Un concert spirituel du label In Paradisum
A sa naissance en Italie à la fin du XVIème siècle, le concert n’est pas encore un événement standardisé associant une tête d’affiche à un groupe « support », mais une rencontre conviviale entre instrumentistes. A l’origine, le « concert spirituel » est un moyen de jouer de la musique hors de l’autorité du roi, et sa fonction lithurgique sert de prétexte à diffuser des formes novatrices. En associant dans son programme pièces sacrées et profanes, il remet en cause les standards musicaux de son époque. Aujourd’hui, la situation semble s’être renversée : c’est l’évocation du sacré qui peut apparaître marginale dans le paysage musical actuel.

Spero Lucem s’inspire de cet héritage pour expérimenter avec le cadre du concert. Les artistes sont réunis dans une église pour intervenir autour d’un même drone diffusé à 360°. Mondkopf, Saaad et Somaticae alternent entre improvisation collective et performances solitaires, jouant tour à tour les uns avec les autres, les uns après les autres, les uns contre les autres. En invitant différents musiciens à confronter leur relations aux espaces de spiritualité et au drone, Spero Lucem propose autant de déclinaisons de ce qui se vit comme "intense" en musique électronique.

Nos corps accumulent et enfouissent des souvenirs. Et si l'épiderme n'était qu'une frontière poreuse...

Au cœur du Parc naturel régional des Pyrénées Ariégeoises, Patrick Chêne, fermier et ostéopathe, soigne l'Homme et l'Animal de ses mains à l'aide d'un chant traditionnel originaire de Haute-Asie : le chant diphonique*.
Au toucher, les vibrations de son chant se diffusent à travers les corps et agissent comme une sonde acoustique, dévoilant un monde sensible parcouru d'énergies invisibles qui font et forment la vie. Notre lien à la Terre, à notre environnement.
Les animaux semblent particulièrement réceptifs à son approche thérapeutique. Curieux, ils restent à l'écoute, sentent le son, et aiguisent leurs sens.

* Technique vocale permettant de produire avec la gorge, simultanément, un bourdon grave et des harmoniques aigües (par amplification et résonance).

Durée : 25 min

Réalisation : Fanny Béguély
Assistant réalisation : Clément Thuriot
Image : Lucile Mercier
Steadycam : Florian Berthellot
Assistante caméra : Amélie Marandet
Assistant spécial & scripte : Frédéric D. Oberland
Son : Philippe Marçais & Theo Navarro
Chef électricienne : Méryl Blavet
Chef machiniste : Julien Loféron
Décoratrice peintre : Joy Hanoun
Costumes : Charlotte Pecquenard
Maquillage : Sévèrine Aufrère
Cantine : Joan Dubuisson
Photographe de plateau : Frédéric D. Oberland
Aide à la production : Chloé Gosselin
Support : super 16 mm Kodak couleur

ELIJAH est un projet de court-métrage tourné en pellicule super 16 mm, inspiré d'épisodes de l'histoire du prophète Élie mais détaché du contexte historique de l'Ancien Testament afin de n'en garder qu'une chair à matière mythique et poétique. C'est à l'endroit du doute et du découragement dont Élie souffre après avoir été menacé de subir le même sort que celui infligé aux prophètes de Baal, contraint de fuir la ville et perdant confiance en sa mission, que le film choisit de se situer. ELIJAH n'a pas peur des écarts, des déplacements et des inventions, et propose une vision moderne d'un prophète incertain et ombrageux. Le personnage du film sent plus qu'il ne sait, il ne résonne pas, il éprouve. Il se meut à la manière d'un animal blessé et a comme un accès privilégié, instinctif, charnel et incontrôlé aux mystères de l'invisible. Plongé dans la ténèbre lumineuse du silence, il n'est pas du côté de la raison et du dogme, l'union mystique se faisant par un contact et un fait, par une expérience sensitive de la matière. Pour lui, l'éternel est une sensation.

Un grand feu déchire la nuit. Des visages entrent et sortent de l'obscurité. Tout contre les flammes, Élie, les yeux humides, des hommes en colère, une femme qui prie, un taureau aux yeux rougis. Élie contraint à fuir, erre dans une nature décharnée, contre les vents affolés et les courbes infinies des plateaux insondables. Dans un autre temps qui est un autre monde, il arrive dans une étrange zone industrielle désaffectée, écrasée sous un ciel opaque, tapie dans une épaisse forêt. Ici résident encore une veuve et sa fille malade. Désenchantées, elles passent les jours à attendre la mort au milieu des ruines de béton éventrées. L'horizon est usé, les promesses éteintes. Sans doute Élie peut-il faire quelque chose pour elles, se disent-elles comme un secret gardé par la fierté.

First, let us start by elaborating on the history of the band as well as touch base on the fact that “Different Streams” is the quartet second effort after their 2012 title Sustained Layers. The elementary principle is of no doubt the thrill and contentment taken to produce the first record and the devotion to confront in all hospitality the eagerness, yet again, two years later, where everyone has evolved in different direction. This my friends is more like history repeating itself, except that this time around, the gathering of the 3 aliases characterize an “additional” two years of experimenting, writing and music producing experience on the table. This logically goes to say “Different Streams” does not necessarily sound like a reasonable collaborative continuation of the first record, but instead the post-production / production in its very core reflect with more precision and with an inundate emphasis on field-recordings. 

Second and foremost, let’s face it; we are talking about a quartet from three different countries with three different languages and with a completely deluded time zone. The differences between Saåad based in France, Charlie who switch country every 15 days in Asia, and José formally from Costa Rica… and the concept of the album (from the collaborative aliases point of view), was to create a space where all these places and minds meet, converge in a direction of such streams. The way I sees it, as we all know it is indeed difficult for some to express themselves in words. That said some musicians have the special ability to speak out loud through some particular kind of noise. EUS, Postdrome & Saåad are musicians amongst the handful musicians who distinctively express their emotion and their feeling through instruments and sound-making. The music itself in its very dark nature lives in a memorable place and is kept away, far from the fierceness of this world. 

As dark as it gets “Different Streams” is an engaging listen, helm by 4 pilots, from various part of this world, they uses guitar / effects and field recordings to build what I would described as, strictly sophisticated and appealing drone noises. Seriously though, we got ourselves some high end material buried deeply in ambient-drone slabs where each tracks stretches to an average of 4 to 7 minutes plus, but filled with subtle distortions where everything’s around you appears to immerse in rainbows. EUS, Postdrome & Saåad crushing noises have a strong tendency to dawdle in the air for several minutes after which a soft, washed-out drone triggers into the music leaving its listeners in a nervous state of mind and eager to know what’s next. 

Lastly and admittedly, “Different Stream” paints a great number of sonic textures and soundscapes. The album is like a labyrinth in its multitude cluster of tones and darkness. Hard-core drone and ambient minded listeners will no doubt find this release as comfy as they would feel in a small paradise island. I mean smooth digestion and easy flaw from one movement to the other while recalling master-mind monikers such as Fabio Orsi, Noveller, Richard Sanderson, Kissy Suzukiand the likes at the back of their brain. But that in mind, passive ambient listeners and none hard-core drone minded people will also find this listen extremely appealing on the first go itself simply based on the experimental side of the project. EXCELLENT SOUND that goes for everyone guys … (Soft-Recordings)

SOFT RECORDINGS - SOFT008
CD digipack 6-panels . ltd to 120 copies

GRAINS OF SAND - GOSTAPE010
TAPE . ltd to 100 copies

both physical edition comes with the full digital album and 3 bonus tracks.
Release date : 23rd February 2015

music by
EUS – Jose Acuña
Postdrome – Charlie Floyd
Saåad – Romain Barbot & Grégory Buffier

recorded in London (UK), San José (Costa Rica), Kuala-Lumpur (Malaysia), Hong Kong (China), Singapore (Singapore) & Toulouse (France) between February & June 2014.
additional violin on ‘Dervish Dealer’ by Nik Koniwzski.
mixed & mastered by Byron Christodoulou, Athens (Greece), 2014.
photographies by Charlie Floyd.
layout & artwork by Romain Barbot.

By some accounts, the earliest instance of a visual artist incorporating sound into his work is Marcel Duchamp’s 1916 piece ‘With Hidden Noise’. But it’s difficult to say exactly when sound art came into existence in large part because sound art has never been easy to classify. From John Cage to Christian Marclay and others who have embraced sound as a central part of their work, the lines separating various works of sound art from their nearest constellation, music, have been loosely defined and often highly contested. Such differing opinions came into sharper focus in 2010 with the awarding of Britain’s annual Turner Prize to Glasgow-born artist Susan Philipsz, whose work ‘Lowlands Away’ was the first sound piece to receive the honor. Student protestors, known as Stuckists, decried the work, which centers around recordings of the artist singing folk songs in public places, as being music, not art. In musical notation, a fermata is an articulation mark placed above a note or a rest on a staff. It indicates that the note should be sustained beyond what its note value would otherwise indicate. For this exhibition, a fermata is placed above the concept of sound art, challenging visitors to extend this definition beyond what you might expect. This exhibition is not a statement on what constitutes sound art, nor does it seek to elucidate the distinctions between these different disciplines. Fermata is a celebration of sound as a form of expression in all of its elasticity and an examination of individuals using sound in a variety of practices. From field recording based composition to audiation of scientific findings, Fermata takes a broad approach to sound, inviting visitors to temporarily disregard classifications or preconceived notions of sound and simply listen.

CONTRIBUTORS

Beauty Pill (USA)
The Books (USA)
John Henry Blatter + Nathan Tersteeg (USA)
Kate Carr (Australia)
Richard Chartier (USA)
CFCF (Canada)
Specta Ciera (USA)
Toni Dimitrov (Macedonia)
Lawrence English (Australia)
Forest Swords (UK)
Jez riley French (UK)
Alberto Gaitán (USA)
Markus Guentner (Germany)
Jarboe (USA)
Annea Lockwood (New Zealand)
The London Sound Survey (UK)
Francisco Lopèz (Spain)
Alvin Lucier (USA)
Brian McBride (USA)
Peals (USA)
Eddie Ruscha (USA)
Ryuichi Sakamoto (Japan)
Saåad (France)
Scarfolk Council (UK)
Lucianne Walkowicz (USA)
Wool (USA)
Salomè Voegelin + David Mollin (Switzerland)
Don Zientara + Ian MacKaye (USA)

Fermata is Artisphere’s first exhibition dedicated entirely to sound and the largest of its kind in the region to date. Featuring nearly 30 artists, Fermata takes an expansive approach and is a celebration of individuals using sound in a variety of disciplines, from composer Ryuichi Sakamoto to NASA Kepler scientist Lucianne Walkowicz.
Centered around a wall of speakers designed by sound artist John Henry Blatter that will be used by all participants in the show, Fermata will unfold in three parts, or movements, each featuring a different combination of six to ten sound works that will cycle continuously for a month. Each Movement will play on a continuous loop with no two works playing simultaneously in the gallery; each piece will utilize every functioning speaker on the wall, allowing playback of multi-channel audio works. Fermata will conclude with Coda, a collaboration with Transformer as part of their annual Exercises program for emerging artists.

1st Movement (Apr 24-May 25, 2014)
Annea Lockwood / Brian McBride / CFCF / Jez riley French / John Henry Blatter + Nathan Tersteeg / Lawrence English / Richard Chartier / Salomè Voegelin + David Mollin / Scarfolk Council

2nd Movement (May 28-June 22, 2014)
Alberto Gaitán / Don Zientara + Ian MacKaye / Eddie Ruscha / Forest Swords / Markus Guentner / Ryuichi Sakamoto / Saåad / The London Sound Survey / Toni Dimitrov / Wool

3rd Movement (June 25-July 20, 2014)
Alvin Lucier / Beauty Pill / Francisco Lopèz / Jarboe / Kate Carr / Lucianne Walkowicz / Peals / Specta Ciera / The Books

CODA (July 23-Aug 10, 2014)
Alex Braden / E. Jane / Emily Francisco / Ian McDermott

REMIX FOR OISEAUX-TEMPÊTE
"La Traversée" (Saåad Remix)

Limited to 300 colored copies
(chrystal red , chrystal clear blue , Purple Haze)
Release date : April 25th, 2014

SIDE A
01 Nuage Noir (Leopard of Honour remix)
02 Call John Carcone (Scanner remix)
03 La Traversée (Saåad remix) 4'50
04 Opening Theme (Ablaze in the Distance) (Dag Rosenqvist remix)
05 Nuage Noir (May Roosevelt remix)

SIDE B
01 L'île (Colin Johnco remix)
02 Buy Gold (Beat Song) (Witxes remix)
03 L'île (Aun remix)
04 Ouroboros (Harris Underwater from Do Make Say Think remix)

Bonus Download Tracks
10 Kyrie Eleison (Machinefabriek remix)
11 Silencer (Richard Knox & Cyril Secq remix)

Toulouse-based duo Saåad are back this spring to release Deep/Float, their debut LP with Hands In The Dark.

Following a number of quality drone/dark ambient releases on cassette including last year’s HITD release Orbs & Channels, as well as digital EPs, CDs and with some quality experimental collaborations and splits under their belts, it was high time that Romain Barbot and Greg Buffier got their five year evolution onto wax.

And it has been worth the wait. Deep/Float is arguably Saåad’s most crafted and coherent work to date. The record is broadly inspired by their week-long auditory experiments at the Faï farm in 2013 where, in a valley at the foot of the Alps, they improvised music in a completely natural atmosphere using three giant horns reverberating against a cliffside to amplify their sounds. Over the following six months, the duo decided to carry on reinventing their writing. They have stripped their rig right down to its bare skin, exploring the essence of their work and coming up with an extremely minimal, almost carnal approach to their music.

The final outcome is a luminous album, a 40 minutes musical healing cure made up of a complex mix of field recordings, ambient improv and abstract drone. And, of course, the record wouldn’t be complete without a tremendous artwork by Romain Barbot to visually complete and complement the album’s themes of sexuality and elemental forces.

HANDS IN THE DARK - HITD021
LP – 300 copies on clear vinyl
Release date: 17th April 2014

Written & recorded by Romain Barbot & Grégory Buffier Nov 2013 – Jan 2014, Toulouse (France) / Mixed by Romain Barbot – Jan 2014, Toulouse (France) / Mastered by Byron Christodoulou – Jan 2014, Athens (Greece) // Field recordings captured during residency at Echos Festival 2013 / Artwork by Romain Barbot

OFFICIAL LABEL NOTE

Co-released by In Paradisum & BLWBCK, this split release offers two live improvisations for more than 50 minutes of pure contemplation.

The Saåad’s side is inspired by the tibetan sky burial ceremony, questioning our relation to the body and the impermanence of life. Symbolized by the death of ego and attachment, “The Charnel Ground” is certainly the most lightning work of the Toulouse-based duo. Based on analog synthesizers, the 3 movements are dominated by ethereal melodies and warm tones, revealing a new side of the Saåad’s music, outside their usual darkness.

Insiden are four member act bringing together Guillaume Mikolajczyk, Romain De Ferron, Amédée De Murcia (aka Somaticae) and Hugo Saugier. Sharing with Saåad an inclination toward in situ improvisations, ’24 XII 12 11H03 – 11H28 AM’ is their first output ever recorded. Based on Noise generator, Synthethisers, Electric cello and Vocals, their 3 movements illustrate a colorful trip with nocturnal flavors, where runs slowly an introspective piece which outspread from a peaceful intro to a eerie percusive mid-part to finish in a out-of-time mood.

IN PARADISUM | IP007
BLWBCK | BLWBCK036
Release date : 13th May, 2013
Tape {100 c.} C60 + insert / Digital

A1. Saåad – The Charnel Ground (25:25)
MI – Atmayajna
MII – Body-Breakers
MIII – I See The Callus On Her Soul
music improvised and performed by Greg Buffier & Romain Barbot.
Recorded in Feb 2013, Toulouse (France)

B1. Insiden – 21 XI 12 11H03-11H28 AM (25:36)
music improvised and performed by Amédée De Murcia, Guillaume Mikolajczyk, Hugo Saugier & Romain De Ferron. Recorded on that precise day and time,
at 12 avenue Paul Krüger, Villeurbanne (France)

Mastered by Byron Christodoulou in Feb 2013, Athens (Greece)
Art direction & layout by Jules Estèves & Romain Barbot

A1. Ancient Methods – Guardians of an Eternal Bliss
A2. Saåad & Mondkopf – Last Love
B1. Polar Inertia – Antimatter
B2. Shifted – Untitled
C1. Casual Violence – Beauty Mode
C2. AnD – Reinforcement G
D1. Svreca – Linear
D2. Violetshaped – Black Wisdom, White Witch

BLWBCK - BLWBCK032
TAPE black C40 - Limited to 44 copies
Release date : 15th March 2013

OFFICIAL LABEL NOTE
Saåad is back on BLWBCK with a new cassette, featuring an improvisation recorded at the end of the Orbs & Channels sessions + 4 reinterpretations by Listening Mirror, Pleq, Almeeva & Noir Cœur. Like on their recent full-length, Barbot & Buffier use the chiaroscuro technique to add depth into their opaque drone. Στερεά Σύννεφα * can be pictured as a dense & boiling fog encircling an arid mountain, a wall of permanent gray faintly pierced by a spectral piano and ghostly voices. Led by this play with contrasts, the following remixes extend this 6 minutes single to a 33 minutes journey around the globe. A night in Mexico with the healing ambient of Listening Mirror, a party in the Pacific with Noir Cœur, dangerous driving & illegal behaviours with Almeeva to end with an experimental chemistry workshop with Pleq. All inclusive.

Hailing from Toulouse in the South of France, Saåad is composed of Romain Barbot and Greg Buffier. The prolific pair have been spending the dark hours of night-time exploring the realms of sound for a few years now with a combination of epic, abstract drone and ambient improvisations, new concepts, elaborate murky atmospheres, and a strong visual identity as the trademark of their collaboration.
This new full-length album "Orbs & Channels" immerses listeners into the maze of a haunted and shadowy invisible world where superstition plays a key role. Making audible that which cannot be uttered, it is an ode to the beyond, the expression of the inexpressible that is associated to it, and an echo of unfathomable grief. After a handful of fascinating albums and appearances on various compilations - most of them released on tape or digital format through their own record label BLWBCK - we're delighted to have these fellow sound experimentalists carrying out their intriguing research in the Hands in the Dark lab.

HANDS IN THE DARK - HITD014
TAPE – 100 copies
Release date: 29th January 2013

music by Greg Buffier & Romain Barbot (2011-2012) / Recorded & mixed by Romain Barbot, Toulouse, France, October 2012 / Mastered by Byron Christodoulou at Irina Studio, Athens, Greece, November 2012 / Artwork by Romain Barbot.

BLWBCK - BLWBCK023
Release date : 24th October 2012
Grey C45 Tape + Digital
limited edition of 66 copies


OFFICIAL RELEASE NOTE

In June 2012, the festival Toulouse d’Été commissioned Saåad to work on the St-Michel fountain, personification of the confluence of the river Ariège and Garonne. Romain Barbot & Greg Buffier took their recording material to this specific place and gave life to a 20 minutes trip divided in 4 movements. Confluences is lead by field recordings and chanting guitars, showing a new face of the french duo who found the balance point between immensity and intimacy. The tape comes with the B side track ‘Spiritual Dilution’, only composed of field recordings, teleporting you to the place that inspired the original piece.
- Nothing to hold on to. Nothing to do. Nowhere to go. Just breathe as it is. Each breath is unique. Sensations change from moment to moment. No holding. No control

Music by Romain Barbot & Grégory Buffier / Written for the Fontaines Sonores Event at Festival Toulouse d'Été 2012 - Année Garonne - / Recorded in July & August 2012 - N 43° 31' 11.6538'' , E 1° 24' 38.0406'' / Mixed by Romain Barbot, August 2012 / Mastered by Byron Christodoulou, at Irida Studios,Athens during September 2012

A1. Confluences – 20:26
MI. Sorga & Relenquiment
MII. Auriva
MIII. Jonhent
MIV. Passagrand

B1. Spiritual Dilution – 22:22

BLWBCK - BLWBCK018
Release date : 18th May 2012
Fluorescent green C50 Tape + Digital
limited edition of 66 copies


OFFICIAL RELEASE NOTE

From September to December 2011, EUS (Costa Rica), Postdrome (UK), and Saåad (France) came together to explore their shared visions of drone and ambient music. The result is Sustained Layers, a 44 min introspective work formed by carefully assembled layers of drones, field recordings and blurred melodies. This collaboration was made possible by the constant experimentation and improvisation that took place throughout recordings, and distance becomes a key part of the record as the time zones separating the artists shaped the progression of the album entirely.

01. Arrows of Night
02. 3PM
03. Drone Me Tender
04. Limbo
05. Inner Cold
06. 3AM
07. Destruction
08. Dawn (feat. Metal Alvin)

The track "Dawn (feat. Metal Alvin)" has been featured as the main theme of the BRIGIDY BRAM's soundtrack.

OFFICIAL WEBSITE / TEASER

Born June 25, 1936 in Nassau, Hanna is a painter and a sculptor known as one of the Bahamas’ first abstract expressionists. Early in Hanna’s life he began experimenting with abstractions through a process which he characterized as his “subconscious mind expressing itself on the canvas.” During his twenties, Hanna was institutionalized with a diagnosis of schizophrenia and prescribed an electric shock therapy course of four treatments per week. During this time he was chained and abused by the staff. Upon his release from the mental hospital two years later, Hanna used art to recover his motor capabilities and mental acuity. Now 76, Hanna has become one of the Bahamas’ most celebrated artists, prolifically releasing work deemed “carefully considered and contemplated, provocative and masterful” (Dionne Benjamin). The title of the documentary, Brigidy Bram, is a figure of speech which Kendal has coined in his unique vernacular, showing how seemingly disparate events and facts are interconnected. The film explores Kendal’s artwork, his struggle with mental illness and his eventual rise to fame in the global art world.

music written & recorded by
EUS – Jose Acuña
Postdrome – Charlie Floyd
Saåad – Romain Barbot & Greg Buffier

recorded in Toulouse (France), Oxford (UK) & San José (Costa Rica) from September to December 2011. Additional vocals on ‘Dawn’ by Molly Ann Donahue (Metal Alvin) recorded in november 2011 – New York (US). Mixed by Nico Guevara at Eleventy Studio – Costa Rica during march 2012. Mastered by Gregory Hoepffner in Paris during april 2012 .
Artwork by Romain Barbot

L'AMBIANCEUR

HEATDEATH RECORDS
photos by Peter Nejedly.

1. Saåad - Love Is A Rent 05:00
2. Saåad - She Is Electricity 03:38
3. Saåad - The Frontier 02:50
4. Saåad - Back Pain/Pain Back 05:40
5. Stray Ghost - One 09:38
6. Stray Ghost - Music for Robert Walser 08:37
7. Heinali - Landscape IV 18:56
8. Koen Daigaku - 2004/10/17 06:04
9. Koen Daigaku - IKEA 04:42
10. Koen Daigaku - Setting Sun 04:20
11. Koen Daigaku - Playthroughs 07:02
12. Dictionary of Ghosts - Crumbling Loops 18:08

GRAINS OF SAND - GOS011
BLWBCK - BLWBCK011
180gr Vinyl 12"
limited to 200 copies
Release date : April 21st, 2015

Re-edition of the 2011's cassette "Delayed Summer". Remastered by Byron Christodoulou.

Originaly released on the 21st December 2011 by BLWBCK and limited to 44 tapes, "Delayed Summer" is a landmark in the Saåad's discography. For the first time Romain Barbot invited some partners to jam with him, with first collaboration of Grégory Buffier, before he joined the project. Last chapter of the 2011 serie of releases fully recorded with a webcam microphones system.

Life seems to happen always at present time. We move on across the years challenged by the next day, living by the hour. Sometimes, we go back to places in our memory that resemble past remembrances, important moments or just the illusion of important moments, spotlight in our mind. Youth is one of such spotlights, it is a milestone on our development as individuals, accumulating experiences, failures and successes.
Looking back at these memories we add phantasy to such moments. Sometimes because they are blurred in our memory and we don’t know exactly how they occurred. Other times we don’t need them to be truthful but more like a mirror to our needs. Delayed Summer is like one of these novels written on the subject of youth past memories.
Coming back to the house where he grew up Romain Barbot felt the urgency of recreating is memories, smells, images, souvenirs of a long gone period. Delayed Summer is born from this impulse, and much like an urge it was automatically pursued in the shape of jam sessions with a couple of friends and minimal resources. Delayed Summer is trespassed with an energy filtered by years that passed by. Among the instruments, the guitar can be heard more loudly, reflecting the electricity that is youth. Using a couple of webcam microphones to capture this instants a lo-fi characteristic is achieved, that suggests the blurring of memories that exist in Romain Barbot’s mind.

- Leonardo Rosado

Monolake Media 

A young lesbian couple creates a mail-order business selling VHS tapes and Polaroids as a means to escape their oppressive Baptist town in the Ozark Mountains of Missouri. Tragically, the nature of their work brings them down a path of darkness and self-destruction.

“Do you ever wonder how ivy can get into a brick wall and split it apart? Just one cell at a time it grows in darkness without the bricks ever suspecting a thing and then one day there’s a crack in the foundation…I can’t remember the first time we kissed or the last.”

Digital track #27 of the SEQUENCE2 compilation, curated by the UK magazine FutureSequence. 
Release Date : 11th November 2011

Music by Romain Barbot & Grégory Buffier
Recorded in Toulouse (France) a day of August 2011.

Pink Sabbath / Raincoats

ARTY EMPTY - RTMT002
Release date : 11th Oct 2011
White C50 Tape + Digital
limited edition of 82 copies

Tape edition of the 2011 EPS, featuring Pink Sabbath, Raincoats & the B-sides tracks from Snowbound / I Miss You.
Music & artwork by Romain Barbot
Mastered by Gregory Hoepffner

A1 - Pink Sabbath
A2 - HIIMVLYYV
A3 - Onkalo
A4 - Southberry Tower
A5 - Snowbound
B1 - Love Is A Rent
B2 - She Is Electricity
B3 - The Frontier
B4 - Back Pain / Pain Back
B5 - I Miss You

BLWBCK - BLWBCK006 / LA MOUSTACHERIE

Released by the collective La Moustacherie. 40 USB hidden in the outside walls of Toulouse (France) - September 03,2011.
Digital edition March 04,2012.
featuring two previously unreleased tracks from the Pink Sabbath & Raincoats sessions.
Music by Romain Barbot. Snowbound recorded at Southberry Tower, New York (USA) in February 2010. I Miss You recorded at Concorde 39, Toulouse (France) in June 2011.

FEEDBACKLOOP - FPc012
Played & recorded in Toulouse & Sète by Romain Barbot - July 2011
Mastered by Gregory Hoepffner
Poem by Leonardo Rosado
Artwork by L.Rosado & R.Garção

BLWBCK - BLWBCK004
Release Date : June 30, 2011


The idea behind Raincoats was born during a stormy evening in january. I was recording 'Love Is A Rent' when electricity started to wave. When I listened to the recording, the rain changed into thunder and the sound was strangely undulating, sometimes cracking and clicking. I had to wait until june to record 'She Is Electricity' which ends this work of waiting. These four songs have been recorded at different times and possess their own alterations. credits

music by Romain Barbot
Love Is A Rent - recorded at Concorde 39 (Toulouse)
She Is Electricity - recorded at Concorde 39 (Toulouse)
The Frontier - recorded at Madame 48 (Paris)
Back Pain / Pain back - recorded at Concorde 39 (Toulouse)
recorded between january and june 2011
mixed and mastered during june 2011
artwork by Romain Barbot

BLWBCK - BLWBCK002
Release Date : May 15, 2011

music by Romain Barbot, recorded during february 2010
at SouthBerry Tower (Brooklyn , New York)
except 'Onkalo' recorded somewhere on the Baltic Sea between Stockholm and Turku, the 28th october 2010.

mixed during spring 2011 in Toulouse
mastered by Sylvain Suquet at LasPolloVegas
Studios in may 2011.
cover picture by Audrey Soula

LACRYMAL RECORDS - LYL017
BLWBCK - BLWBCK001

Release Date: February 28, 2010

music by Romain Barbot
recorded during the last week of december 2009
at Concorde 39 (Toulouse) except 'Predivan Si' recorded at Madame 48 (Paris)
mixed during december 2009
mastered by Luc Ferré at OO Studio in january 2011.
artwork by Romain Barbot
original picture with the courtesy of Antoine Barbot