The Rock & the Roll

from all around the world

since 2009

The one and only KID CONGO POWERS digs Mr Airplane Man !

MJCR023 - LP
Nancy Dupree
  • What Do I Have
  • James Brown
  • Bag Snatchin
  • Docta King
  • Virgin Mary
  • I Want
  • Frankenstein
  • Cold
  • Jingle Bells
  • Call Baby Jesus







MJCR024 - LP
Various Artists
  • Todos Santos, Chamula
  • Trumpet Choir, Carranza
  • String Quartet, Carranza
  • String Trio And Vocal, Zinnacantan
  • Tiger Stone Song, Zinnacantan
  • Song Of Peace, Chalchiuitan
  • New Years Prayer, Chalchiuitan
  • Drums And Flute, Huistan
  • Ladies Dance, Tenejapa
  • Catarina Sone, Majosic / Bull Dance, Majosic
  • Kosh, Kosh Avakan Kanan Chi, Tenango
  • Flute And Drum, Tenango
  • Majestic, Petalcingo
  • Good Friday Service, Tila / Carneval, Tila
  • Señor De Tila, Tila

Come join the dance with Moi J'Connais Dj and friends at Le Cabinet in Geneva on friday!

Orchestre Tout Puissant Marcel Duchamp
  • Slide
  • Close and different
  • The Sheep That Said Moo
  • These Books Weren't Made For Burning
  • Cranes Fly
  • Tra La La
  • Apo
  • It Looked Shorter On The Map
  • Come On In
  • Homs

My English friends call them the-band- with-the-name-I-never-remember and I admit it's pretty muchunpronounceable. Orchestre Tout Puissant Marcel Duchamp (roughly translated as “All Mighty Orchestra Marcel Duchamp") is a name with a programme. It not only refers to some of the most legendary bands from West-Africa (Orchestre Tout Puissant Konono n°1, Orchestre Tout Puissant Polyrythmo etc. etc.) but also to one of the biggest dynamiters of 20th century art.

It started as a one night stand in Geneva's eclectic and experimental venue "Cave12" with Vincent Bertholet (bass) solidly in charge of operations. The one-off collective only evolved into a full blown band over time and with several changes of lineup.

However the ingredients were there right from the start: the forces of free disorder, the pulverised alphabet of rock 'n' roll, the science of contemporary music, the effrontery of punk, the speculative fantasies of intellectual music and remembered facets of popular music.

Around Vincent Bertholet's obstinate double bass riffs, Maël Saletes' striking and stumbling guitar lines keep up a hypnotic dialogue. The melodic counterpoint of Aïda Diop's marimba, here voluble and danceable, there more pointillistic, and Mathias Forge's trombone, groove impeccably along on the drumming of Wilf Plum (who we know from the legendary Dog Faced Hermans, a notable influence on OTPMD) whose playing lays down a groove of soul shivers and rhythm 'n' blues syncopation. Not to mention the majestic singing of Liz Moscarola (violinist, and with Bertholet the only remaining original band member) who casts spells and enchants the world as if it were nothing. It's a voice with an infinitely varied register of expression: machine-gun talk-over, onomatopoeia pushed to the limits of language, melodies unfurled with a sweet movement or broken jingles. Liz Moscarola is as amusing as she is moving and her absolute naturalness borders on white magic.

Orchestre Tout Puissant Marcel Duchamp presents ROTOROTOR, a thrilling third album produced by John Parish (P.J Harvey, Eels, Giant Sand, Dominique A...) and recorded by Ali Chant at Toybox Studio in Bristol. ROTOROTOR (a nod to Duchamp's famous rotoreliefs and to the latter's taste for palindromes) is a manifesto for free and adventurous music, organised in versatile pop songs; playful and fervent, incandescent, funny and impetuous, assuming without ostentation a sort of fragmented futurist traditionalism, combining festivity and war, wedding dances and battle-cries.

Vincent Bertholet bass Liz Moscarola voice, violin Mathias Forge trombon Wilf Plum drums Maël Salètes guitar Aida Diop marimba 


Adieu Gary Cooper
  • Cannibale
  • Marche sur tes mains
  • Gina
  • À tort ou à raison
  • Les doigts dana la prise
  • Du bruit dans la tête
  • Juste un peu parano
  • Peur
  • Brûle lentement
  • Je n'en ai pas eu assez
  • La robe à pois
  • Si je parle dans mon sommeil

Inspired by a Romain Gary's Book from 1964 (Ski Bum), trio Geneva's 4tet like to play the country-blues with a psyche-touch. All lyrics are french and uncompromising even if you don't understand. Folk guitars vs distorted guitars, hovering lap steel, backing vocals remembering country music heros or messy Black Lips, between lullabies and dance floor killers ... It is a dreamy record, unique, fresh and new. They invoke the ghosts of the french past as Serge Gainsbourg or Alain Bashung but also some immortal giant as The Velvet Undergroud (as usual) of Harry Belafonte ! It's groovy. It's mellow ! It is for the first time on LP, with a beautiful print screen cover, deep in the blue. The perfect record for the beginning of the year, promising rising waters !!!

There are people who, when they’re fed up trying, naturally fall back on their mother tongue. There are people who inevitably veer towards something sluggish and hazy, a little like our judicial system but with a happy ending. There are people who greet the death of their idols, lost under the snow, with melancholy and who reveal between the lines that, from the day they were born until the day they’ll die, they will always have something to hide.

Tired of seeing their reflection in the mirror, there are people who immerse themselves in an ocean of intimacy and who never even try to pull the knife out of their wounds. Simply said, there are people who are more at peace than others, unfazed by the surrounding hostility, who openly and wholeheartedly write songs of thier own time with tinges of 'Bleu pétrole'.

Through their diluted verses, Adieu Gary Cooper exist. The musicians in Adieu Gary are such people, and I've met them.

" French singers shouldn’t pretend they can sing in English, no Englishman has ever found any of them convincing. " Brian Ferry, circa 1989