Remembering... Krashtess

Because after all, what would electro be without industrial & EBM ?

Krashtess has long been a landmark in the Foufs' programming. Taking place on Thursday nights, and then on Wednesdays, it was the place to hang out if your heart was black, or if you liked EBM... and cute girls dressed in dark.

On the second floor of Foufs, the terrasse was always packed with make-upped guys & girls in bustier, a bit like Saphir's second floor on Fridays, except that '97 was the right era to dress that way. Maybe not 2006 ? The pitchers weren't too expensive, and the music was nice : DJ Achtung, a.k.a. Sylvain, was controling the decks. The guy was an ex bouncer, no bullshit, and layed out the tracks with a hard hitting method that did not always involve mixing.

He was a pretty good booker; we hung out with the guys from Hate Dept, were able to drunkenly chat with Decoded Feedback, and witnessed industrial karaoke at its finest when Covenant were in town to "perform". We danced to the sound of sirens indeed ! You should have seen these black metal dudes with their painted faces... They thought that there was only one band named Covenant and didn't fact check before coming down from Rimouski or Sherbrooke, and they were pretty pissed to see some Dave Gahan clones onstage, let me tell you !

We barbecued with Spahn Ranch and I spent some colorful evenings with DJ Bent, a tattooed new yorker madman. Hittin' on big-breasted chicks was a way of life, and dancing next to goths - who still came even tho they didn't like industrial, and who always insisted on the fact that they "were not goth". We were able to see C-Tec, Cubanate, and a shitload of other great acts, most of the time without paying, because we were buddies with the DJ.

There were always intrigues going around, stolen girlfriends, and drunken stupor, but I have never seen any violence and I spent some solid time there. The dancefloor was a fine place to hang out but I was, back then, much more the type to sit down, drink pints, and try to get a glimpse of upskirt from the ladies.

I met lots of friends over there. Bruce Benson was a clubbing buddy, and Michel, from Mind Confusion, was fucking with our brains. Who still remembers Christian Pomerleau ? I saw him the other day at the PURE premiere, but he didn't recognise me, I think. Who remembers Xavier Caféïne having a few drinks with us every now and then ? Who remembers Marilou ? What about the people hangin' out on a mIRC chatroom called #industriel and having "get togethers" there from time to time ?

I realise that my memories from this night are rather personal, but you should all be concerned, because those were damn good times.

Where is Sylvain Saint-Jean these days ?! And Napoléon, where are you hiding ?!

Night Vision 1.02

(Co-written with Clifford Brown)

Boy & girls, we're not out of trouble yet. Another insane week lies up ahead... brace yourself for impact.

This Week...

Thursday 02/03
Robeat Mix Sessions at La SAT, has some very interesting guests this week : Jan Pienkowski, Cyan & the Robeat crew. The mood's relaxed, and it's a chic & decadent electro happy hour you might not want to miss.

Otherwise, go Overdose at Parking with Mini, and if you need to stay up late you can catch Loco Fern at Circus.

Friday 03/03
The sixth installment of Electro-Chic is taking place at La SAT. An interesting night for the hard electro lovers out there; Omni, Axel Klein & G O'Brien will provide some attitude-fuelled beats and they urge you to dress "chic"; we urge you to boogie yo' ass to Electrolicious' "Touch me Now".

Eloi Brunelle is deejaying at Mile End, while XL & Bender will keep it loud at Stereo Bar.

Saturday 04/03
The second installment of Voyeur is going down at La SAT: There might be no outsiders on the bill, with the Kardec / Kosa / Dare trio, but these guys know how to bring the "future electro" party and that's where all the fashionistas victimistas will be, so check in early to feel the steam !

The Robocop Kraus are at Club Lambi. They ain't no "Fake Girls", but to see if they're fake boys or not, you have to see them. At 10$, there is seriously no fuckin' reason to miss these guys, who will rock the place out like there's no tomorrow (and no day after tomorrow either, just an enormous, out of proportions headache).

Randall Jones, a last minute addition to Aria's already stellar booking for March, will be headlining at the Rue St-Denis afterhour venue alongside residents Creator & Maus. FREE for ladies, $15 for Guys.

Tom Stephan, a.k.a. Superchumbo, needs no further intro. He will be headlining at Stereo, with XL opening. Fry your brain to his high octane prog house and eat it for breakfast the next day.

Sunday 05/03
No Excuse with Sean Kosa and Bender at Balroom. Now, seriously, what else would you be doing on a sunday night?

Tuesday 07/03
MightyKat. Extended Set. Salon Daome. 'Nuff said.

Wednesday 08/03
Surprise! Trisomie 21 still exist! A terrifying, perhaps even terrific, evening at Club Soda mid-week is a rare thing, but I assure you it's technically possible. The rest of the bill is filled by Alice & The Serial Numbers (Live), DJ Maus & DJ Mini.


Next Week...
Friday March 10 Audion, Pheek & Mateo Murphy begin the night at La SAT, before Felix Da Housecat, Mini & G O'Brien anihilate your heart rate at Aria. Also, Laïka's celebrating at La SAT on Saturday March 11, and it will be time for Shake/Off with Clifford Brown! (More on that later!)


Next Month(s)...
Annie @ Lambi (22/3), Ellen Allien @ Parking (16/3), Hot Chip @ Lambi (14/3), Ladytron @ Club Soda (19/4), Lee Burridge @ Aria (18/3), Sander Kleinenberg @ Stereo (22/4) & The Glimmers @ La SAT (23/3).


Until next week: Keep the fire burnin' !

Loco Dice, Maus & Miguel Graça @ Aria

Saturday February 25th – It was freezing outside but it didn't take long to get Aria's big room warmed up. The place filled up early and remained packed for most of the night.

Loco Dice, aka Dice Corleone (what kind of kick ass name is that!), is a Tunisian-born DJ & producer based in Düsseldorf. He's recently released two very good minimal mix CDs – Green & Blue, a double CD venture he shared with Ricardo Villalobos, and Minimal Explosion for MixMag. Dice has appeared in the world's biggest clubs and his DJing credits include residencies at DC-10 and Dusseldorf's Tribehaus. He's also been producing remixes as well as original songs. You can hear these, along with some of his mix tapes, on his web site. However there's nothing on there similar to what he played at Aria.

Back to Saturday night...

Dice was hangin' around the club and nobody gave a care in the world or even acknowledged him. It's one of those night where people just show up not knowing who's playing and somehow everything just clicks anyway.

Miguel Graça opened the festivities and played a top quality tech-house set that got everyone fired up and ready for the main event. Not a dull moment in there: bravo Miguel !

When Loco Dice got on he seemed to fully understand the vibe of the place. He immediately sized up his audience and gave them exactly what they needed: a hard tech-house set that still retained all the intelligence and attention to detail of a minimal experience, showcasing his clever understanding of the art of repetition as well as an in depth knowledge of the uses of varied sonorities. However he did it I will never know, but Loco Dice still managed to let masterful peaks shine thru the general intensity of his selection. Simply brilliant!

At one point it even seemed like the man from Düsseldorf would simply not stop playing… and he didn't! Instead, Maüs join Loco Dice behind the decks and the both of them tag-teamed for the remaider of the night. Simply put: a match made in heaven, both DJs' harder repertoire complementing the other's perfectly.

Sadly, by the time they started their tag I was already WIPED OUT from having continuously danced all night long. After I while I decided there was just no point in staying if I couldn't dance, and I opted to commit an unthinkable crime: leave while Maüs was playing. I am told the party kept going more than an hour past Aria's usual closing time.

I just wish to convey my thanks to the Aria crew for bringing Loco Dice to Montréal again. The evening was simply amazing – a fuckin' classic, frankly – and the way things are looking, I think we're in for some SEVERE partying in the next few months. Keep it up!

Song of the Night: "Sandwiches", by Detroit Grand Pubahs, one of the few 'vocal' tracks heard, played by Loco Dice.

Find out more about Loco Dice or about Aria on their respective web sites.

Strange News From Another Star

There are too many things to do tonight. It's too bad we'd have to freeze our asses outside to do 'em all !

Every year, the same story occurs. Nothing's happening during the whole damn month of February, and all of a sudden you wouldn'd have enough to see everything that happens on the 25th even if you had 10 clones and the face of Michael Keaton in MULTIPLICITY.

Is there such a thing happening over the summer, where we'd actually be glad to spend the night out & benefit from the museum's A/C ? Nope. I would gladly have taken a walk to the CCA, the Beaux-Arts Museum & the MAC, tonight, if the weather wasn't arctic.

So... parties are happenin'. There's the Nuit Électronik, which was my first choice thanks to our German friends the Wighnomy Brothers, pictured here in all their glory :



However, the price seems a little spicy when compared to everything else going in town. Jeux Divers, at S.A.T., is 20$ for Kardec & Mini; and Loco Dice at Aria is 15$ for dudes, and free for the ladies. Nuit Électronik is... 35$ at the door. Even at 25$ in advance, it doesn't seem broke-friendly. The room chosen at the last minute for the event is Station C, a.k.a. Kloc. If you've heard about the last 10 events that took place there, you know that they stayed open after 3 AM maybe once, but nobody I know can confirm that. I wouldn't want my party to be abruptly stopped by some cops at 3 AM, in this weather. So those of you taking the chance, please let me know, tomorrow, if it worked out. I wish you the best !

Because Nuit Électronik really is nice. The first year I went, in 2004, the music was amazing, and we danced like crazies. Around 6 AM, the sound system gave up, and they transfered the party in the "café" at the front. Soundshaper finished the night and I was the only one, it seemed, interested in getting something to eat from the croissant buffet.

Last year, it happened at Fonderie Darling, and I really wanted to hear Riccardo Villalobos, but something happened and he couldn't be there. It would have been nice to know, because Matthew Herbert's set really disappointed me. I didn't stay really long, but the place was nice and the crowd seemed frenzied. The idea behind the night is great, and a minimal night is what we need, but as long as the planning proves to be unsure, I'll regretfully have to pass on this kind of risk.

*

I have seen an ad for a "new" nightclub in the Sky's complex. Called "Le Sommet", I guess it will be located on the top floor. We don't know what kind of music will play there, otherwise than it will be heart shaped. It seems that the marketing team behind this new thing do not consider that their potential clients care about the kind of music they'll hear, or who the resident DJ's will be.

The place will be mixed - which probably means that there will be gay guys & fag hags. Or office girls on a wild night out, trying to lie to themselves about wanting to "dance without being hit on by jerks".

There has been numerous attempts, in the past, to make something out of this useless room. All of them failed. A controversy even erupted during its past incarnation : there were some nights that were mixed, and some that were not. So, of course, when it was mixed, gay guys complained that they couldn't enjoy themselves... among themselves. They felt that they had the right to have a night for guys only, and that if girls wanted to hang out they had all the other clubs in town to do just that. Girls complained, on "guy's night", that they couldn't get in and that it was discrimination.

Remember Arena ? The club that some brilliant social theorician set up when Unity closed, a couple of years ago ? It was intended for a "hetero" crowd, which often means jocks & "pitounes". That's what happened alright. Jocks were lining up to get in, and were staying in front in mobs when the place closed. They occupied the sidewalks with their drunken behavior and more often than not would let out some loud "Fags !" at guys passing by. Now this is happening at Jet Club, on the frontier of the Village, so I guess it could be worse. But do we really want this to happen next to Sky, the Club Sandwich, Kilo, the Stud ?!

We can't predict ahead, and a true critique would seem fair only once we've set foot in there, so I'll keep you updated.

In the meantime, go and see your surgeon so he can slide you in enough pieces for you to attend all the worthwile events taking place tonight !

Night Vision 1.01

We need discipline.

We've discussed it thoroughly, me and my man (on a plane) Clifford Brown, and decided it was high time we get our shit together and start writing (almost) every day. Here' my contribution to our weekly schedule: chronicles and news of Montréal's electro & house night life.

So, here's our first – dare I say it – weekly column!

This Week...
It's been a busy months and it's not over yet. Just look at what's going on over the week-end:

Thursday 23/02
Overdose at Parking with DJ Mini is always a good option. Also: The Mix Thursday Battle of the Sexes at Saphir, featuring Lynne T vs Spacekadet, Maus vs Sarcastic & Tashish vs Moonstarr.

Friday 24/02
XL & Bender's at Stereo Bar begins an evening that could go on well into the wee hours of the morning, thanks to Sean Kosa and Robert De La… Gauthier who will be at the helm upstairs at Stereo.

Saturday 25/02
German DJ Loco Dice is appearing at Aria alongside Maus and Miguel Graça. LocoDice's last two mix CDs (Green & Blue and Minimal Explosion) were pretty damn good, and the guy's appearance at Aria is likely to be exceptional. The place now opens at 2am instead of 1:30, and it's FREE for the ladies and $15 for guys, as usual. So, girls, if you get kicked out of Kloc at 3 come over and join us at Aria.

And since we're on the subject: Wighnomy Brothers will be headlining La Nuit Electronik at Kloc. The event is *supposed* to go on 'til 5am at least. It's expensive ($25 pre-sale, $35 at the door after 11pm), and considering Kloc's track record I wouldn't risk it myself, even if the promoters assure us that they have a contingency plan.

* UPDATE * At first they didn't have a location. Then, they announced that it would be at Kloc, but that they might have to 'move the event' at 3am. Now, Picnik confirms that the event will go on at Station C all night long: Cool! Now let's hope everything goes as planned !

At La SAT, it's Jeux Divers with Romeo Kardec, Second Sun (Live) and DJ Mini. It costs $20 and starts at 11pm.

Sunday 26/02
If you're still standing, check out No Excuse at Balroom, featuring Bender, Sean Kosa and guest Eddy Jasmin.


Next Month(s)...
Sadly, I don't have the time to get into the details right now, but here are a few names (along with a few dates, and a few places): Annie @ Lambi (22/3), Audion @ La SAT (10/3), Ellen Allien @ Parking (16/3), Felix Da House Cat @ Aria (10/3), Hot Chip @ Lambi (14/3), Ladytron @ Club Soda (19/4), Lee Burridge @ Aria (18/3), Sander Kleinenberg @ Stereo (22/4) & The Glimmers @ La SAT (23/3).

Finally, a second edition of Voyeur with Romeo Kardec, Sean Kosa & Jordan Dare will be taking place at La SAT on Saturday March 4th. Also note that Neon Loves Kompakt is cancelled.


Until next week: Keep the fire burnin' !

Zen-Kei Blasts Off

Zen-Kei is the name of Ramon Zenker and Tom Keil's new project. Witness how they subtly arranged the first three letter of Zenker's name (Z E N, in case you needed help) and Keil's name (K E I, lest any retards kept on reading) to forge the project's title.


The pair just released their first 12" on Great Stuff Recordings. It's entitled "The Blast", and for some reason it has a mean-looking, elaborately dressed dude on its cover. Intrigued? Read on...

Zenker along with his buddy Oliver Bondzio are better known as Hardfloor, pioneering electronic act from the 90s, acknowledged amongst other things for the grand early trance (acid, really) track "Hardfloor Acpierience". Ramon has created music under too many names to list here and I couldn't even tell you which of his projects are still active, especially since I can't make any sense out of Hardfloor's website.

As for Keil, he's the man behind Holon Records and sub-label Room Recordings… Yeah, me neither.

So why should you care? Because "The Blast" it, by all means, a pretty good single. Granted - it may not be groundbreaking, but it's nevertheless worthy of attention. If you want a mental, err, soundscape, think Huntemann & Winter's "In Your Car" crashing head first into a John Dahlbäck song (pick one, but "Dance" from John's Huggotron project fits the bill well).

The original version of "The Blast" gets rollin' with some catchy bongo beats and eventually kicks it into overdrive with a high pitched whine that will just terrorize the boogie out of any bystander and force them to shake it on the dance floor. The 12" also holds remixes by GSR label-mates Trick & Kubic who strip the song down to its electro essentials to great effect. On the flip side, Gregor Tresher brings in a phat bassline to subdue the aforementioned high pitched whine, and newcomer Audiolic from Munich tames the song with a rockier structure. As far as I'm concerned the original version remains the best.

Definitely watch out for Zen-Kei's "The Blast", along with any future release. I have a feeling we'll hear more attention-grabbing stuff from these two pretty soon.

You can listen to "The Blast" on Great Stuff Recordings' web site.

You'll Never Change (The World)

No you won't. But you can make it a better place if you're a DJ and you spread the word : this new track by "The Belivers" - never heard about them either - was remixed by Oliver Koletzki and it promises to be HUGE.

Released on an italian 12" out on Oxyd Records as the "Black Part" of a remix collection, the song features vocals by Chelonis R. Jones and in the hands of Koletzki, it simply KILLS. The original is a bit of cheesy commercial house, with a trance-like break that builds up, reminiscent of Roger Sanchez' "Another Chance" and its Toto sample repeated ad nauseam.

Chelonis R. Jones seems to be THE vocalist to feature these days, and it looks like we won't stop hearing (from) him any time soon. It took him a long time to be noticed (the "One + One" 12" was released on Get Physical in... 2002 !) but he definitly is here to stay.

The other remix proposed on the "Black Part" was made by Dave Seaman, and is even more cheesy than the original if that's possible. This "Group Therapy Remix" smells like progressive trance with pads...

It really is the Koletzki remix that elevates this track to a status worth mentioning. This guy is slowly but steadily rising, being relatively new to the electro-house scene. He has recently remixed The Egg's "Wall" to good effect, has remixed Huntemann's "Radio" and also works under the "Parker Frisby" moniker. His sound is deep, minimal but effective, and his killer basslines are what sets him apart.



Oliver's tracks are featured on some nice mixes these days; he's on Ajax's InTheMix 5, on Kiki's Boogy Bytes, and on Starski & Tonic's fast-growing referencial Culture Club Vol.4. Expect the guy to be in your face for a couple more hits, and enjoy, as you'll get to know him on the dancefloor a lot in the near future.

Chelonis R. Jones owns chelonis.com - how lucky is he that the domain name didn't already belong to any of the world's other famous Chelonisses !

Doomed Places

Have you ever tried to do something with a venue that JUST DIDN'T WORK ?

There are venues, in this town, that just won't cut it. Whatever marketing efforts you put in them, or lack of, seeing they are usually motivation-drainers, nobody will come to the nights & you'll go bankrupt. There are places like this all over Montreal and it sucks to promote them. Big time.

I wrote about Robot Tears earlier. The event was held at Felix Bar, next to the Banquise, on Rachel St. Before Felix Bar, the place was known under another name. When George, Felix's owner, sold the place to the same guys who owned Edgar Hypertaverne, they decided to follow the 281 example and call it "980", its address. The focus of the place really wasn't clear and it was "for lease" to anybody that had an idea for a night... and the bucks to cover it.



Some amazing acts were booked in there - I vaguely remember Ignition Technicians performing - but the thick curtains in front of the door & windows kept people in the streets from seeing what went on inside, and that's a big no-no ! It didn't last. Now it's operating under a new name, and some suicidal promoters are trying their best to keep it alive.

*

Ever been to Jingxi ? The place was amazing. There was a stripper pole right on the dancefloor and some aquariums carved into the walls, so when you were peeing you could see people enjoying themselves in the main room. Populated by guys in black shirts and slick hair, and all kinds of underage girls, the place offered up some nice house, often inviting guests like Crazy Penis, and showcasing residencies by people such as Nic B and Fred Everything. I remember spending some magical evenings there, the "magic" in question motivated by the impressive decor and the pumping house served up by a real decent sound system.



Problem was that you had to pay before seeing if anybody was there. There was a coat check, and then a really long "L" aisle leading to the room. The interminable stairs you had to climb up to get there also didn't help.

After a new management kicked in (I was refused at the door during one of their first nights, don't know why exactly, maybe they didn't like tattooed guys... so I went downstairs and stayed in front, telling everybody passing by that the place was exceptionally closed for the night) the place went schizophrenic and just crashed.

Then came Béliza. The idea behind it was a "world beat" club with a friendly atmosphere and international vibes. The marketing genius behind the concept had previously managed... the Campus Bar, in fuckin' Shawinigan.

Needless to say, it didn't last. Now the guys behind the Dogue own it. They have renovated the space and changed a few things, and linked it to their main "Dogue"space by a staircase. It is now simply called "Dogue Lounge" and is pretty much a room that isn't used too much.

*

Did you ever walk on St-Denis, between Ontario and Sherbrooke, on the west side of the street ? Just south of a weed parlor called "Woodstock" there's a place currently called "Macao Bar". Thing is, it's no longer a bar.

I don't remember what it was called before, because it's that kind of place : you never notice it ! Some guys bought it recently, changed the name to Macao, and wanted to host some "urban" evenings that would have suited your dad, your brother & your cousin from Ste-Perpétue : "lounge / housey" music playing not too loudly while well dressed patrons would sip on their expensive drinks. A lounge with no soul, and a bar with no guts. It could have worked in 1998.



The guys are nice : they tried allowing as many people as possible to perform there, but there was a volume level that you couldn't go over. According to them, the "neighbors were complaining". If I am going to live above a place that is called something like MACAO BAR, on ST-FUCKIN'-DENIS STREET, I think I have to expect some NOISE on a SATURDAY NIGHT.

But that's just me.

Thanks to this "we would like to please everybody" attitude, the place has abandonned its party place pretentions and is now a bring-your-own-wine restaurant. If you pass by, you can see that the place, most of the time, is empty.

Now, who would like to buy a nice soon-to-be-closed place on St-Denis and try to make something out of it ? I'll pass on this one.

I Wanna Fuck You up the Ass

Parking's Overdose can be quite formulaïc at times, and the evenings we spend there can easily be confused between them, afterwards, but when there are "special guests", they are always severaly hand-picked by Mini and we rarely regret her booking choices. On Thursday Feb. 16th, Sean Kosa was the one, and it's safe to say that he litterally set the dancefloor on fire !

Beginning his set with a few sure fire hits - Detroit Grand Pubah's "The Clapper" remixed by Dahlback, Huntemann's "In Your Car", Romboy & Tanzmann's "Who Got the Beat" - he quickly followed with what was to be the general theme of his playlist : classics. From Nitzer Ebb to Plastikman, from New Order to Manhead, from The Knife to some quite intense booty beats and a track of sweet, soulful house I had never heard before with a chorus that says : "I Wanna Fuck You Up The Ass".



Kosa's always fun, scratchin' and cuttin back and forth, his mixing style energetic like his electrifying personality. The night went by in a jiffy, and everybody had fun, I believe. I sure did.

With the drinks at 2.75$ and a really nice vibe & crowd, Overdose remains a hit among montrealers, even when you would have suspected, as I did, that the "fun factor" would cool off over the weeks. It's never tiring, and if you don't mind a few fashionistas posing here and there, and some of the weirdest scenesters around struttin' it on the dancefloor, you've got yourself a place to hang out on a weekly basis, pal.

Watch out for Mini's next guess, Ellen Alien, in March.

Stamps

After two days, it still hasn't vanished. I have a new tattoo on my left hand that says "Perfect". I was stamped. Sunday night, at Parking, some ink was deposited on my hand and it's still there. I'm not the kinda guy that doesn't wash, and the ink's tenacity really surprises me.



It's always been a tradition in Montreal clubs, and I still wonder why. If you pay to get in, nobody's gonna check your hands or wrists once inside to see if you bear THE MARK. It would be a ink economy if the fine door people would only stamp those who are going out - in case they come back.

Hell, in some places, you can't even come back if you leave !

Back in the days, when S.A.T. was located in front of the Vieille 300 on Ste-Catherine and had an impressive bathroom with 4 or 6 unisex stalls (can't remember exactly - I was probably drunk every time) I had a strategy : I would go out, piss in Sona's Parking lot, and come back in, instead of waiting 20 minutes in line and miss everything. But my life turned inside out in 2002, when they hosted the 2nd installment of I LOVE NEON with Miss Kittin & the Hacker as the guests. The place was so packed that we had to wait 20 minutes to get a beer, 30 minutes to piss it off, and could therefore enjoy 10 minutes of party for every hour spent on the premises. If you went out, you couldn't come back in. How charming.

On a good week-end, I can have 3-4 stamps on top of the other, struggling for domination on my skin.

I wouldn't want to get a "rave bracelet" every time I go out (Piknic each summer week is enough) but please, promoters : find an alternative. Because of you, people see "Perfect" on my hand and think I'm narcissic.

Dimitri, From Paris to Montreal

Many things were celebrated yesterday at Parking : the house superiority of Patrick Dream's weekly "Perfect Sundays", St-Valentine's for clubbers, and the launch of Dimitri Yerasimos' new mixed CD "In the House of Love", now out on Defected. Dim has already recorded a two-CD mix for them about two years ago, simply titled "In the House", around the same time he was putting out, with his house-loving pal Joey Negro, the "Kings of Disco" double anthology (out on Rapster Records).



I remember, because I bought both at the same time, in Quebec City, at the Archambault on St-Jean. But I digress.

Being in a shitty mood, following some rather big (bad) surprises over the week-end, I didn't know if I would go, until my friend Filou showed up at my door with his Troïka 60 oz. The only "ingredient" we needed to get the party started.



I don't quite recall everything we discussed, like Russians in front of our glasses, but when we left the house we were pretty plastered. I can't honestly remember if we took a bus or walked to the club.

The place was packed and Dim was already on duty, offering the best soulful house & disco Montreal has heard in a while. He even played Tiga's "You Gonna Want Me", which is a very surprising thing coming from a soulful house DJ - does this imply that electro's crossing more and more borders ? Odd thing as well, he was spinnin' CD's. Not a single vinyl was seen in or around him for the whole evening. Maybe he wanted to travel light ?

I managed to snatch a picture with the French superstar (like a DJ ho', I know) before some angry (and quite ugly, I must say) guy from security threatened to throw me out when he found me inside the DJ booth.



I was way too drunk to dance straight and decided to call it a night. When I left, The Originals' "Down to Love Town" was blastin through Parking's sound system, and I must say it brought me back to these innocent days & nights I spent dancing alone in my living room while listening, at maximal volume, to "A Night at the Playboy Mansion".

My Love is Systematic

It's been brought to my attention, through diverse channels, that Marc Romboy was about to release an album, or in the words of the wise, a LP. The title will be "Gemini".

Marc is pictured here with Tommie Sunshine, and has a definite Dante X look.



After several high-profile 12" and a mixed CD for his label Systematic (Sessions Vol.1, a double offering also featuring a slick mix by Martin Landsky) released in 2005, it was only natural to take a step forward. The album will feature collaborations with Sunshine, as well as vocals by Robert Owens and Blake Baxter. To be released April 7th, the album promises to continue in the minimal bass-heavy tradition Romboy has already established with a solid series of singles; a second Systematic label mix, co-mixed with the Tommie again, is to follow in May.

Will all of this make Systematic more popular than ever ? I'm afraid so.

With the already HUGE "Time Slide By" track released by Sunshine at the end of last year, an amazing album (Man From the Fall) by John Dahlback and a collaboration with Paris the Black Fu that'll warp your mind, "Computer Madness", the label has had a solid end of year.

There's no stopping their sound, as any DJ would confirm : just drop John Dahlback's "Stage Diver" (out of his 2004 "Time Traveller EP") in a crowded room and watch the sweat fly !

I can predict yet another solid year for the label, and hopefully, global domination.

If you enjoy Systematic Recordings, you'll love Marc Romboy.

Don't Go - Stay Home

En réponse, ou plutôt pour faire suite à Come With Me (And Everybody Else), publié plus tôt cette semaine par mon collègue Clifford Brown…

Je viens de lire l'article sur Come With Me paru dans le Nightlife de Février. En fait, je devrais plutôt dire que je viens d'en terminer la lecture, car j'ai du le déposer à mi chemin tellement j'avais l'impression de lire "n'importe quoi".

Il n'y a rien de neuf sur Come With Me, alors que certains semblent bien contents d'annoncer la venue de "La Sauveresse Montréalaise" de la "dance music" en 2006.

Malgré que ce mélange electro-minimal soit loin d'être une nouveauté, peut-on réellement reprocher à Barbara de s'accrocher au "bandwagon" electro – même sur le très, très tard – et de finalement décider de passer à autre chose, d'évoluer? Peut-être pas, mais on peut bien lui reprocher - comme ses propos semblent le souligner - d'être déconnectée de la réalité de la "dance music" contemporaine. Certaines catégories de techno sont sur le respirateur artificiel depuis des lustres. Il fallait un effort de volonté immense pour garder les yeux fermés là-dessus.

Il n'y a rien de nouveau là dedans. A Montréal, ce n'est pas bien de parler de nos artistes locaux en mal. A moins, bien sur, qu'ils connaissent un succès populaire majeur. Alors là, tout est permis: pas de pitié pour Céline, alors que "oh mon Dieu", comme Barbara réinvente la musique "dance" avec sa sélection pour Come With Me. Conclusion: si jamais elle en vit grassement ça en sera fini des cadeaux.

Qu'en est-il du disque lui-même? Come With Me, sur papier, c'est bien beau: une playlist moderne avec de beaux artistes présentables, entre autre Oliver Koletzki, Trentemoller et Zdar. À l'écoute, par contre, le mix se désintègre et l'on se retrouve avec une de ses galettes anodines où les chansons ne s'enchaînent que par possibilité, sans aucune intention, sans aucune âme. Misstress Barbara n'épate donc ni par ses prouesses techniques, ni par l'agencement de sa sélection, se contentant de livrer une chanson de 72 minutes qui ne mène nulle part. C'est incroyablement fade, surtout au milieu du disque où l'on s'embourbe à répétition dans des beats défraîchis, présentés sur le long, de surcroît.

Qu'on aime ou qu'on n'aime pas, y'a rien d'neuf ici, alors s'il vous plait arrêtez d'essayer de nous faire croire le contraire.

L'article Come With Me (And Everybody Else), par Clifford Brown.

Welcome To Planet Sexor

Tiga's first full-length is finally out. Well, *officially* out: the promotional version of Sexor leaked last November and has been circulating since.


With the high expectations surrounding the album's release it shouldn't come as a surprise to anyone that it has already generated so much interest from both the music press and musically-inclined bloggers.

For my first certified article on Mirror Balls & Mirror Shades I will also be taking a stab at Sexor, now that the disc has reached store shelves, thereby verifying that "sexy lightning" does indeed "always strikes twice", as the disc's introduction indicates. Does imagination rule the nation on planet Sexor? Let's see…

My Heart Takes a Hit and then My Heart Hits Back
A number of Tiga's songs have been substantial hits over the last few years. "Burning Down", "Hot In Herrre", "Louder Than A Bomb", "Pleasure From The Bass" and more recently "You Gonna Want Me", to name just a few. All have been played to death by every electro DJ on the planet. Three of these made the "cut" for Sexor. So why was the Sexor promo met with such mixed emotions?

One could easily theorize that Sexor suffers from "The Reverse Album Effect": all of Sexor's best tracks were already being played everywhere well before the promo's leak. However, this doesn't mean that the songs are not as fine or not as pertinent as they were when we first heard them in the discos.

After all, Tiga's version of Talking Head's "Burning Down The House" was released as a hard-to-find promo in 2004 under the Petr Dove moniker. Why doesn't anybody seem to be putting it in the same bag as the other so-called "old songs"? Perhaps because the illusion that "Burning Down The House" is a fresh track remains intact.


The Speed of Sexor
It was natural for everyone to expect an unstoppable collection of dance floor thumpers, but what we got instead was a collection of club-friendly songs that always fell one step short of dance floor greatness… on purpose.

Tiga recently revealed in a BBC interview about Sexor that he "consciously took off some high energy tracks", because he "didn't want it to be too clubby."

The truth is that Tiga cleverly used the album format to veer away from his traditional approach, presenting us with an "electro-pop" album targeted at a larger, general audience. These new tracks, as they are presented on Sexor, would've been relegated to B-side status had they been released on vinyl without being severely reworked to highlight their club appeal. The fact that they remain "club-friendly" only underlines their incredible remix potential.

Furthermore, since the songs were written and recorded over a period of years in different cities and with different producers they bare no thematic resemblance. Normally this would've greatly endangered the cohesiveness of any album, but Tiga cleverly, if somewhat superficially, circumvented that particular setback by disguising a collection of unconnected songs as a concept album. This witty ploy ensured that even the most demanding listeners could feel comfortable with some of the albums lower points. After all, "filler" tracks are an expected part of every full-length.

That man is indeed a smart man.


A Bit Like Me, A Lot Like You
Sharing Sexor's production credit are Belgian brothers David & Stephen Dewaele, better known as Soulwax (or 2 Many DJs), and prolific Swedish electronic artist Jesper Dahlbäck.

If you listen to electro, then these names should already sound familiar. Otherwise I strongly advise you pick up Soulwax's Any Minute Now as well as Disarmed, from Jesper's DK7 project.

At any rate, both Soulwax's and Jesper's respective production styles are well harmonized with the album: you know who's behind which songs, but it all feels like a Tiga record.


A Song For Any Season
"You Gonna Want Me", the first single off Sexor, was released last year. Simply put, Sexor is worth its price if only to get your hands on this amazing piece of music. The song is incredibly catchy and features an amazing chorus by guest vocalist Jake Shears (Scissor Sisters). If you get it on vinyl, you'll find "Do It/Don't Stop" on the flip side, a nice mellow track which didn't make the cut for Sexor. The remixes are good, but not spectacular. The video, directed by Olivier Gondry (Michel's brother), is definitely worth a look and easily confirms that talent runs in the family.

"Far From Home", is an upbeat and catchy little ballad that instantly sets the album in motion. It will also be the object of Tiga's next single, which will feature a revamped, catchier (yes – it's possible) version of the song as well as a remix by ours boys from DFA. The "Speed of Sexor Reprise" version of the song that appears on the album is the only song that wasn't on the promo. It's quite similar to the version Tiga has been including in his DJ sets over the past months, and includes an incredible disco bass line and some driving beats.

"Louder Than A Bomb", a Public Enemy cover, and "Pleasure From The Bass" are the album's core songs. Both are instantly addictive dance floor smash hits, and are already considered electro classics.

I mentioned "Filler Tracks" earlier. With Sexor we only get two of those: "Who's That" and "Down In It". The former is a short interlude that seems to be an offbeat tribute to Prince's Batman soundtrack, and the latter is a version of a Nine Inch Nail song. Both are worthless pieces of junk that demand to be skipped.

Sexor features another ballad in the form of a melancholic anthem called "The Ballad of Sexor". The cheesy 80s wave clone "Sir Sir Sir" rounds out the album's mellow tracks.

"High School" and "3 Weeks" are both good-but-not-great songs. Perhaps they will reveal themselves to be the album's sleeper hits if they get the remix treatment. Their position on the disc, respectively "the 4th one" and the "one before the last one", confirm their unfortunate status.

I don't like "Good as Gold", a song about Tiga's girlfriend Tiala. It's ordinary and plain. Just before the holidays it was released as a 2x12", featuring a dub by Philippe Zdar (meh) and a "remix" by Morgan Geist (meh again…). If both these guys can't save the song then I don't know who can. I know its supposed to be an Italo Disco piece and if it qualifies as such it still does not alter the fact that the song is boring.

"Burning Down The House", as mentioned earlier, is a Talking Heads cover, and a good one too. The production has been cleaned up a bit since the vinyl release, which truly brings this little gem into the light.

The New-Wavish "Brothers" is perhaps the best song on the disc with its instantly addictive, emotional hooks about friendship and brotherly love. Oddly enough, it's the most Soulwax-ish track on the disc.

"Move My Body", a hectic rollercoaster ride of a track aimed at electrifying dance floors, is NOT on there! I'm the first to admit that I'd very much like to get my… err.. ears on that fantastic song, but it would've definitely been out of place on Tiga's "electro-pop" Sexor. Nevertheless, let's hope "Move My Body" resurfaces soon…

Finally, those who don't care about such things as booklets and jewel cases will benefit from an added bonus. If you obtain Sexor from certain music download services you will have access to an extra track called "Type Of Guy". It's one of those "too clubby for Sexor" tracks, and it's not bad at all.


I Was Never Meant to Be Without You
Sexor is a fun ride, so why not get on. If you don't like it that's fine too, although make sure it's for the right reasons and not because you didn't get what you expected.

Tiga has been surprising us for years. Why should it be any different with his first full-length?

Sexor is peppered with some of the tracks that defined electro over the last few years, and provides a good guess at what some of the defining tracks of 2006 might be, and that's fine with me.

So, you know, stop bitching and enjoy Sexor.

Have a look at Tiga's Official Web Site, which should be updated sometime soon. In the mean time you can preview the songs of Sexor at 7digital, including "Type of Guy". I also recommend the "You Gonna Want Me" Video (Hi Quality Quicktime).

Come With Me (And Everybody Else)

J'aurais voulu ignorer que Missstress Barbara sort un nouveau mix, ces jours-cis, et ça aurait été difficile. Car partout dans la presse "alternative" de Montréal on en parlait la semaine dernière : Nightlife, Mirror, Ici. Ne manque que l'avis de Hour & Voir, mais ça va, ils sont toujours en retard ceux-là, alors on ne devrait pas être épargné demain.

J'écris "Missstress" parce que j'ai déjà lu, il y a fort longtemps, dans une entrevue avec elle, qu'elle était hyperactive et n'arrêtait jamais, et que son nom s'épellait ainsi car c'était une contraction de "Miss Stress", et non un sobriquet à connotation sado-maso.

Alors voilà, un nouveau mix, "Come With Me". Et devinez quoi ? Elle change de "style". En grande innovatrice, elle spinne désormais de l'électro-house et du minimal. Je suis sous le choc. Quel risque ! Parce que j'aime autant vous le dire tout de suite : elle est toute seule à faire ça. Oui oui, du minimal et de l'électro, on n'en entend pas du tout ces temps-cis.

Benny Benassi - Cooking for Pump Kin
Tiga - InTheMix
David Guetta - Fuck Me I'm Famous II - CD2

Aussi variés en background qu'en origine géographique, ces trois DJ's ont récemment enregistré chacun un mix. Mais ces mixes, si l'on considère seulement la sélection et que l'on laisse de côté la technique, sont interchangeables et proposent à peu près les mêmes titres !

Et voilà Miss Stress qui clame que déjà, au lendemain de sa prestation au Piknic, à la fin de l'été dernier, des fans lui écrivaient leur déception de ne pas avoir entendu "du gros techno" dans son set. Paradoxalement, je ne me suis jamais senti aussi "étranger" à un Piknic que lorsque Barbara Brown a traîné avec elle sa horde de 450. Feelin' alienated, you know ?

Paraît que la techno hard, de nos jours, ça sonne "tout' pareil", selon Barbara elle-même. Et moi qui croyait que ça avait toujours été le cas ?

Attention, voilà une grosse ré-orientation ! Un beau risque, comme on dit. Et tout ce battage médiatique autour de pas grand chose m'agace un peu, je dois dire.

Vous pouvez toujours jetter un coup d'oeil au site de Misstress Barbara, ou encore à la page dédiée à Come With Me sur le site du label Uncivilized World.

Remembering... Digital City

Too bad this thing didn't last forever, because I'm telling you man, it was a BLAST.

I don't know who had the idea, in late 2002, to try an electro weekly on a FRIDAY NIGHT at Unity II. I still remember staring at the flyers and telling myself it was probably a joke. Apparently not.

So we got our friends Soundshaper & Philgood on the musical flip, sharing DJ duties, and some hired dancers were supposed to spread the party, as if they needed them. It still was a nice touch; my friend Sarah, when she got tired of dancing, got off her cube and started feeding complimentary vodka shooters to the wildest partygoers.

Musically, the boys had to remain calm. They probably had certain guidelines to follow, and these guidelines must have included "not too hard" because what they played always stayed within the realm of electro-pop, which is a mighty good thing if you want my advice. Some signature songs of the night were E-Man's "Animal Skin", The One's "Superstar (dub)", and sometimes some drunk special requests from yours truly.

I'll always remember my birthday night on Jan. 4th 2003, when all the gifts I received were gin-tonics or other toxic beverages. I would end up the night kicking recycling bins all the way east on Ste-Catherine, but that's another story. I ended up so drunk I told Phil that it was my birthday and gave him several choice cuts to play to celebrate it. Believe it or not, he played 'em ALL. There I was on the floor, almost dying, because of Fat Phase's "It"s Magic (Kiko Remix)", probably my favorite song back then, when I heard the beginning The Twins' "Face to Face (DJ Naughty Remix)" thrown in the mix. I could have kissed the guy !

There was one constant through all these Fridays : the clash between Philgood's & Soundshaper's selection. Whenever I would hear a "questionable" track, I'd raise my head and see Soundshaper playin' it. And whenever I'd be like all "Whoah, this shit is good !" it'd be Philgood behind the decks. No offense, SS, but I always liked your mixing skills better than the tracks you selected !

Eventually the night became crowded with weirdos, never the same people every week, and Unity II pulled the plug at the beginning of 2003. It was some kind of lost, because since then, apart from the Parking's weekly Overdose night, no club in the Village has offered anything else than generic or progressive house.

I'll still always remember these Friday nights with a warm, fuzzy feeling, and I salute all the friends I met there.

Le ridicule tue-t-il ?

Dans l’édition du 2 février du journal hebdomadaire local Voir – ainsi que dans son proche parent anglophone Hour - paraissait une publicité pleine page que je trouve pertinent de reproduire ici dans son intégralité.




Comme si un « Late Night Club » allait régler des problèmes sociaux tels que l’alcool au volant, la sauvagerie physique des saoulons mâles en rut, ou la pollution sonore au centre-ville. Et quoi encore ? Peuvent-ils faire davantage de fautes ? Il me semble qu'il aurait été avisé de faire corriger ce "texte" avant publication, non ?

Le Kloc, c’était au départ une bonne idée. J’ai même ressenti une certaine indignation en apprenant que les propriétaires du Sky, Unity II et Parking s’unissaient pour tenter d’en empêcher l’ouverture. Je me disais que s’ils avaient le « guts » d’offrir une programmation un tant soit peu innovatrice, ce qui n’est évidemment pas le cas - du moins pas pour le Unity II, et encore moins pour le Sky !! – ils n’auraient rien à craindre du Kloc.

Mais après de successives ouvertures « officielles » toutes plus foireuses les unes que les autres, une prestation de Steve Bug écourtée de deux heures, et la fiasco de ce samedi (avec encore une fois une fermeture vers 3h, faute de permis), je commence à avoir l’impression que quelqu’un cherche à se moquer des clubbers.

Reste à savoir combien de fois de suite les gens accepteront de se « faire niaiser ».

Le ridicule tue-t-il ? Time will tell, and The Kloc is ticking...

The Juan MacLean + Tim Sweeney + Duchess Says @ Club L'Ambi

For a moment, I really thought I was gonna hang out with these boys close to my place, allowing me to walk home afterwards, and be as drunk as I wanted to. But at the last minute, the gig was re-scheduled outta La Tulipe and into Club L'Ambi, a strange and rather large room on St-Laurent, near Mont-Royal.

I didn't want to be too early, since I knew it wouldn't be of any use to anybody - shows rarely start at the time they're supposed to, here in mighty Montreal, letting "late" people enjoy their share of the party... all the time. So I stayed at my place a bit & kept on sipping my beer.

We got there around 10:30 and the place was far from packed. As we coat checked I heard Duchess Says begin their set. They did really well - intensity is their turf - and even tho they ripped a bassline from Sigue Sigue Sputnik's "Shake it up", I really enjoyed their stuff. It sounded - and felt - like a celebration, and singer Annie-Claude's voice yelped in all the right places. Their guitar sound kills !



Next up was Tim Sweeney, host of New York City radio show Beats in Space, of which I'll never say enough good. The guy obviously has taste, and the guests DJ's he invites are always top notch. He started his set with some fine grooves, kept it old school all the way, and ended with Loose Joint's "Is it all over my face", just before The Juan MacLean took the stage. John made his own set-up, in the same humble fashion as James Murphy at SAT a couple of months ago, but he didn't seem confident in his own installation. They had sound problems from the start and the moustached drummer kept requesting more this, more that in his monitor.

However, they gave a pretty good show, were tight as a virgin's orifice and even played "You can't have it both ways". Where was "By the time I get to Venus" ? Dunno.

At one point, Maclean was hitting on a dual cowbell in front of his mic and it sounded pretty good. He brillantly started hitting on his empty beer bottle instead, and of course, at one point, the bottle exploded in multiple tiny pieces that landed on his sound board.



His digital drummer looked like Justin Timberlake, and didn't go unnoticed among the female attendees. I didn't either, taking too many pictures and being my usual drunk self.

Check out The Juan Maclean, Montréal's Duchess Says and Tim Sweeney's Beats In Space.

Tommie Boy & Voyeuristic Launch

Yesterday at the S.A.T., a new monthly event called Voyeur, promoted by the Neon guys, was launched. They showcased Perplex & Lola's new stuff by programming a fashion show just before the gig, which is a nice promo move, considering that people from both "worlds" [namely fashion & electro, even tho the two usually go together] would be attracted to the event. Funny enough, Perplex & Lola marketed this as "their" event, in which they would have invited some other "promoters" to do a party to celebrate them. At least, that's the impression their flyer gave me.


Voyeur doesn't ring new to most jaded electro scenesters in Montreal. The ex weekly, that had been taking place at Blizzarts for a couple of years under the "Chemistry" moniker, and then under "Voyeur", was a cool gig to attend, if you didn't mind, of course, threading on Montreal's smallest dancefloor and inhale the equivalent of 10 000 cigarettes in one deep breath.

However, Bliss & Jordan Dare decided to call it history, move their gig to a bigger venue, and make it a monthly. That was a while ago, and they finally emerged out of their trance closet to launch the night with a bang : Tommie Sunshine.

The bearded guy showed up real slick just before beginning his set, and he proceeded to mix track after track of pure electro-rock madness, which I can't really recall because I was REALLY drunk at this point. A friend pointed out that his set really wasn't similar to the one he played at Piknic last summer, but I really cannot comment on that, since I don't think the role of an international DJ is to repeat himself all the time.


We had a blast during Jordan Dare's set, which was filled with the usual hits, and I wanted to show the SAT's only mirrorr-equiped bathroom to Phil, but when we went downstairs in the basement to check it out, I found out that they had turned the space into some seriously locked offices ! I mistook a corridor for the place we were looking for, and we ended up in some kind of storage / electrical room. There was no interuptor anywhere so we had to use my camera's flash to actually see the objects & walls we were bumping in. Oddly enough, I found a "Honey Time" cigarette pack on top of something, and it was full. We went back on the dancefloor and I proceeded to the distribution of my treasure stash. I even gave one to a friend that was still struggling with his addiction. Sorry, Bruce.


I still couldn't go through the whole night because as always with Neons, it was never-ending. We quit around 3 to get some cheap pizza on the way home and I realised, while emptying my camera on my computer, that I had taken 121 pictures.

Sorry, y'all.

Follow the links to find out more about DJ Bliss, Jordan Dare, Perplex & Lola, SAT, Tommie Sunshine, or Voyeur.

Remembering... Robot Tears

First in a series of "Remembering..."

I chose to begin that with "Robot Tears", my own goddamn night a couple years ago. Nobody knows about it, of course, because I sucked at promoting AND at DJ'ing at the time. Some say I still do, but that's another story !

If I remember correctly, we started the night in 2002, Élektrik Érik & me. Back then I was workin' as manager in a porn video rental store in Laval, and I went out with a client one afternoon to get a couple of beers at Felix Bar & chat in the sun. Happens the guy was friends with the owner, George, a great party monster. He introduced us and I told him about my idea, which I thought good at a time where electro weeklies hadn't yet exploded all over the island.

We started the night on Sundays at the end of june or beginning of July, and our trademark flyers with silly robots on them were quickly scattered around town. All the major weeklies mentioned our humble beginning, but yet nobody ever showed up but our friends.

We were DJ'ing with CD's, and my beat matching skills were pretty sucky.

We lasted about three months, until George closed the place and moved back to Greece in late september. We were never paid & never asked for a cover either. But we drank all we could, fuck yes.

The place has now become the 980, on Rachel St, and nothing much is happening there these days as far as I know. As far as I go.

We would often finish our "sets" around 2, lacking patrons to appreciate our train wrecks, and we'd either go have a greasy poutine at Banquise, next door, or catch the end of whatever the fuck it was that was on at Jingxi at the time. They seemed confused : there was a different DJ every week, playing a different style, in front of nobody. I was only left with two options, and I always chose both : downing Southern Comfort / cranberries and pole dancing.

We might have failed because of what went on at Blue Dog at the time (an electro night with dB, Mini & Philgood), or we might have failed because of the place, or lack of promo, or just because we plain suck. I'll leave it up to posterity to decide.

Poop Chute Party

I was feelin' a little low today, and my bro' Bruce Benson advised me that time should settle that, and that if I wanted things to heal faster, I had to attend a party. Anything, really, could be you & be layin' on a sofa, chewing various bubble gum flavors, and listenin' to Ajax' "InTheMix" CD.

Ajax is an australian dude whose mix appears alongside Tiga's on the latest installment of the InTheMix series, the fifth one actually, out on Tinted records in '05.

While Tiga's mix is a predictable blend of his latest productions, remixes, and a shitload of hits often featured in his top 20 (that he rarely updates, see : www.tiga.ca) without any notable technical surprises, apart from the opening superposition of three killer tracks (Needy Girl remixed by Zdar, Warning Siren remixed by Buick Project, and his own remix of Andersson's Washing Machine, that we heard too much, thank you)(oh that's a long sentence) - Ajax' mix is a rapid-fire ride through the most recent electro-house the planet has to offer.

While I'm not sure where you can get your hands on this shit hot mix - I optained a copy from an un-named source who expensively ordered this from fuck knows where - I am pretty sure you'll enjoy it to the max if you do get it.

And who knows, it might cheer you up a bit on a grey day.

If You Bring Daho, I'll Bring Da Pimp

Engourdi par le sommeil et prisonnier de mon lit
J'aimerais que cette nuit dure toute la vie

Daho

Je ne peux plus me réveiller... rien à faire.

Sans moi le monde peut bien tourner... à l'envers.

Traveling Without Moving

Êtes-vous capable, dans un véhicule en mouvement, d'être à ce point convaincu que vous êtes le centre de l'univers que vous avez l'impression, troublante, que c'est le paysage qui pivote autour de vous ?