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Dita Von Teese (Feat, Sebastien Tellier)

Dita Von Teese

Alabaster face and cherry red lips, curves often outlined by a black satin sheath, Dita Von Teese sings about the power of seduction and the ecstasy of letting go in an album bearing her name, written and composed by Sébastien Tellier. Previously recording with Monarchy and Die Antwoord, though Von Teese stresses she's no professional singer. '...nothing compares to this project with Sébastien Tellier. Having been a fan of his music for a long time, I would go to see him play live in California and, when I performed for the first time at the Crazy Horse in Paris, I invited him because I was such a fan, not daring to imagine that someday he would compose an entire album for me' For his part, Sébastien Tellier has long dreamt of composing for a woman, but was not inspired by any of the professional singers. “When I saw Dita dance to a piece of music I had written for her, I had a feeling that her physical presence and her personality were a perfect fit with my music and I started to compose only for her...My wife, Amandine de La Richardière, wrote some sexy pop lyrics to balance the melodrama of my tragic vision that love always ends - in my songs - in bitterness and regret.” Recorded in Sydney, Los Angeles and Paris, “Dita Von Teese” owes much to the talents of composer Sébastien Tellier, the singing of Dita Von Teese and the art of two instrumentalists—the programmer and keyboard player, John Kirby, famous for his work with Solange, Blood Orange, and Money Mark, and Daniel Stricker, the drummer of the Australian group the Midnight 


Patrick says: As far as I'm concerned Sebastien Tellier can do no wrong, and I was delighted to hear the bearded bard was doing a Gainsbourg (not literally) and teaming up with a sultry (occasional) songstress for an LP of sensual pop. Bursting with the beautiful melodies, delicate chord progressions and divine compositions we've come to expect from the Frenchman, coupled with Dita's sexy-stroke-subdued vocals and irresistible Euro-pop production. Imagine Lana Del Rey fronting Antenna during MTV Spring Break.


Coloured LP Info: First 2000 LP pressed on pink vinyl

In January, 2004, Sébastien Tellier released Politics, an ambitious album which preaches the defense of the oppressed peoples, in a luxurious dressing. The Press ignites, but we take him for an original elitist. Nevertheless, La Ritournelle is a piece which whole France knows without knowing who sing it.

In September, 2005, taken by its Ritournelle which the Manche by swimming, the same album goes out to United Kingdom with crash. "Epic, gorgeous dance track we can’t, can’t, can’t stop playing", The Sunday Times, October 2005.

Sébastien Tellier's lives reach a kind of artistic summit, model of intensity and perusal. It is from this control that came the idea to record, on December 30th, 2005, an acoustic session of its directory accompanied with the pianist Simon Dalmais.

The fruit of this session gives exactly the album 'Sessions', intimate and direct. 'Sessions' is a collection of timeless pieces, stemming from its directory, in the right lined by the authors / composers / interpreters who mark their period. In bonus of this recording produced as an album studio by Alf (Air, Phoenix), Sébastien Tellier recorded a resumption of 'Christophe's Dolce Vita', as well as an instrumental unpublished one 'Classic'.

Record Makers kick off their Sébastien Tellier reissue series with a fresh pressing of the bearded hero's debut LP, "L’Incroyable Vérité". Snapped up by Air as the first signing to their then new Record Makers imprint off the strength of his contributions to the 1998 Source Rocks compilation and the "Lost In Translation OST", Tellier released "L’Incroyable Vérité" in 2001 to marmite effect! Mixed with Mr Oizo (another total joker), the LP shifts between lo-fi electronica, bizarre cabaret, dreamy downbeat and swooning cinematic numbers, throwing a lot of listeners of the scent, but rewarding the real heads with gorgeous songwriting, intelligent lyrics and accomplished instrumentation, mostly played by Sebastien himself. "L’Incroyable Vérité" is an album about life. You can hear a dog singing, a woman screaming, and legs growing. Sébastien Tellier recommends that you listen to his album alone and by candle-light.


LP includes MP3 Download Code.

Fourteen years on from its 2003 release, and ten years on from its first vinyl release, Sebastien Tellier's "Narco OST" gets another run on the black stuff courtesy of Record Makers. Now, while the rest of his ouevre has seen the bearded genius dabble with tropicalia, indulge in lo-fi cabaret, espouse messianic disco and put a synth-y spin on Gainsbourg's sex pop, "Narco" is a straightforward collection of stunning instrumental passages, lazy funk, soaring strings and piano. Tied together by a recurring motif and consistent sound palette, it is a strikingly coherent effort from a man known for wild changes of direction.
But that entire preamble is made largely irrelevant by the following information - the last track on Side B is none other than "La Ritournelle", one of the finest songs ever written and Tellier's crowning glory. If you don't know it, you're in for a life changing treat. Jazzy drums, sublime piano and gorgeous, heart melting strings dance around a core motif for three and a half minutes before Seb dives in with a stunning vocal and takes us home. Bittersweet pop perfection and the perfect end of night record, it's worth the entry fee on its own!

French issue of the full length from Sebastien Tellier on Air's Record Makers label. Features both tracks from the "Beyond All Strategies" 12" release, including the wonderful "La Ritournelle" (Tim's Record Of the Year 2004!). The avant garde approach that characterized his previous album makes it's reappearance, but "Politics" is a much more successful affair. Crunchy electro, epic strings, Balearic ditties, French pop, horror movie soundtracks and other odd influences are thrown together in a melting pot of the bizarre. There's even a song about Rico from the film 'Starship Troopers'!

In case you couldn't tell from the font, this is a shining tribute to 80's synthfoolery at it's very best. Impeccable driving bass and soaring pads saunter together through a neon landscape, resplendant percussion fires off sparks of reverse-reverbed snare hits and shimmering hi-hats. Dripping arpeggios delay around the stereo field, a crisp and clean counterfoil to the echoing remnants of melody tailing off into the background. Repetition becomes entrancing, driving the melodies home before flourishing them with just one more perfectly measured layer, exponentially augmenting the immersive retro feels and cementing this even further as one of the most brilliant synth-based soundtracks to come out for some time. 

He is not so easy to find. You have to follow the kilometres of pipes down and along a labyrinth of corridors, to enter in the basement den of Romain Turzi. This once cavernous space has metamorphosised into a recording studio for the purpose of creating and completing the "A" and "B" albums trilogy with the latest LP release: "C". Closed off from the world, without natural light and water supply, but full of consoles, synthesizers and old guitars, Romain cocooned himself here for several months to perfect his music and sonically construct the soundtrack that is "C", with tracks entitled by nine types of birds. After Turzi's sophomore album "B", recorded under the Corsican sun, the change of conditions is quite radical. Closing off from the world in a place where you can only do one thing, make music, Turzi was let loose in a space free of time, and that drifting infinity informs the expansive collection of sounds here. As diverse as you like, "C" covers extensive ground, bounding from proggy wig out to neo-kraut experiment via whistle stops at horror score suspense and coastal calm. Take a breath and dive straight in.

Sebastien Tellier

L'Incroyable Verite


    12” - 1x 12" 180 Gr, Glossy lacquered sleeve 380 Gr / black printed inner sleeve / Mp3 download card inside

    « L’Incroyable Vérité » is the first album of Sébastien Tellier. His previous discographic publications consist of a participation in the Source Rocks compilation, in 1998, with «Fantino» (used in Sofia Coppola's Lost In Translation film), which was noticed by the magazine Rolling Stone («(…) one of the loneliest sounds you will hear this year», December 1998).

    The album was recorded between September 1999 and March 2000.

    Sébastien plays most of the instruments and produced his album himself. It was mixed by Quentin Dupieux (aka Mr Oizo) and

    Sebastien Tellier in July 2000 with the help of Guillaume Lebraz.

    Sébastien and Mathieu Tonetti wrote the lyrics to the songs.

    «L’Incroyable Vérité» is an album about life. You can hear a dog singing, a woman screaming, and legs growing.

    Sébastien Tellier recommends that you listen to his album alone by candle-light.

    'Confection' is a surprise album from Sebastien Tellier. Apart from one song, ‘Confection’ is an entirely instrumental piece that Sebastien conceived like a motion picture score. Several romantic musical themes are showcased in different versions, orchestral or acoustic. Their sequence brings the listener on a succession of subtle climaxes, creating powerful emotions and leaving room for fantazised images. The recording session of 'Sessions' was definitely old-school, as decided by the maestro. The very team which helped Tellier create his cult classic song 'La Ritournelle' 7 years ago was reunited for the occasion:

    Tony Allen, of Fela fame, on drums. Rob, keyboardist for Phoenix. Emmanuel d'Orlando on string arrangements ...and Philippe Zdar mixed the record. He is also responsible for mixing albums for Phoenix, Cat Power, Beastie Boys, or Kindness and part of Cassius.

    'Confection' is an album as close as possible to Tellier's soul, a testimony of his deep musical skills. it showcases his outstanding composer talent as rarely before, reminding of his early albums such as 'L'incroyable vérité' or 'Politics'. 'Confection' is a love letter for a film that doesn't exist yet.

    Inspired by the first wave of French house producers, Acid Washed bring us their own take on the ballroom-influence sound with this synth-heavy, arpeggios-set-to-stun electronic disco-house long player for Record Makers. Recorded after going twice around the world, ‘House of Melancholy’ is the soundtrack to Andrew Claristidge and Richard d’Alpert’s recent lives, and one that brings them right back home to France. ‘House of Melancholy’ gives pride of place to strong emotions and melodies. Without ever getting to the shores of electro-pop, the duo puts a little more of real, heavy pop, of 70s Italian variety, of Morricone or Philip Glass soundtracks, and very pure electronics in their dance music. Andrew and Richard surrounded themselves with friends in the recording of this LP: the exceptionally gifted Joakim at the production board, the stentorian Yan Wagner, the too rare Miss Kittin, the swagest Ahmad Larnes behind the mic, the geek comrades Hypnolove, Turzi or La Mverte playing around with keyboards and compressors… ‘House Of Melancholy’ brings the immediate beauty of synthesizers and pure arpeggios curled up around the organic beats spiraling to infinity. ‘House of Melancholy’ is a party, an ode to music which unites body and soul. Acid Washed welcome you to the party.

    One of Australia’s most fearlessly independent, individual, and inventive bands, Midnight Juggernauts are back bearing gifts: a brand-new LP, 'Uncanny Valley'.

    In robotic engineering and CGI, the Uncanny Valley is a hypothesis - coined by legendary roboticist Masahiro Mori in 1970 - he wrote in his work Bukimi no Tani Genshō (不気味の谷現象) : "I have noticed that, in climbing toward the goal of making robots appear human, our affinity for them increases until we come to a valley, which I call the uncanny valley."

    This "uncanny valley" is a phenomena in which human acceptance of robots grows more welcoming the more human their appearance, until they become too human, in which there’s suddenly a precipitous plunge from acceptance to revulsion .

    The dark depths of this philosophical valley is a space the trio - Vincent Vendetta, Andrew Szekeres, Daniel Stricker - have long explored. Running traditional rock instruments (guitar, keyboards, drums) through samplers, pedals, patches, and assorted effects, they pervert the familiar into slightly-off forms; robotic sounds made by human hands, with the waft of unsettling horror-soundtracks keeping things forever on edge.

    Since forming in Melbourne in 2004, the band have forged a unique path, pressing themselves firmly into the popular and unpopular consciousness, refusing to be bound by boundaries of genre, convention, or expectation. Eschewing an easy parochial path, Midnight Juggernauts have instead been international; taking their psychedelic Soviet-sci-fi pop to listeners near and far, around the corner and around the globe.

    'Uncanny Valley' marks Midnight Juggernaut’s third full-length journey into the deep, once again piloting their glittery kosmische musik far into known cosmos and unknown genre. The band began rolling tape between a church nestled in the Loire Valley in the French countryside and various studios in Melbourne and Sydney, the resulting record is another LP that sounds uniquely Midnight Juggernauts. Situated at a self-styled nexus between genre and era, 'Uncanny Valley' is 43 minutes of warm-hearted cold wave, interstellar harmonies, early 1950s (?) house, steeped in the darkness of dusty Giallo soundtracks, audio spomeniks at once futuristic and rustic, a bold musical future envisaged through a soundtrack to a forgotten Eastern Bloc Tarkovsky film, sifting through the ruins of LPs past.

    Getting us more excited than a box of Krautrock reissues, this Record Makers 7" set hearts a-flutter as soon as we pulled it out of the box, let alone actually listened to the thing. On "Amadeus" Turzi's band play the kind of evil synthesized Kraut theme that you might expect from a 70s Italian horror flick, instantly recalling the latter-day likes of Goblin and today's Zombi. "Are You Thinking About Jesus?" is at once a thrashy garage rock band and a doomy vampiric Nick Cave & The Bad Seeds. Lasty the short "Hippy Heart (Afghanistan Demo)" sets the nerves on edge with a spooky little LSD funk trip featuring a sweet drum break, overlapping keys and a mean bass.


    7" Info: Limited edition 45. Blue vinyl.

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