These months Frenchies rule the beats and they have plenty to offer even though not that much reaches the world as the music scene is rather dominated by the Anglo - American music industry. Meanwhile the French enjoyed themselves in their own niche so to speak, and they did rather well. Today's artists Look sharp. Kap Bambino is a stampeding punk-rock juggernaught, and it's hurtling this way. Unlike most assaults of lawless rock'n'roll ideals, it's not powered by guitars, or rather any live instruments whatsoever. The empowering eruption of frenzied discordance, space invader sucker-punch beats and caterwauling incantations conjured by the Bordeaux duo, Caroline Martial and Orion Bouvier, is the result of harnessing
the unruly spirit of bands like Suicide and Nirvana, then feeding it through a tangled web of samplers, synthesisers and software modules. ....... N'joy
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Kap Bambino, eurotrash street slime armed with overheating Korgs and corroded textures, there's a toxicity to their 'electro-grunge', as if their lurid, gaudy, crass sound exudes some type of sulphurous gas. Perhaps their contaminating presence is down to the air of sexual rancidity that permeates their records - their pornographic brand of eroticism redolent of disease: rotting genitalia and boiling syphilitic brains. Or maybe its the corrupting climate of madness: their sparking, anarchic production; the frenzied tempo, and the fried banshee in front-woman Caroline Martial, her voice sliced and diced sadistically by stern techbod, Orion Bouvier.
Formed in Bordeaux, France, during the fall of 2001 by energetic frontwoman Caroline Martial and keyboardist Orion Bouvier, Kap Bambino didn't wait for the burgeoning indie dance scene to embrace the duo before they starting putting out their eight-bit noise dance records. Instead, Martial and Bouvier started their own label, Wwilko, and released the first Kap Bambino EP, Naz4, in limited edition in early 2002. The next year a split LP, Love (with Martial's other group, Khima France) came out. Kap Bambino's name began showing up in a variety of European music publications, and in late 2006 their first actual CD, Zero Life, Night Vision was released.
From their first marauding collaborations on 2002's 'Love', where Caroline's deathly wails came garrotted by crippling distortion and Orion's tracks torn-apart by a near grindcore levels of metallic intensity, to the locomotive power-glitch of 2006's 'Zero Life, Night Vision', which announced them amidst the garden of mid-nougties noisy-rave culture culminating in Alt Delete's ‘Digital Penetration’ compilation. This led them to lay most of Europe, America and Japan to waste with their now legendary riotinducing stage show, and garnered worshipping press tributes from the likes of NME, Dazed and Confused.
After successful dates in various British music festivals over the summer of 2007 (including Dot to Dot), London-based Alt Delete Records signed Kap Bambino, issuing their single "Hey/New Breath" that same year, with the 12" version of Zero Life, Night Vision coming the following February. The group independently toured all over Europe, Japan and Latin America. In 2009, Kap Bambino released Blacklist supported by becoming a part of SXSW. Their single "Dead Lazers" made BIGSTEREO's May 2009 charts for top downloads, placed number 8. They released their most recent album Devotion in March 2012, which was critically well received.
Kap Bambino is a prime example of the adage “do what you love and the rest will follow.” A chance meeting at a party first led Martial, a quirky pop vocalist who performed under the name Kima France, to Bouvier, a multi-instrumentalist who was growing bored with the limitations of traditional rock. After realizing they had much in common, the two agreed to start their own label, Wwilko. “Wwilko releases music from non-commercial artists — indie freaky music,” Martial says. “Now we have 20 releases. We do everything by ourselves — the artwork, the drawings, everything.”
In 2003, they began Kap Bambino, their first joint venture as musicians. Since then, they have self-released a handful of EPs and two full-lengths, and have independently toured the world. Their third album, Blacklist, was released in Europe at the tail end of 2009, finally making a splash stateside in the spring of 2010.
Kap Bambino’s worldwide fan base may be on the upswing, but the band is bent on maintaining its regular DIY operations. “No one controls what we do,” Martial says. “We want to do everything ourselves, and [our label] was up for that. If we start tomorrow to have someone else control our artwork, or our image, or recording, it’s not going to be Kap Bambino. We record in the bedroom. We’ve never been at the studio. We want to try to go to the studio sometime, but we really want to keep the texture that we already have and the artwork. Kap is not just music; it’s a lot of things.”
“We really want to arrive on stage like a computer but give it a human rock side, like rock and punk. Orion is the machine; I am the human.” In today’s underground climate, few styles of music remain as polarizing as electronic dance music. In recent years, artists have blended styles in increasingly new ways, resulting in hybrids such as acoustic folk with backbeats, hip hop infused with Brit pop, and frat rock with African-influenced rhythms. Though some artists softly introduce listeners to new sounds in subtle ways with variations on already familiar formats, Kap Bambino’s blend is more aggressive and unwieldy.
Blacklist’s title track, for instance, finds Martial’s voice manipulated until it is as sharp as razorblades, creating a piercing sound over pulverizing, heavy synth beats. This brutality is balanced elsewhere on the album with an unassuming quirkiness, distinct pop sensibilities, and Martial’s naturally girlish French accent making it easy to imagine tunes like “Batcaves” and “Dead Lazers” appearing on commercial radio. Due to this versatility, the duo has drawn listeners across what often are very strong fan lines.
“We just want to do what we like,” Martial explains. “Of course, that breaks the rules of electro-rock. It’s bizarre that in our crowd, we have guys from the rock scene, electro scene, metal — it’s a big mix. It’s what we like because that’s what we are. We try our best to stay in the middle of things. We don’t want to have a stamp; [we] just want to create music.”
As a reflection of this attitude, the duo’s tour schedule might include dates at DIY art spaces, elite dance clubs, and metal dives in the same week.
Even if the music isn’t enough to reach new fans, Kap Bambino’s live shows could win over any skeptic. Martial mesmerizes the crowd as she climbs gear, writhes around the stage, and, in true punk-rock fashion, breaks the fourth wall between artist and listener while Bouvier, hair in his face, stands collectedly at his electronics. “We really want to arrive on stage like a computer but give it a human rock side, like rock and punk. Orion is the machine; I am the human,” Martial laughs.
The antics, as well as Martial’s bold clothing choices (she’s as likely to sport a gold lamé bathing suit as a T-shirt and leggings), may appear over the top, but Martial insists that both of these elements are merely an outpouring of her inner self.
“When we first started Kap Bambino, I was really young, and for maybe the first 20 gigs, I was really dressed up. I finally realized that people were just talking about my outfit, like, ‘Look at that girl; she’s wearing a wedding dress,’ and I said, ‘Oh, my god, no!’ I just want people to listen to my stuff. I decide to chill and just concentrate on the music. I’m always wearing my little jacket, but that’s the way I am in life. I can’t stay pretty. Sometimes I try to do good makeup, but after two songs, everything falls down and I just look like a zombie.”
Martial remarks that with all things considered, Kap Bambino isn’t necessarily doing anything that hasn’t been done before. “We are not original,” she says. “Yesterday, I jumped in the crowd four or five times, but I’m not the first one.” Even so, the duo’s sincerity and fuck-it-all attitude harkens back to a time when punk was fresh and daring and anything could happen.
“I don’t come from art school; I come from the street,” Martial adds. “It’s very simple. No bullshit. I think Orion’s music gives me a trance, and maybe that is the reason Kap Bambino is how it is. I hope so, because I don’t understand myself.”
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Love is Kap Bambino's first, vinyl-only release from way back in '02. So you can forgive a lot of publications for citing ZLNV as their debut. It's much more mellow than their later stuff, though it still gets pretty intense at times. If you are not a Kap Bambino fan, this will not convert you, nasty electro with lusty female voice. Harsh, uptempo, terribly efficient with lots of great squelchy synths and noisy hooks.
Kap Bambino - Love + Naz4 ( flac 276mb)
01 Interbootslipstick 3:50
02 Daddy 2:57
03 Pussy Killers 3:29
04 Final FM 3:18
05 Chalet 4:07
06 Immature Up 3:23
07 Derexdeath 3:33
08 Secret Girls 3:52
09 Naz4 5:37
10 Safari 4:29
11 Sem Sumo 4:13
12 Sec Plit 3:15
Kap Bambino - Love + Naz4 (ogg 99mb)
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Zero Life Night Vision ignites with the 2-minute "Zero Life" intro, an energetic track that serves as the tone-setter for this record's whiny vocals and squealing dance beats. It may sound like I'm damning this album right off the bat, but there are plus sides to Martial's vocals and the chirping melodies to come. They are charming when done properly, shown on "Save" and "Seed", where the duo incorporates playful vocals with catchier, less whimsical computer rattles and hums. The vocals feel playful throughout, but Zero Life sets a fine line for itself between "fun dance music" and "cacophony". Some tracks try to be bittersweet and danceable, such as "New Breath" and "Kaos Killer", but ultimately blare away as crowded, scratchy dance tunes with little substance. There are pseudo-Nintendo bleep noises that change the feel of the record, if only for a brief time, which can be found on "New Breath", the intro to "Kaos Killer", and throughout "Save", but these are too few and far between to make a noticeable difference.
It's a sigh-worthy effort, but not everything bores. Every now and then there's something to be liked about the group's style, as Martial's vocals may grow on you by the middle of the album. Their energy and attitude is undeniable, which does work for certain party situations. While the album is much harder to sit through from start to finish, you may take a liking to the album's chaotic vibe when you give the songs more individual attention; this is an album to be enjoyed in smaller bursts than as a whole. Some songs are effective in their attempts to be charming, in their own, odd way. "Save" is easily this album's highlight, using everything Kap Bambio uses for the better (that's not to say it doesn't sound like every other track), from the 8-bit progressions and less-fuzzy computer noises to Martial's more admirable execution of her vocals.
Kap Bambino - Zero Life, Night Vision (flac 231mb)
01 Zero Life 1:53
02 New Breath 2:09
03 Save 3:11
04 Took Life 2:10
05 Hunger Texas 2:29
06 Seed 3:15
07 Mess In The Ruins 2:03
08 Hey ! 2:07
09 Night Vision Ocean 2:31
10 Kaos Killer 2:46
11 Warriors 2:10
12 More Machine 4:09
Kap Bambino - Zero Life, Night Vision (ogg 71mb)
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Caroline Martial's explosive chirps and squeals and Orion Bouvier's danceably sinister synth beds straddle two eras -- the sheer lunatic freedom of late-‘70s post-punk and the glitchy, media-conscious aughts, like Nina Hagen's or Cabaret Voltaire's most inspired work updated (but just slightly) for modern audiences. Blacklist opens with strobed keyboards and a Satan's cheerleader vocal that assures fans that the French duo's second album will faithfully replicate the exuberant mayhem of its debut, but with a richer, fuller sound. Dour lyrics of personal crises abound, but the pummeling beats turn the anxiety actionable, as on the album's centerpiece, "Batcaves," which embodies a classic French existential attitude of motion triumphing over despair. Over an insistent hook and pogo-ready rhythm, Martial cries, "Go to the end and start again. If we wait, nothing will happen." It's not all cigarettes and Sisyphus, though. The hyper "Human Piles," which threatens to be about murder or concentration camp victims, turns out to be an ode to jumping on sofas with friends, albeit "to the point of suffocation." On the almost pretty "Blond Roses," Martial reminisces about a cemetery idyll. The breakup song "Bluescreen" stands out as the most melodic offering; over a catchy synth progression, the excitable lead singer calls for more human connection and less hiding behind technology. While the plea seems slightly ironic coming from an electro-punk outfit, there is no disguising the sincerity and humanity behind it.
Kap Bambino - Blacklist ( flac 245mb)
01 Blacklist 2:01
02 11:38 2:45
03 Dead Lazers 3:26
04 Lezard 2:52
05 Red Sign 2:14
06 Rezo Zero 2:28
07 Batcaves 3:24
08 Blue Screen 2:48
09 Human Piles 2:19
10 Plague 1:36
11 Blond Roses 2:54
12 Acid Eyes 2:27
Kap Bambino - Blacklist (ogg 81mb)
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