cross-posted from: https://piefed.blahaj.zone/c/gothindustrial/p/739591/pop-will-eat-itself-ich-bin-ein-auslander-1994-greebo-industrial-rock

We've had local elections in my country and the racist, far-right party has won an upsettingly large number of positions.

So I'm gonna be blasting this song all day. It's sad that it's just as poignant now as when it was released 34 years ago.

00:00  Born to Kill
03:51 No Way Out
07:40 The Way Things Were
12:15 Tonight
16:19 Partners in Crime
20:10 Crazy Dreamer
23:59 Wicked Game
29:33 Walk Away (Don’t Look Back)
33:46 Never Goin’ Back Again
37:33 Don’t Keep Me Hanging On
41:45 Over You 

This has aged well. Replace "Reagan" with...

They tell us a story of lying
Of lying & of murder too
To whom is this tale mystifying
Not'me boys perhaps 'tis to you

They're telling us a story of Reagan, boys
Our President so bold & so true
How can he be a false killer--
When he's wrapped in the red, white & blue?

Rapped in the red, white & blue, boys
Rapt in the red, white & blue
A man of the movies, a starlet
He's just an asshole like you

Yes, he's just an asshole likе you boys
Yes, he's just an asshole likе you
You 'lected him in 1980
And dunce more in '84 too

O my, O my he's a liar
As if you didn' even know
He's killed many people off welfare
Nicaragua, Grenada, much mo'

He smiles when he gives you the shaft, lad
He smiles when he gives ya the shaft (ha-ha)
If you think he cares about poor folks
Well then I surmise that you're daft

He always finds money for war, girls
He always finds money for death
He'll fight for the rights of the rich, boys
He'll fight for them 'til your last breath

So here's to President Reagan, boys
To Ollie, to Dick & to Cap
To some they're All American Heroes
To me they're just murderous crap

So here's to Dumbo Ron Reagan, boys
To Ollie, to Fawn & to Cap
To some they're All American Heroes
To us they're American crap

The Bolbec duo return with their sophomore album Foutu Félin, a richly cinematic collection of instrumental music that unfolds like an imaginary soundtrack, melodic, tactile and transportive. The record is inspired as much by the cut-and-paste production techniques of Portishead and the Beastie Boys as by the legendary composers of le cinéma français and il cinema italiano.

Following directly from their debut Victime De L’aube, Foutu Félin feels like a continuation rather than a departure, a second reel instead of a reset. Axel Concato and Barth Corbelet each wrote five pieces independently, deliberately exploring as instinctively and introspectively as possible before reshaping their embryonic ideas together into bigger, brighter compositions, uncovering hidden humour along the way.

Cinema remains Bolbec’s primary language. "We always think in movie scenes”,, they explain. Barth points to Alberto Iglesias as a key influence, while Axel draws inspiration from the melodic logic of film scores from the 60s to the 80s, where characters carried themes and melody mattered as much as atmosphere. In contrast to... more credits released May 8, 2026

All tracks written and produced by Axel Concato and Barthélémy Corbelet

1. 00:00 - Café Frappé
2. 03:03 - Le Prof de Gong
3. 05:09 - Fanny
4. 08: 23 - Foutu Félin
5. 11:44 - Ponto Final
6. 15:08 - Machine Arrière
7. 17:50 - En Voiture
8. 22:28 - Fanny au Phare
9. 26:25 - Le Fou-Rire
10. 28:31 - Terrassée

Saxophone - James Allsopp (3, 5, 6, 9)
Flutes - Gareth Lockrane (3, 4, 7)
Piano - Ross Stanley (7, 8 )
Double Bass - Riaan Vosloo (All tracks except 1)
Drums - Tim Giles (All Tracks)
All recorded by Benedic Lamdin at The Fishmarket, London

Trumpet - Vincent Défossé (6, 8, 10)
French Horn - Po Goal (10)
Cello - Yoann Le Dantec (1, 3, 5, 6)
Violin - Teona Kharadze (1, 3, 5, 6)
And other vocals and instruments performed by Bolbec
at rue Pigeon and La Mama Studio, Rouen

Strings arranged by Bolbec and Yoann Le Dantec

Mixed at La Mama Studio by Axel Concato 

playlist link:

https://open.spotify.com/playlist/6F3sCPmocAQDMNRNg7TZZb

...of course, I would play this song too because I am a megalomaniac and I am very useful to the Illuminati, if not valuable, or so they let me believe.

https://youtu.be/e6ejGKNqVYU

Re-listening to The Dark Side of the Moon and The Wall this week, three "leave it on the master" moments stood out:

1. "The Great Gig in the Sky" : Clare Torry's vocal wasn't built like a neatly comped pop take. It's essentially a live-in-studio improvisation; the band and engineers kept the spirit take instead of chasing a sterile "perfect" edit.

2. "Another Brick Part II" : The children's choir is real schoolkids (Islington Green School), with uneven, human energy. Polishing it into session-singer sheen would have softened the cruelty the story needs.

3. Documentary realism over "fixes" : Across both albums, small room sounds, talkback residue, and human irregularities were weighed against cleaner alternatives. When the clean version drained life, or broke the narrative illusion, the imperfect keeper stayed.

I've been collecting engineer- and producer-primary notes on moments like this on one page (sources first, not forum telephone):

https://www.vinylcast.eu/about/studio-accidents-that-shaped-recordings

(Adapted from a thread I ran on r/ClassicRock; the original discussion did great and I wanted a Lemmy-native version.)

What's your favorite Floyd-era "happy accident" that actually stuck on the master ?

An autostereogram even!

How have I never noticed this before!?

Link to album

Boards of Canada - Introit / Prophecy At 1420 MHz https://boardsofcanada.com/Taken from Inferno, out 29th MayPre-order – https://boardsofcanada.ffm.to/lqnfvy...