Le Diable Degoutant
Fleur De Chagrin
Aguirre Records
Edition of 300 copies
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1La nouille … l'air 0:45
2Complainte de la bete 4:17
3Mordue 3:07
4Les vaches musiciennes 0:33
5La fille brule 4:02
6Un bezoar dans le ventre 2:17
7Failli Tomber 2:39
8La vie secrŠte des doryphores 1:12
9Boue qui roule 1:21
10Vengeance tardive 2:22
11Ingurgiter ton image 4:18
12Para lo lop 2:42
13La fontaine noire 2:27
14La violeta 3:05
15Je suis sur l'autoroute 1:25
16Aucel perdut 1:56
17Chant pour dissuader l'etre aim de sortir la nuit 2:15

Pauline Marx, formerly of the fantastic duo La Fureur de Vouivre, seems like a being from another time and place; namely, an escaped marauder lurking in the forests of a Bruegel painting and integrating the surreal flora and fauna of a Boschian creation into the scenery and lore of deep Brittany. Her invented mythology is loaded with murky rituals and contorted mantras, backed by the surprising sounds and textures of terrains so earthly and so unreal.

The Devil at the Crossroads

Where do you think you come from? Where do you think you're going? Lasciate ogni speranza, voi ch’entrate: you, with the noodle to the four winds, who pass the threshold of this disc, you better leave all hope there, and glide in the poisonous footstep of the devil your guide.

Where do you think you come from? The mountain is no longer just the mountain; after your passage, it will no longer even be a mountain. Like the whole landscape, it will have been eaten, sauced by invisible leeches. Your nostalgia for the ground and your thirst to find the source will have only discovered a forest of vain words and foul water. Where do you think you're going? At the crossroads, the world is consumed in the previous future. Only the devil will know how to make you overcome the disgust of traditions, and only the love for the devil will give you enough vim to reach your goal: a village, perhaps, but which belongs to no one, a haven to your excessiveness .

The dark tradition to which this game of ternary trampling belongs, like the rhythm of a heart in tune with the inverted world, has no country and no assigned time. Rather a topology of Eve awakened after a thousand-year sleep, an idiosyncratic and possessed reading of our common humus, made up of stories composted in the limbo of the past, of songs captured in extremis vitae and rebus in the privatized antechambers of death.

What does she tell us about? Of our automobile and in love roamings, of the porosity of the membranes that separate beings and things, of the constant inversion of signs. The seventeen stages of this short journey, where intertwine the throbbing of objects, blown horns and rubbed horsehair, form the map of a country never to be found, ours, where only the voice of an old child and the disgusting devil's poisonous charm can guide us.