.::[ KIOSQUE D'ORPHEE - Une épopée de l'autoproduction en France - 1973/1991 ]::.





Artist: Various Artists
Title: Kiosque d'Orphée – Une épopée de l'autoproduction en France
Year Of Release: 2024
Label: Born Bad Records
Genre: Pop Rock, Folk, Psychedelic




1.01 - Mar Vista - Her Eyes Are Closed (3:58)
1.02 - Kënnlisch - Kennlisch (4:39)
1.03 - Crystal Eyes - Crystalzed (5:48)
1.04 - WARLUS - Girl Like You (2:24)
1.05 - Gérard Alfonsi - Fana Stickle (2:29)
1.06 - Geoffroy - Viking (11:52)
1.07 - Amphyrite - Symphonie pour 3 œufs brouillés (3:30)
1.08 - Eole - Friendship (4:00)
1.09 - Capucine - Les éléphants (1:29)
1.10 - Rictus - Flashes (2:14)
1.11 - Inscir Transit Express - Cipangu (18:09)
1.12 - Polaris - Polaris (4:08)
1.13 - Joël Boutolleau - Force (7:34)
1.14 - Spotch Forcey - Frustré (3:33)
1.15 - Demon & Wizard - Black Witch (5:41)
1.16 - Temple Sun - Voyage sans retour (5:30)
1.17 - Chantal Weber - Ballade aux châtaignes tombées (1:59)
1.18 - Jean-Claude Zemour - X Kmh (3:30)
1.19 - Rhodes & Co - Baoum (4:56)
1.20 - Guidon, Edmond et Clafoutis - Stormy Sunday (5:02)
1.21 - Dominique A, Dominique a - Silence entre nos larmes (Un disque sourd) (1:56)
1.22 - Didier Bocquet - Le chemin du silence part.2 (23:03)
1.23 - Alain Meunier - Les épaves (1:56)



Nom uploader : Eichbaum
Format de l'audio : FLAC
Présence des Covers : OUI
Découpage :
Bitrate audio : FLAC 16BITS 44.1 Kbps
Nombre de fichiers et tailles : 1 x 1400 Mo et 0 x 0 Mo



Paris label Born Bad survey the array of DIY, small-run french gems of folk, spunky pop, and young composers cut by George Batard’s service, Kiosque d'Orphée between 1967-1991, spanning charms such as Mar Vista’s eerie psych-pop, a 10 minute prog-folk song about vikings, hairy rock fuzz by Amphyrite, an 18 minute krautrock/free-jazz zinger, heroic synths by Joël Boutolleau, sleazy jazz exotica and all stripes between, by reliably obscure one-off projects

“The French equivalent of the English "Derby Service", the Kiosque d'Orphée, formerly at 7 Rue Grégoire de Tours in the 6th arrondissement, was taken over by Georges Batard in 1967 and moved to 20 Rue des Tournelles in the 4th arrondissement of Paris. The adventure lasted until 1991. Georges Batard was a sound engineer who used a Neumann tube engraver to engrave acetates from the tapes he received, before printing the precious vinyls in the press factories of the day, where he was able to produce very small runs of between 50 and 500 copies.

Of course, there were other structures for releasing his records, such as Voxigrave or, later, FLVM, but none of them had so many records in their catalog. Le Kiosque d'Orphée was neither a label nor a publisher, but a structure that allowed you to press your own vinyl, at a time when it was quite an adventure to get your first 45 rpm or 33 rpm album released!

Georges Batard was described as passionate and conscientious. His son, bassist Didier Batard, wrote of him: "Georges was passionate about recording and reproducing the stereo sound of his great passion, music. He paid close attention to distortion rates, signal-to-noise ratios, response curves, rise times and other damping factors in audio equipment. He was looking for the exact reproduction of concert hall sound in his living room (with the same sound level, if possible...). In the late '50s/early '60s, he found other sound enthusiasts in AFDERS (Association Française pour le Développement de l'Enregistrement et de la Reproduction Sonores). He became its honorary president. Every Saturday afternoon, its members met to test au- dio equipment. Their opinions were published in the monthly Revue du Son.

All you had to do was send in your tapes and choose the number of record copies you'd like to take home with you, so you could finally share your creations and, in a way, exist. You could opt for a generic sleeve, available in several colors, directly customizable with your name and credits, or you could design your dream sleeve yourself in your living room or at a printer's.

This "Do It Yourself" temple gave birth to some superb pouches. Stencilled, hand-written, illustrated with paintings, drawings, illustrations by friends or girlfriends of the time, photo prints hastily stuck in the middle of a blank, white sleeve, on which the traces of time would leave their imprints, so that collectors and the curious would come and buy them decades later, with the promise of a musical discovery, unfortunately not always fulfilled…”

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