Biafra together with Kim Thayil, Krist Novoselic, and Gina Mainwal. Two new Biafra-penned punk burners, the Dead Kennedys classic "Let's Lynch the Landlord," a Biafra spoken-word piece, and the DOA/Biafra jam "Full Metal Jackoff" comprise the set's material. The recording is musically noteworthy due to the musicians' obvious passion, not to mention that Thayil sounds like an unholy cross between Greg Ginn and East Bay Ray. Most interesting, though, is Biafra's subject matter -- worker rights, NAFTA, downsizing, and the WTO -- and excellent liner notes from Biafra and Novoselic summing up the demonstrations and issues at hand. At the least, Live From the Battle in Seattle is an important historical document; leave it to Biafra to show that rock and social protest don't have to be mutually exclusive, even in the year 2000.

  1. "Battle in Seattle" – 15:02
  2. "Let's Lynch the Landlord" – 3:41
  3. "New Feudalism" – 4:15
  4. "Electronic Plantation" – 4:55
  5. "Full Metal Jackoff" – 16:28
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The Cramps - How To Make A Monster

Band: The Cramps
Album: How To Make A Monster
Country: USA
Release Date: 2004

Part of the beauty of the Cramps is the consistency of their vision -- since 1976, their body of work has been one long fever dream of kinky sex, bug-eyed monsters, and switchblade-wielding juvies, married to the primal twang of an electric guitar and the malevolent thud of a drum kit. While the quality of their work has run through some peaks and valleys over the years (they've made plenty of good records, but just a few great ones), they seem to have known what they were shooting for from the very beginning. How to Make a Monster, a two-disc collection of demos, rehearsal tapes, and live recordings, documents the band's formative years (for the most part), and while a few of these takes push the boundaries of the word "primitive," this is the Cramps, alive and oozing, from the very first lo-fi run-though of "Quick Joey Small." The first two sets of recordings, from 1976, are plenty crude (in terms of both performance and audio quality), but the band's energy and abandon are already in place, and while later tapes (from 1981 through 1988) are cleaner, the band ultimately doesn't sound that much different, just tighter and better at what it's doing. While Lux Interior sounds a bit subdued in some of the earlier studio stuff, he's a live wire all through disc two, which preserves two early live shows, one at Max's Kansas City in 1977 and the other from CBGB's in 1978. The band has to put up with a too-cool-for-school audience for the Max's show, which periodically heckles the band (gotta wonder what those "hipsters" are up to today), but Poison Ivy Rorschach's deadly guitar is already on the case, and by the time the CBGB's gig rolls up, the Cramps sound loud and proud, and the crowd is with 'em all the way. How to Make a Monster is hardly the definitive Cramps anthology (this is one band that has earned a box set by now), but it's a fun and fascinating look at their early days, and if you subscribe to the notion that the older the Cramps record is, the better, then this little item's a must. Great notes from Lux and Ivy, too, along with some classic flyer art and provocative photos.

CD 1
1-Quick Joey Small
2-Lux's Blues
3-Love Me
5-Sunglasses After Dark
6-Subwire Desire
7-TV Set
8-Sunglasses After Dark
9-I Was A Teenage Werewolf
10-Can't Hardly Stand It
11-Sweet Woman Blues
12-Rumble Blues
13-Rumble Blues (False Start)
14-Rumble Blues
15-Rumble Blues
16-Lonesome Town
17-Five Years Ahead Of My Time
18-Call Of The Wighat
19-Hanky Panky
20-Journey To The Center Of A Girl
21-Jackyard Backoff
22-Everything Goes
23-All Women Are Bad
24-(Untitled Track)
Summer 1976 (1-8), Oct. 1976 (9-10), 1981 Rehearsal (11-16), 1982 A&M Studio (17-19), 1988 Rehearsal (20-22), 1988 Home Demo (23)

CD 2
1-Don't Eat Stuff Off The Sidewalk
2-I Was A Teenage Werewolf
3-Sunglasses After Dark
4-Jungle Hop
6-Love Me
8-TV Set
9-I'm Cramped
10-The Way I Walk
11-Love Me
13-Human Fly
14-I Was A Teenage Werewolf
15-Sunglasses After Dark
16-Can't Hardly Stand It
17-Uranium Rock
18-What's Behind The Mask
19-Baby Blue Rock
20-Subwire Desire
21-I'm Cramped
22-TV Set
Live at Max's Kansas City 1/14/77 (1-9), Live at CBGB 1/13/78 (10-22)

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Wire - Third Day

Band: Wire
Album: Third Day
Country: UK
Release Date: 2000

These are five songs from the third rehearsal of Wire's recent, stunning comeback, recorded at the Ritz in London, November 29, 1999. And regrettably, The Third Day is only a limited edition, 1000-copies EP the group peddled at its 2000 tour gigs, because frankly, it's jaw dropping. As those who attended the tour could attest, the four original members declined to replicate their 23-year-old versions. Instead, as seen here on a mind-blowing "Pink Flag" (two ashen versions for good measure) and an equally wicked "Mercy," the group hurls a viscous cacophony the old recordings always hinted at -- like on 154's later "A Touching Display." In place of the underground-touchstone scratchy guitars on the Pink Flag and Chairs Missing classics that launched a thousand bands, Bruce Gilbert and Colin Newman are all roaring thrust, all dense wall of sound eruption. Recall, Wire-heads, My Bloody Valentine doing "Only Shallow" on the Loveless tour in 1992, and you're in the fuming, exploding, deafening, needles-screaming-in-the-red ballpark. Right in step, bassist Graham Lewis doubles the solidity into a distorted, crunching slam of a sound. Yikes. Even tap-tap-tap master Robert Gotobed sounds as if his kick drum's a howitzer and his snare's a tommy gun. 154's more gaseous "Blessed State" is similarly reinvigorated (though it had less far to go; sadly, this wasn't subsequently performed live), and "Art of Persistence" is a great find. Speaking of "find," how does one find this surprisingly must-have document? Alas, Wire probably sold all copies by tour's end, but try at www.pinkflag.com.

1.Pink Flag (r1)3:56
2.Blessed State3:22
4.Art Of Persistence (1st draft)4:33
5.Pink Flag (r2)3:35

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Polysics - Polysics or Die!!!!

Band: Polysics
Album: Polysics or Die!!!!
Country: Japan
Release Date: 2005

Polysics aren't cute, and they don't have their own cartoon show. (Although it might be interesting -- I'm thinking Ren & Stimpy, but weirder.) What they do have is a thoroughly original, bizzarely entertaining sound.
What do they sound like? A friend of mine suggested techno punk, but that description is too glib. Imagine the bastard child of Devo and a hardcore punk group, fronted by a guy who, umm, hasn't been keeping up with his meds, and you start to get the idea.
The music is braindead fun, spastic, and thoroughly addictive. Chief Polysic Hiroyuki Hayashi (once known only as Poly-1) mugs and wails off key over a bed of thrashing guitars, bleeping synthesizers, and the sugary sweet harmonies of keyboardist Kayo and bassist Fumi. The few non-Japanese songs are more Engrish than English, but it all fits somehow. This isn't brain surgery music.
Sure, Hayashi's over-the-top style can wear on you, and they do love their vocoders. Some songs don't work -- a "live in the studio" re-recording of the single "Black Out Fall Out" (found on Japan For Sale Vol 3, for the curious) introduces unnecessary elements and loosens the songs tight charm. But the sped up, vocoded cover of "My Sharona" deserves to be on everyone's list of alltime bizzare songs, and numbers like "Kaja Kaja Goo", "Lookin' Looin' Gaa" (with its childlike verse chants), "Peach Pie On The Beach" (just TRY not singing along -- pippikippippippi!) and "Code4" really do show off the band at its hyperactive, geeky finest.

  1. Buggie Technica
  2. Hot Stuff
  3. New Wave Jacket
  4. Plus Chicker
  5. Kaja Kaja Goo
  6. Black Out Fall Out
  7. My Sharona
  8. Making Sense
  9. Lookin’ Lookin’ Gaa
  10. Commodoll
  11. For Young Electric Pop
  12. XCT
  13. Peach Pie on the Beach
  14. Each Life Each End
  15. Code 4
  16. Modern
  17. Urge On !!
  18. ENO
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Wire - Read & Burn EP series

Band: Wire
Album: Read & Burn 01
Country: UK
Release Date: 2002

With the 1990 departure of Robert Gotobed (now Robert Grey), Wire ceased to exist, becoming the trio WIR. A decade later, however, the unpredictable foursome reunited for a series of concerts. Playing together again, the bandmembers realized Wire still had something to say. Tracks from 1999 rehearsals appeared on The Third Day, but the band began recording completely new material in late 2001. That first studio collaboration since Manscape resulted in Read & Burn 01. It's appropriate that this release from British punk's most innovative band should coincide with punk's Silver Jubilee. But although Read & Burn 01 evokes the taut and abrasive, pared-down rush of Pink Flag -- before the more experimental departures of Chairs Missing and 154 -- this isn't empty nostalgia. On the vintage foundation of simple, minimal patterns repeated to often-hypnotic effect, Wire builds a beefed-up, contemporary wall of sound. In keeping with the title, this material is urgent and intense, feelings conveyed by the music's sheer pace. The three-chord wonder "In the Art of Stopping" kicks things off frantically and the band goes into overdrive on the deconstructed speed metal/hardcore onslaught of "Comet," with Grey's characteristically relentless, rigid beat at the center of the sonic maelstrom; aside from Colin Newman's trademark sneer, this could be an outtake from Motörhead's Overkill. Although there's a respite on the shouty "I Don't Understand," with its ominous, lumbering groove recalling "Lowdown," elsewhere Wire sustains the amphetamine pace. They end with a bang on "The Agfers of Kodack," an assaultive number enveloped in Bruce Gilbert's swarm-of-bees guitar. During a 1977 Wire gig at London's Roxy, a heckler shouted at the band after every number, "That's better, now louder and faster." Read & Burn 01 suggests that 25 years later, Wire might still be hearing that voice egging them on.

1.In the Art of Stopping3:34
2.I Don't Understand3:17
4.Germ Ship1:51
5.1st Fast1:41
6.The Agfers of Kodack3:14

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Band: Wire
Album: Read & Burn 02
Country: UK
Release Date: 2002

On their post-millennial return to the studio, Wire rediscovered no-nonsense noisemaking, trashing the art component of their pioneering art punk identity and throwing themselves headlong into a fast, loud, and bilious new philistinism. The band's first salvo, Read & Burn 01, was a stomping, short, sharp shocker, the aural equivalent of getting jumped in a dark alley by a bunch of irate, amphetamine-addled pensioners (well, Bruce Gilbert was nearing 60 when the CD appeared). A few months later, with listeners still cowering in the corner groping about for their glasses and checking for broken bones, the thuggish quartet came back to put the boot in again. Grounded in the three Rs (repetition, repetition, and repetition), Read & Burn 02 shares its predecessor's hit-and-run aesthetic: it's a post-industrial punk rock barrage of buzzing, stinging guitars; chunky basslines; and clockwork beats littered with terse, strangled vocals that fall somewhere between bolshy, pre-brawl aggression and football-terrace chants. The sound of Wire 2002 rarely lets you catch your breath. From the title track's deconstructed glam rock rhythms to the metallic rush of "Nice Streets Above" to the hectoring speedcore of "Raft Ants," these numbers seem fueled by a "last-one-to-the-end-of-the-song's-a-sissy" competition among the bandmembers. But while the overriding feel is one of menace and urgency, there are some less-fraught moments. It's a good cop/bad cop routine: Amid the general sonic onslaught, part of "Trash/Treasure" sees Colin Newman trading his heckling delivery for almost soothing vocals and Wire playing pop in a way that recalls their better '80s material. Still, Gilbert, Grey, Graham Lewis, and Newman have never had much time for nostalgia, and the new level of assaultive energy here emphasizes that the band is still reinventing itself. Read & Burn 02 is the sound of Wire not so much looking back as looking forward in anger.

1.Read and Burn2:35
4.Nice Streets Above2:50
5.Raft Ants2:05

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Band: Wire
Album: Read & Burn 03
Country: UK
Release Date: 2007

Having spent the four-and-a-half years since the May 2003 release of Send, their last full length studio album, consolidating and reappraising their back catalogue (by means of CD and DVD releases and re-releases of their '70s material) and for the most part remaining out of the public eye, Wire have nonetheless not been creatively idle. Although drawing on a resource pool of material developed over the entire post-Send period, Read & Burn 03 benefits substantially from a concentrated creative effort and newly defined aesthetic sense developed since mid-2006. Wire, ever multi-layered, ever redefined, is evolving yet again. No greater indication of the seismic shift in Wire's intentions can be given than the very fact that the first track on the band's first utterance for almost five years is nearly 10 minutes long!

The fertile creative seam hit over the latter part of 2006 continues to be mined, and although Read & Burn 03 stands as a body of work in its own right, it is but the finished part of the larger set of material from which Wire will draw the next album. Note, however, that no material from Read & Burn 03 will be included on the next Wire album. Read & Burn 03 is NOT a part installment: it stands in its own right.

1.23 Years Too Late9:46
2.Our Time4:33
3.No Warning Given5:26
4.Desert Diving5:34

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Wire - Cabaret Metro (Send Bonus CD)

Band: Wire
Album: Cabaret Metro (Send Bonus CD)
Country: UK
Release Date: 2003

A great performance of Wire live at the Cabaret Metro in Chicago on 14th September 2002 give out as a bonus with some early release of Send.

1. 99.9
2. Germ Ship
3. Mr Marx's Table
4. First Fast
5. Read And Burn
6. The Agfers Of Kodack
7. Comet
8. In The Art Of Stopping
9. Spent
10. I Don't Understand

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Nao Wave - Brazilian Post-Punk (1982-1988)

Band: Various Artists
Album: Nao Wave - Brazilian Post-Punk (1982-1988)
Country: Brazil
Release Date: 2005

A strange object surprised music fans in Brazil in 1982. An independent 7“ single, with an obscure cover in black and white where the band name could be read: Agentss. Here were 2 tracks impressively synchronised with the electronic music that was happening at that time in Europe and the USA, from Gary Numan and Fad Gadget to Gang Of Four, ESG, New Order and Liquid Liquid.

It was the first manifestation of a phenomenon that developed during the whole of the 1980's: Brazilian bands working from the same post-punk references as scenes occurring in London, New York and Berlin. In the following years dozens of releases revealed an invigorating and vigorous generation of bands. From 1982 to the end of the 80s bands like Ira!, Smack, Mercenárias, Muzak, Voluntários da Pátria, Chance, Vzyadoq Moe, Akira S & as Garotas Que Erraram were some of these names - all of these coming from the city of São Paulo.

With today´s groups like Bloc Party, LCD Sound System, The Rapture, Whomadewho, Radio 4 and other contemporary punk/dance bands taking their influences from the early eigthies, the music of the groups included on Não Wave (all of whom have remained unknown outside of Brazil until now) will be a surprising revelation.
The tracks that Andy Cumming, Alex Antunes and Miguel Barella compiled in this collection give an idea of what was the Brazilian "Não Wave". An idea that is perhaps incomplete, because what was documented in the studios was often less explosive than the live experience - but still intriguing none-theless to see how current some of these tracks sound.

Não Wave track details, by Alex Antunes

01 Agentss "Agentes"
Technopop band that were the predecessors of the Brazilian new wave. Formed in 1980, they released an independent single ("Agentes" / "Angra") in 1982, and another for a major label ("Professor Digital" / "Cidade Industrial") in 1983, splitting up in the same year. The few live shows they did always had a huge impact. The leader, vocalist and keyboard player Kodiak Bachine continued with an obscure solo work, while the guitarists Orion Mike (Miguel Barella) and Duo (Eduardo Amarante) went on to work in important bands in the following years such as Voluntários da Patria and Azul 29.

02 Black Future "Eu Sou O Rio"
The darkest ("dark" being the name given to Brazilian pre-goths) and most experimental band from Rio de Janeiro, where the radical musical scene was based round the club "Crepúsculo de Cubatão" owned by the exiled English bank robber, Ronnie Biggs. Black Future were led by vocalist Márcio Satanésio and keyboard player, violinist and artist Tantão, two eccentric composers from the bohemian neighbourhood of Lapa, influenced by pop culture in general and comics in particular. The group appeared in 1983 and the album was released in 1988, promptly disappearing. One of the most well-known tracks is "Eu Sou O Rio" (I am Rio), which ironically celebrates the city, mixing punk funk and samba.

03+04 Akira S & As Garotas Que Erraram "O Futebol" + "Sobre As Pernas"
Anarchic punk funk band formed by bassist Akira S and vocalist Pedreira Antunes in 1984. Akira S & As Garotas Que Erraram (Akira S and The Girls That Fucked Up) were the highlight on the seminal compilation Não São Paulo. Can member, Holger Czukay participated in the hit "Sobre As Pernas". In 1986, the year of the recording of their only album, they also performed with American no wave guitarist Arto Lindsay in a show that ended up in confusion and rioting with the vocalist Antunes inciting the audience to destroy the club Zoster. Pioneers in the use of computers on stage.

05 Azul 29 "Ciências Sensuais"
The principle Brazilian technopop group, carrying on the heritage of Agentss, from whom they inherited guitarist Eduardo Amarante. Between 1983 and 1984 they released two singles ("Metrópole" / "Olhar") and ("Video Game" / "O Teu Nome Em Neon") for a major label before disappearing.The bizarre performance of vocalist and composer Thomas Bielefeld on this exclusive unreleased track ("Sensual Sciences") with his falsettos recalls the German operatic pop singer Klaus Nomi.

06 Chance "Samba Do Morro"
One of the most experimental bands in São Paulo, formed by composers Nena and Scot and by singer Marcinha. Combining low tech a la early Cabaret Voltaire with the Brazilian rhythm of samba (the title is a word play with "morro" where the favelas are based in the mountainsides in Rio and the first person form of the verb "morrer" - to die). Highly conceptual, they performed rarely, and when they did it was with video equipment, a revelation at that time. They left just two recorded tracks on the Não São Paulo compilation with Akira S and Muzak.

07+08 Fellini "Teu Inglês", "Funziona Senza Vapore"
One of the most unusual bands of the time, Fellini formed in 1984, as a (more or less) conventional new wave group, scoring the hit "Rock Europeu". The band was used as a medium to convey the obsessions of composer / multi-instrumentalist Thomas Pappon (founder of Voluntários de Pátria and Smack) and vocalist Carlos "Cadão" Volpato, combining low-fi samba and sung poetry.

09 Ira! "La Fora Pode Até Morrer"
Still an important band in Brazilian rock, Ira! appeared in 1981 directly influenced by punk and post punk groups like The Clash and Gang of Four. The angular ska-like song "La Fora Pode Até Morrer" was recorded for their first demo tape and has never appeared on any album. The bassist and drummer would change soon after this recording. Later the group would clearly show the more seventies and mod influences of the composer, guitarist Edgard Scandurra, considered one of the best in the country on the instrument. Today Ira! have 12 albums and various collections released, and have never lost their credibility along with their audience, even when guitarist Edgard experiments with techno in his solo career.

10 AKT "Prince No Deserto Vermelho"
Underground feminine supergroup formed by bassist and vocalist Sandra Coutinho (Mercenárias), Guitarist Karla (R. Mutt), Keyboard player and vocalist Dequinha (Bruhahá Babélico) and drummer Biba Meira (DeFalla). The quartet recorded some tracks in 1990, of which two were released on the indie compilation "Enquanto Isso...?!". They had a short existence with very few live performances before two of the members moved to Germany.

11 Vzyadoq Moe "Redenção"
From the city of Sorocaba, in the interior of the state of São Paulo, the young band Vzyadoq Moe came together - the name, which has no meaning, appeared in a dream of one of the members. With sombre vocals in the style of Bauhaus and percussion from junk metal inspired by Einstuerzende Neubauten their debut album was released in 1988 by the independent label Wop Bop. Members of the band are still active today working with electronic music as VZY.

12 Mercenárias "Polícia"
Aggressive feminine band formed in 1984 released their first album, the indie "Cadê As Armas?" (Where are the Weapons?), with the production skills of Edgard Scandurra of Ira! and the Englishman Peter Price, collaborator with members of Wire. The first LP directly attacked institutions such as the police and the church while the second LP, recorded for a major label, was much more sophisticated, adapting, for example, the "Proverbs of Hell" by William Blake. The incomprehension of the public and the label bringing on the end of the group.

13 Muzak "Ilha Urbana"
One of the more vigorous bands of the Paulista scene, thanks to the furious beat of the now deceased drummer Victor Leite and the heavy and tense playing of guitarist Nivaldo. Appearing in 1984 they were a revelation on the important independent collection Não São Paulo (on the label Baratos Afins). Later they recorded an EP for a major label, however, it had a weak production and a more acoustic sound which didn't match their reputation as the "Killing Joke of Brazil", soon after they disappeared.

14 Voluntários Da Patria "Iô Iô"
Formed at the end of 1982 by drummer Thomas Pappon and the guitarists Miguel Barella (former Agentss) and Minho K, the Voluntários witnessed a long line of ever changing vocalists. The album recorded in 1984 borrowed the singer from Ira!, Nazi, at the same time the guitarist Giusseppe Lenti replaced K. Barella and Lenti, both alumni of Robert Fripp, invested in the interaction of the guitars, in the style of Television and Talking Heads. Produced by the group, the album launched the new wave phase of the independent label Baratos Afins, which became the main focus of the local scene.

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1382 The Persian New Waves Underground out of the Islamic Republic of Iran

Band: Various Artists
Album: 1382 The Persian New Waves Underground out of the Islamic Republic of Iran
Country: Iran
Release Date: 2004

This vinyl only album from exotic punk specialists, Tiananmen 89, is easily one of the most significant releases of 2004. How so? Because, it is the first underground rock compilation to come out of the Islamic Republic of Iran.
As you might be able to guess, genres as musically aggressive and obviously Western influenced as hard rock and punk don’t have a terribly long history in Iran. Punks have been around since at least the early 1990’s but, back then, the scene amounted to little more than clandestine tape-swapping. (Apparently, you couldn’t even buy an electric guitar.) With the election of Mohammad Khatami as president in 1997 and the subsequent liberalisation of Iranian society, the rock scene has blossomed and a diverse range of styles are now being embraced by young Iranian rockers. On 1382, you can find snotty English-lyric-barking punks Fat Rats, electro with death metal vocals from Dark Earth, the rousing pop metal of Alookal, and this strange piece of prog rock by Oolanbator entitled “Fire in The Dead of Night”. It starts out conventionally enough with a halting piano and blues guitar jam followed by a propulsive organ workout, but then the wailing banshees start to take over…
The album can be purchased through Darbouka Records, along with the rest of the Tiananmen 89 catalogue which includes punk/rock releases from Madagascar, Kyrgystan, Myanmar, Nepal, Paraguay, Malta, Moldova, Kosovo, Indonesia, Albania, Cuba and Romania... just to name a few.

  1. Alookal - Dars
  2. Black Blooms - Me & Me
  3. Oolanbator - Fire In the Dead of the Night
  4. Superman & the Joe Ordinaries - Upside Down
  5. Fat Rats - Joe Ordinaries
  6. Dark Earth - Jang
  7. Ehsan Imani - Divane
  8. Mud - Ruftam Sar-e Kucheh
  9. Mud - Boghz
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The Damned - Damned Damned Damned [30th Anniversary Expanded Edition]

Band: The Damned
Album: Damned Damned Damned [30th Anniversary Expanded Edition]
Country: UK
Release Date: 2007

If you like punk rock at all, you pretty much have to have a soft spot for the Damned's epochal 1976 debut album Damned Damned Damned, one of the masterstroke releases of the first wave of British punk which still sounds fresh, exciting and brilliantly snotty three decades after it was released. But if you love Damned Damned Damned, well, this remastered and lavishly expanded edition will bring a broken-toothed grin to your face in no time flat. This three-disc set (yes, three discs!) opens with the original album, which seems to have hardly dated a bit. For all the group's manic energy, the playing is sharp and muscular, Dave Vanian's vocals are powerful enough to make his histrionics work, Rat Scabies' drumming holds the band tight, Captain Sensible's bass provides a solid foundation for the melodies and Brian James' guitar wails with primitive force. The songs still communicate, and the band's lack of an upfront political or social agenda means these songs aren't chained to their era the way the early Clash, Sex Pistols or Stiff Little Fingers discs are, great as they may be. Disc two serves up 26 demos, B-sides, non-LP single tracks and radio recordings, which equals nearly everything the band recorded during their first year of operations. The two John Peel sessions and a ten-song BBC live concert will delight anyone with a fondness for the band's first era, and you may want to give "Singalong Scabies" ("Stab Yor Back" minus its vocal track) a spin at your next karaoke party. And Disc three features a lo-fi recording of one of the Damned's first public gigs, a set recorded in London during the 100 Club's first Punk Rock Festival in the summer of 1977. The recording quality is only fair, and the audience doesn't seem to be too enthusiastic, but the Damned give their all, and the show is both exciting and historically priceless. The set comes with a 16-page booklet packed with photos and featuring an excellent historical essay from Kieron Tyler. [The 30th Anniversary Expanded Edition of Damned Damned Damned not only adds plenty of fine music and historical perspective to one of the great album of the British punk scene, it actually improves on the fine box set Play It at Your Sister, which covers most of the same territory before sinking into the disappointment of the group's misbegotten second album, Music for Pleasure; this is simply essential stuff, and rock & roll fun at its most dangerous.]

CD1 - Original Album

1.Neat Neat Neat2:43
2.Fan Club2:57
3.I Fall2:06
4.Born To Kill2:37
5.Stab Yor Back1:00
6.Feel The Pain3:36
7.New Rose2:44
9.See Her Tonite2:29
10.1 Of The 23:08
11.So Messed Up1:51
12.I Feel Alright4:27

CD2 - Demos, B-Sides & BBC Sessions

1.I Fall (demo june 1976)2:56
2.See Her Tonite (demo june 1976)2:40
3.Feel The Pain (demo june 1976)5:11
4.Help (Stiff b-side october 1976)1:43
5.Stab Yor Back (Peel session 1976-11-30)0:59
6.Neat Neat Neat (Peel session 1976-11-30)2:39
7.New Rose (Peel session 1976-11-30)2:40
8.So Messed Up (Peel session 1976-11-30)2:28
9.I Fall (Peel session 1976-11-30)2:10
10.Singalongscabies (Stiff b-side february 1977)1:00
11.Fan Club (Peel session 1977-05-05)3:03
12.Feel The Pain (Peel session 1977-05-05)3:33
13.Stretcher Case Baby (Peel session 1977-05-05)1:48
14.Sick Of Being Sick (Peel session 1977-05-05)2:29
15.I Feel Alright (In Concert 1977-05-19)4:49
16.Born To Kill (In Concert 1977-05-19)3:01
17.Sick Of Being Sick (In Concert 1977-05-19)2:50
18.Neat Neat Neat (In Concert 1977-05-19)2:56
19.Fan Club (In Concert 1977-05-19)2:55
20.Stretcher Case Baby (In Concert 1977-05-19)2:26
21.Help (In Concert 1977-05-19)1:32
22.Stab Yor Back (In Concert 1977-05-19)1:02
23.So Messed Up (In Concert 1977-05-19)2:35
24.New Rose (In Concert 1977-05-19)3:26
25.Stretcher Case Baby (Stiff single july 1977)2:14
26.Sick Of Being Sick (Stiff single july 1977)2:00

CD3 - Live At The 100 Club

1.1 Of The 23:41
2.New Rose2:57
5.Fan Club3:01
6.I Feel Alright4:20
7.Feel The Pain4:46
10.See Her Tonite2:51
11.I Fall3:08
12.So Messed Up2:38

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Carbon/Silicon - The Last Post

Band: Carbon/Silicon
Album: The Last Post
Country: UK
Release Date: 2007

Aversion.com review:

Mick Jones has made a career out of being there first. As guitarist for The Clash, he was as responsible as anyone was for developing the three-chord sound; along the way, he helped expose punks to world-beat sounds, reggae and funk. He also managed to be one of the first to record a rap song ("The Magnificent Seven") before splitting with The Clash in 1984. From there, he dove headlong into Big Audio Dynamite, which, after spawning the first single to heavily feature samples to land in the British pop charts ("E=MC2"), embraced the embryonic rave scene.

With Carbon/Silicon (in which Tony James, of Generation X and Sigue Sigue Sputnik fame joins him), Jones is once again a few steps ahead of the game: Since forming in 2002, the act championed online music distribution, spewing demos and three full-length albums onto its website for fans to grab virtually free, making it the first act of any reputation to go the free-online-distro route. Thom Yorke can thank them later.

Maybe there are only so many fresh ideas in Jones' head -- heck, he's already turned himself into the Thomas Edison of rock'n'roll -- but, for all the amazing back story and powerful lineup behind Carbon/Silicon, The Last Post doesn't sound nearly as cutting-edge as it should. Dropping the dance/funk/hip-hop/punk hybrid of his BAD days, Jones reverts back to traditional rock'n'roll riffs, peppering everything with liberal doses of digital sampling. It is, for all intents and purposes, a refinement of the back-to-basics rock on BAD's final effort, 1995's F-Punk (Radioactive).

But what a refinement. Where Jones' talent seemed to be receding faster than his hairline on the past couple BAD records, The Last Post -- the first Carbon/Silicon full-length to wind up with a hardcopy release -- starts bringing him and James back up to speed. And if it isn't as essential as anything in either guitarist's combined resume, it's at least a dose of pop-rock positivism to prove Jones has some vitality left in him, even if his music's retired from the cutting edge. "The News" opens the album with a walloping kick-beat bounce and a one-track garage-rock groove as Jones brims to overflowing with optimism that the world will, one day, be a pretty great place. "War on Culture" attaches wiry guitars to Jones' less-than-oblique criticism of stuffy conservatives' take on modern art, "The Whole Truth" throbs as bass, guitar and kick drums lock into a thumping start-stop riff that's descended in a right-hand line from The Kinks and The Clash most basic riffs. "Why Do Men Fight" is snappy dose of guitar pop that shows Jones and James haven't lost their knack for crafting a killer hook.

Jones worked out the difficulties that plagued the last couple Big Audio Dynamite albums without completely dismissing the pop-rock energy from his agenda. If it's not up to the cutting-edge standards Jones set in his past, it's at least a fun listen.

1. The News

2. The Magic Suitcase

3. The Whole Truth

4. Caesars Palace

5. Tell It Like It Is

6. War On Culture

7. What the F**k

8. Acton Zulus

9. National Anthem

10. Really the Blues

11. Oilwell

12. Why Do Men Fight?

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Gogol Bordello - Multi Kontra Culti vs. Irony

Band: Gogol Bordello
Multi Kontra Culti vs. Irony
Country: USA
Release Date: 2002

The sound of New York’s Gogol Bordello is a combination of reckless fervor, foot-stomping rhythms, outlandish lyrics and a circus of surreal stimuli that leaves progressive minded music fans spinning in the their wake. Drawing upon Gypsy, Slavic and punk-rock traditions, Gogol Bordello is the genesis of a new aesthetic that bridges the gap between Eastern European and Gypsy influence with Western culture. This new direction in music is singer/lyricist/visionary Eugene Hutz’s passion, who uses the term "Ukrainian Gypsy Punk Cabaret" to describe their singular sound. "The title of the new album sums of the spirit of the band and the people around it. Gogol Bordello is about creating new musical possibilities. We all come from a very distinct tradition of music that is largely driven by Eastern European sounds, visions and colors as well as punk rock and street culture. We’re a multicultural unit with an underdog energy and a sense of humor, although a pretty twisted one," says Hutz.

Allmusic Guide review:
The idea of colliding Romany music with punk may at first seem bizarre, but there's more common ground to be found than one might first suspect, not the least of which involves the rejection of authority and dominant cultural norms. Musically, the Romanies' exuberant celebration of life may appear the antithesis of punk's original nihilism, but both are kindled by a sense of immediacy, a "no future, let's play for today" atmosphere that fires every song. And so Gogol Bordello, while certainly unique, is not as odd as it may seem. The group long ago left the concept of borders, musical or otherwise, behind. The members may have met in New York City, but bar one, all traveled far to get there, arriving from Israel and a variety of Eastern European nations. Singer/lyricist Eugene Hutz brought with him his rich Ukrainian heritage, a gift for storytelling, a twisted sense of humor, and a sharp sense of irony. The bandmembers brought their excellent musicianship, a love of their own cultural sounds, and a magpie's delight in plundering from others. The group's name pays tribute to Ukraine's most feted author, Nikolai Gogol, whose distinctive style and leitmotif provide inspiration for Hutz's lyrics. Skipping stealthily from the real world to the surreal, the pugnacious to the paranoid, the singer spins out his tales of wonder and woe, commonplace occurrences and counterintuitive events. Behind him, the band lets loose with an accompaniment that makes a nonsense of genres, a storming backing awash in melody that pushes toward pop, but cries out to the vast Eurasian steppes. Incredibly anthemic, Multi Kontra Culti will set your head spinning and your body with it, your blood racing to the rhythms, and your spirit soaring with the wildness of the untamed sounds within.

1.When The Trickster Starts A-Poking5:06
2.Occurence On The Border3:26
4.Let's Get Radical3:59
6.Future Kings4:40
7.Punk Rock Parranda3:56
8.Through The Roof 'n' Underground5:29
9.Baro Foro9:02
10.Hats Off To Kolpakoff2:21

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Gogol Bordello - Voi-la Intruder

Band: Gogol Bordello
Voi-la IntruderCountry: USA
Release Date: 2003

Gogol Bordello are a completely original New York entitity. Rubric is reissuing their debut release, Voi-La Intruder, with the track order revised and an additional 5 tracks. This is Ukranian party music. Leader Eugene Hutz is a major NYC DJ at the Bulgarian Bar on Saturday nights. The place is packed weekly with Eastern European immigrants and the hipsters who love them. The music is best described as a sort of Pogues meets traditional Ukranian folk music in a sweaty dance bar. One foot in punk rock and one foot in traditionalism, Gogol Bordello have been packing clubs in NYC and have recently toured the Czech Republic and Switzerland. They’ve also shared the Central Park stage last summer with international sensations Manu Chao. This is sexy, uplifting party music that gives one hope for the future.

1.Sacred Darling1:51
2.Voi-La Intruder3:10
3.Greencard Husband2:22
5.Start Wearing Purple3:44
6.Shy Kind of Guy3:30
7.Mussolini vs. Stalin2:44
8.Letter to Mother3:52
10.Nomadic Chronicle4:24
11.Letter to Castro3:23
12.Invisible Zedo4:29
13.Sex Spider3:11
14.No Threat3:35
15.Against the Nature7:23

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American Hardcore: The History of American Punk Rock

Band: Varous Artists
American Hardcore: The History of American Punk Rock
Country: USA
Release Date: 2006

There'd be no Nirvana, Beastie Boys, or Red Hot Chili Peppers were it not for hardcore pioneers such as Black Flag, Bad Brains, and Minor Threat. Hardcore was more than music; it was a social movement created by Reagan-era misfit kids. Featuring twenty-six definitive tracks, this is the audio companion to the feature-length documentary, released by Sony Pictures Classics in September 2006. Artists include Black Flag, Bad Brains, Minor Threat, Circle Jerks, Cro-Mags, Adolescents, Die Kreuzen, Flipper, Gang Green, Negative Approach, DOA, MDC, DRI, and more.

1. Black Flag - Nervous Breakdown 2:05
2. Middle Class - Out Of Vogue 0:59
3. Bad Brains - Pay To Cum 1:29
4. D.O.A. - Fucked Up Ronnie 1:19
5. Circle Jerks - Red Tape 0:54
6. Minor Threat - Filler 1:31
7. MDC - I Remember 1:56
8. Untouchables - Nic Fit 0:59
9. Gang Green - Kill A Commie 1:05
10. The Freeze - Boston Not L.A. 0:20
11. Jerry's Kids - Straight Jacket 0:22
12. SS Decontrol - Boiling Point 0:51
13. Void - Who Are You?/Time To Die 3:36
14. Scream - Came Without Warning 1:41
15. Negative Approach - Bad Attitude (1983 Demo) 1:07
16. Articles Of Faith - Bad Attitude 2:36
17. Die Kreuzen - Think For Me 1:37
18. Battalion Of Saints - My Minds Diseased 2:30
19. 7 Seconds - I Hate Sports 0:39
20. Big Boys - Brickwall 0:38
21. Really Red - I Was A Teenage Fuck Up 1:18
22. Adolescents - I Hate Children (1980 Demo) 1:36
23. YDI - Enemy For Life 1:08
24. D.R.I. - Runnin' Around 1:02
25. Cor-Mags - Don't Tread On Me (1982 Demo) 1:20
26. Flipper - Ha Ha Ha 2:13



Alberto Y Los Trios Paranoia - Snuff Rock EP

Band: Alberto Y Los Trios Paranoia
Snuff Rock EP
Release Date: 1977

Les Alberto y Los Trio Paranoias sont un groupe de rock humoristique fondé en 1973 à Manchester. Ils ont conçu une comédie musicale à la fin des année 1970 nommée Sleak au sujet d'une vedette rock qui est amené à se suicider sur scène. Ils ont enregistré quelques chanson de se spectacle pour en faire le Snuff Rock EP.

Alberto y los Trios Paranoias was a comedy rock band formed in Manchester, England, in 1973 They mounted a play, Sleak, about a rock star talked into committing suicide on-stage and they recorded some of the song from that play and put them on the funny Snuff Rock EP. It's a nice document of what's been a succesful stage show and a nice spot-on parody of punk rock.

1. Kill
2. Gobbing On Life
3. Snuffin' Like That
4. Snuffin' In A Babylon


Pop Group - We Are Time

Band: Pop Group
We Are Time
Release Date: 1980

Le Pop Group ne possède de Pop que le nom et cette compilation le démontre très bien. Le groupe mélange de façon exceptionelle funk, dub et punk, en fait on devrait plutôt parlé de collision que de mélange. Laissez-vous le Pop Group vous déstabiliser..... domage que le classique We Are All Prostitute ne s'y trouve pas, mais on ne peu pas tout avoir.....

Allmusic guide review:

Some artists churn out records for decades and leave behind little of significance. Others record little and leave a substantial legacy. The Pop Group belongs in that second category, releasing two studio albums and the odds-and-ends collection We Are Time during a three-year life span. When it becomes de rigueur to call an obscure band "seminal," it's worth reiterating why that band is important and reinvesting the cliché with some meaning. The Pop Group was among a handful of acts that harnessed the energy of punk, truly recognized the possibilities it opened up, and took music in exciting directions. The band used punk's back-to-basics ethos as a springboard for experimentation with funk, dub, and jazz, blending dance rhythms and rock in ways that continue to inspire artists. They also politicized rock with an intensity and urgency that put rebel poseurs like The Clash to shame. In addition to different versions of already available tracks, We Are Time features previously unreleased live, studio, and radio-session material. Demos from 1978 like "Trap" and "Sense of Purpose" display the frenetic rhythms, jagged guitars, and free jazz inclinations that would be further explored on the 1979 debut album. Taken to the brink by Mark Stewark's wailing vocals and Gareth Sager's squalling sax, the searing "We Are Time" and the staccato punk-funk rush of "Thief of Fire" show the band was as strong live as in the studio. The unlikely standout is "Amnesty Report" -- an alternate version of a 1979 B-side -- featuring Stewart's shouted recitation of an "Amnesty International Report on British Army Torture of Irish Prisoners" set to a fierce, heavily funky soundtrack. The Pop Group's official studio releases alone contained a wealth of musical ideas that still resonate. We Are Time simply confirms that the "seminal band" clichés are justified.


Trap (demo)
Thief of Fire (live)
Genius or Lunatic (live)
Colour Blind (demo)
Spanish Inquistion (live)
Kiss the Book (live)
Amnesty Report (alternate)
Springer (live)
Sense of Purpose (demo)
We Are Time (live)




Bad Brains videos

I Againt I Promo Video

Pay To Cum at CBGB's

Live in Holland 1988

Target Video

The Clash - Théatre Le Palace 1980

Band: The Clash
Théatre Le Palace (Chorus TV)
Release Date: 1980

Un excellent concert de l'époque London Calling des Clash. Le groupe s'y trouve enthousiaste et énergique et a droit à une excellente réponse du public parisien.

Blackmarketclash review:
The TV programme begins at Jimmy Jazz presumably because it took 3 songs to recover from the initial surge of the audience. The Clash appear to have played a normal set, the TV Director deciding which songs to edit out of the 40 minute programme. The Paris audience are very lively and enthusiastic and The Clash, now rejuvenated respond with a terrific performance.

Jimmy Jazz kicks off the programme in superb style with Joe prowling the stage, dropping to his knees and then singing on his back lying on the stage at one point. Mick chokes back the guitar, only coming in a jamming funky way giving it a real laid back feel. You can hear Mickey Gallagher's keyboards carry the tune along. Joe’s pigeon French intros and ad-libs are a delight here and throughout often switching back amusingly into English when it gets too hard.

London Calling next followed by the usually lightweight Protex Blue but which here really rocks. An edit into another Mick vocal on Train In Vain featuring some great lead guitar. It cuts off immediately after the last chord with Koka Kola edited in with the opening chords. Joe puts in another energetic vocal and then the song segues into I Fought the Law.

Joe gets carried away with his linguistics and starts talking in French introducing Spanish Bombs. Its quite funny when he continues his pigeon French at the next break, but in a linguistic rut, he pauses, and in rough cockney bleats out, "“Very good, tres bien mes amis, fuckin’ tres bien! Maintenant, it’s the wrong ‘em boyo mate!”

The sound fluctuates near the end of an excellent Wrong ‘Em Boyo and the band are obviously enjoying themselves. Joe clearly is knackered at this stage. Mick comes in on the vocals to rescue Joe and carry the song forward. Mick performs a strong Stay Free explaining mid song “its Brixton, a penal colony”

There is little or no chatter here on as the gig really cranks up into Janie Jones, Paul and Mick joining Joe on the vocals. Then Topper’s bass drum and drum rolls sound out before Mick’s guitar crashes into a superb Complete Control. Mick was getting lots of stick in the press at the time for being a detached guitar hero but his playing here is terrific building the tension to the song as Joe rants his adlibs over an extended ending.

There is a probable edit next before Joe calls for Tommy Gun but Topper proceeds into a passionate Garageland and then the band finish with a rousing finale of Tommy Gun with Joe really fired up “Don’t wanna go to war”.

1. Jimmy Jazz
2. London Calling
3. Protex Blue
4. Train In Vain
5. Koka Kola
6. I Fought the Law
7. Spanish Bombs
8. Wrong `Em Boyo
9. StayFree
10. Jane Jones
11. Complete Control
12. Garageland
13. Tommy Gun



Primal Scream - Hultsfred Festival 2000

Band: Primal Scream
Hultsfred Festival 2000
Release Date: 2001

Enregistré au Festival de Hultsfred en Suède durant la tourné XTRMNTR.

The Primal Scream live at the Hultsfred Festival in Sweden during the XTRMNTR tour.

Swastika Eyes5:04

Shoot Speed/Kill Light4:49


Burning Wheel5:26

If They Move, Kill 'Em3:28

Insect Royalty3:41

Keep Your Dreams5:49

Kill All Hippies4:13


Blood Money5:19




Higher Than the Sun9:33



Movin' On Up5:34



Ludwig Von 88 - Live

Band: Ludwig Von 88
Release Date: 1997
Label: Bondage

Le Groupe

Après des débuts aux alentours de 1983, leur premier véritable disque sort en 1986 : Houlala. Il s'agit là de leurs premiers cris face à notre société en déroute. On les connaît pour avoir composé de nombreuses chansons au second (voire huitième ou vingtième degré) sur des vedettes : Louison Bobet, Ceausescu, Maria Callas, Jacques Chirac, ... Maniant l'ironie et dénonçant les travers et les clichés de la société, le groupe aura marqué le rock français. Leur nom, malgré la consonance allemande et l'utilisation du nombre 88, n'a strictement aucun rapport avec Adolf Hitler (la lettre H étant la huitième de l'alphabet, le nombre 88 est souvent utilisé par des mouvements nazis pour symboliser le Heil Hitler, HH, 88). Le "88" a plusieurs sens. Selon une interview de Karim, ce serait un pastiche du "77", nombre fétiche du mouvement punk, ou selon une autre interview de Nobru, il ferait référence au nombre de constellations recensées dans le ciel terrestre... entre autre. Il n'a, cependant, rien à voir avec le département des Vosges, le groupe étant originaire de Paris et de sa banlieue.

Leur humour décapant et surréaliste aborde parfois des thèmes plus sérieux tel que la guerre (Libannais raides, Hiroshima), la drogue (Le Manège enchanté, Kaliman) ou la misère (LSD for Ethiopie, In the Ghettos) toujours avec détachement et ironie.

Leur configuration musicale est celle de beaucoup de groupes de l'époque, développé par Métal Urbain et repris notamment par Bérurier Noir: guitare, boîte à rythme, chant et raïa derrière.

Le groupe a connu des formations diverses et variées mais se stabilise à la fin des 80's avec au chant Karim Berrouka, à la gratte Nobru (Bruno Garcia), à la basse Laurent puis Charlu, aux "machines" Jean-Mi. Ils sont alors connus pour leurs concerts survoltés qui durent des heures, leur sens de la déconne et leur costume « à l'arrache » (maillots de cyclistes, bonnets ridicules, équipements de plongée, ponchos mexicains...).

Si le groupe n'a jamais officiellement splité, il n'en reste pas moins en standby prolongé depuis janvier 1999. Nobru (Bruno Garcia de son vrai nom), le guitariste, officie désormais dans Sergent Garcia et Jean-Mi alias Junior Corny s'est lancé dans le dub. On le retrouve également derrière les machines de Béru.


Cet album fut enregistré quelques part dans les années 90 dans un lieu inconnu et diffusé par leur label sans le consentement du groupe.

The Band
Started mostly as a reaction to the Bérurier Noir (they preferred to choose goofyness insted of slogans), but they shared the same kind of music (punk with a beatbox) and stage madness. The band started somewhere in 1983 and release their first record in 1986 (Houlala). Their first 4 records, Houlala, Houlala II, Ce Jour Heureux Est Plein d'Allégresse and Tout Pour Le Trash are all essential french punk. Think Toy Dolls or the Dickies, but with a beatbox....

The album
This live album was recorded somewhere during the 90's in an unkown location and released without the band consent by their label. Still it's a good snapshot of the band!

1- LAPINBILLY S'EN VA-T'EN GUERRE (Billy The Rabbit Go To War)
3- HLM
4- SUR LA VIE D' MON PERE (About My Father Life)
5- ASSEZ (Enough)
7- VANESSA UND FLORENT (Vanessa And Florent)
8- MON COEUR S'ENVOLE (My Heart Takeoff)
9- TYPIQUE MEXICAIN (Typical Mexican)
13- SOUS LE SOLEIL DES TROPIQUE (Under The Tropic Sun)
14- CS 137
15- PARIS BRULE T-IL ? (Is Paris Burning?)
16- MARCHE ! (Walk!)
19- CASSAGE DE BURNE (Breaking Of Ball)

24- HLM (house mix)
26- VENGEUR MASQUE (disco mix)
(Masked Avenger)