It’s always been about the bass. Nous aurons toujours en nous cette fabuleuse sensation de montée de basses au fur et à mesure de la descente des fameux escaliers menant au paradis de son club favori. Nous aurons toujours en tête les lignes de basses de ces morceaux rock dont on se souvient toute sa vie : Peter Hook, Simon Gallup, Mani... you name it! Qui le sait mieux aujourd’hui que Dan ton Eeprom ? En pop comme en electro, ses basses font invariablement basculer les danseurs dans le plaisir et l'interdit… Et puis sérieusement, pour la première signature rock de son label, Fondation Records, pouvait-il être question d’autre chose que d’une basse vintage sortie d’outre-tombe ? Of course not.

Danton has always wanted to take his stable to the eclectic grounds of Factory or Creation Records. It's always been about dance and rock music entangled together. Tristesse Contemporaine is a new parisian trio with a twist: a Japanese girl and two lads, a Brit and a Swede. "51 Ways To Leave Your Lover" -their very first effort- has solid arguments to possibly blow your ears, whatever it takes, indie pop, krautrock, shoegazer, and what not. It’s all in there : a catchy tune, served by an androgyne voice, heavenly synth pads decaying to the max, and last but not least… a bass sound to die for. All in all, a very promising foretaste to Tristesse's upcoming album on the label, to be released later this year. Danton's interpretation tends towards being a modern take on Andrew Weatherall's visionary producing work on Screamadelica(*) a good few years aback. His 52nd way of leaving a lovergoes nowhere near where you'd expect it to go, taking the shape of a moody and yet engaging indie house anthem on the verge of utter lunacy. It's crippled by guest singer Emma Darling's raging, deluded soul choirs, and it's well crammed with cheap sampled scratch noises you'd be ashamed of tapping your foot to any other day. But not today, as the odd combination is working a treat in this case! And boy, being hit by the bass as it kicks in makes you wanna shout out loud: 'give me a proper soundsystem or give me death!" It's always been about the bass. PS : En passant, pour tous les geeks de la musique, la basse en question est une Fender Precision Serie-L de 1965.