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2LP
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BORNBAD 180LP
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Double LP version. "Hi, it's Arthur. Here's a lesson on how not to fit into the modern music world (while still having fun). I want to make a big album. A brick. An intense, long, rich, dripping, ostentatious block. I want it to give me the feeling that I haven't overthought it. That I've listened to my lowest instincts as a musician, and I want to embark on an adventure while doing it. With its highs, lows, doubts, and moments of intense pride when you feel that massive chaos take the shape of what has, for me, become an odyssey. Forgive this lyricism, but it's also the foundation of this record. My first album, which arrived through the means of a global pandemic and the kindness of the Born Bad label in 2021, opened Pandora's box? I don't want to forget the obscure yet brilliant bands each decade has gifted us, but I also want to confront the ambition of the greatest? I want to tell myself that I don't have to write 'in' the footsteps of the Beatles, Emitt Rhodes, Bowie, or Neil Young, but that I can walk alongside them, as quietly as possible, while always pushing as far as my musical ambitions take me. So here's where it leads: A long, dense double album. The aforementioned brick? I now take the liberty to speak to those who will listen to this record, to share my idea of how to approach it. For me, it's a tribute to the adventurous, sprawling albums of the '60s, '70s, and even today, to be honest. Long, winding, baroque albums, that we listen to throughout our lives, and constantly rediscover. Albums we can listen to in small bits, sometimes one side, sometimes another, not always in the same order, not always in full. These enduring albums, by their very nature, have nourished me and still fascinate me (The Beatles' White Album, The Pretty Things' Parachute, The Kinks' Arthur, Pink Floyd's A Saucerful of Secrets, or the Desert Sessions in a more modern style)? A double album, in a gatefold format, is necessarily a strong, imposing object. So it only makes sense to accompany it with artwork that matches its weight. After all, a cover doesn't disappear once you've placed the record on the turntable. So why not get lost in it while the music does its work? To everyone who buys, steals, or downloads this record, you have my deepest gratitude." --Arthur Satan
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CD
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BORNBAD 180CD
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"Hi, it's Arthur. Here's a lesson on how not to fit into the modern music world (while still having fun). I want to make a big album. A brick. An intense, long, rich, dripping, ostentatious block. I want it to give me the feeling that I haven't overthought it. That I've listened to my lowest instincts as a musician, and I want to embark on an adventure while doing it. With its highs, lows, doubts, and moments of intense pride when you feel that massive chaos take the shape of what has, for me, become an odyssey. Forgive this lyricism, but it's also the foundation of this record. My first album, which arrived through the means of a global pandemic and the kindness of the Born Bad label in 2021, opened Pandora's box? I don't want to forget the obscure yet brilliant bands each decade has gifted us, but I also want to confront the ambition of the greatest? I want to tell myself that I don't have to write 'in' the footsteps of the Beatles, Emitt Rhodes, Bowie, or Neil Young, but that I can walk alongside them, as quietly as possible, while always pushing as far as my musical ambitions take me. So here's where it leads: A long, dense double album. The aforementioned brick? I now take the liberty to speak to those who will listen to this record, to share my idea of how to approach it. For me, it's a tribute to the adventurous, sprawling albums of the '60s, '70s, and even today, to be honest. Long, winding, baroque albums, that we listen to throughout our lives, and constantly rediscover. Albums we can listen to in small bits, sometimes one side, sometimes another, not always in the same order, not always in full. These enduring albums, by their very nature, have nourished me and still fascinate me (The Beatles' White Album, The Pretty Things' Parachute, The Kinks' Arthur, Pink Floyd's A Saucerful of Secrets, or the Desert Sessions in a more modern style)? A double album, in a gatefold format, is necessarily a strong, imposing object. So it only makes sense to accompany it with artwork that matches its weight. After all, a cover doesn't disappear once you've placed the record on the turntable. So why not get lost in it while the music does its work? To everyone who buys, steals, or downloads this record, you have my deepest gratitude." --Arthur Satan
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CD
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BORNBAD 148CD
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By Martial, Total Heaven Records Shop (Bordeaux): "I've been waiting for this a while now. Arthur Satan is releasing a solo album on Born Bad; and that's wonderful news. . . The key to this record is in a chest thrown down a well. Rewind back to spring 2010 and remember "Four Naked Sons", with those divine '60s folk songs recorded by Arthur. They already came across as the negatives to his multiple bands -- now they clearly sound like early demos. That plus all the experience and you get today's album. There's this old joke of the guy tumbling down the stairs thinking to himself, at each floor landing: 'So Far So Good'. Less electricity, less noise, more tenderness: yes, the beast can do it. Softness and light, that's what it's about. Who would have thought? Then there's also some beautiful piano... Thanks to his buddy Dorian? Nope. True to himself, Arthur does it all alone. The hefty servings of Mellotron are his, too. And what about the wonderful guitars? Same! And the refined arrangements? The heavenly vocal harmonies? Still him. Le Nain Boit du Vin -- or 'the dwarf drinks wine', Arthur's alias on social media -- is full of surprises indeed. And so is his record. The distinctive backing choirs on 'Free' are reminiscent of an encounter between the Pole Krzysztof Komeda ('Fearless Vampire Killers', the soundtrack of Rosemary's Baby) and the American collective Elephant 6 (Elf Power, Of Montreal, Neutral Milk Hotel, Apples in Stereo, Olivia Tremor Control). 'The Nap' is tea time: Arthur's the host, John Fahey the guest. 'The Boy In The Frame' is the famous unreleased ballad of the album Sabbath Bloody Sabbath. Well, well... 'Summer' starts off like a lullaby on the metallophone and evolves into something of a Donovan song, minus the unexpected crankshaft solo. 'Love Bleeds From You Neck' is somewhere between acid folk song and medieval lament. 'It's All The Same' is another surprise, with its modern mix and particularly innovative arrangements. 'Time Is Mine' might be the track most evocative of J.C. Satàn... Though actually all the tracks on So Far So Good hover between tradition and modernity, obscure sunshine pop, good old classics and weird experiments. Before the album's outlandish finale, with Ween's cosmic overture to 'Boredom is Quiet', 'She's Long Gone' will have had time to evoke Brian Wilson's Beach Boys roaming through the English countryside looking for the perfect cottage . . . 'She's Hotter Than The Sun' owes just as much to T. Rex than to the ubiquitous Beatles. For, at last, that's what's so wonderful about pop music: as long as it's made honestly and wholeheartedly, it touches very different people in the same manner..."
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LP
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BORNBAD 148LP
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LP version. Includes download code. By Martial, Total Heaven Records Shop (Bordeaux): "I've been waiting for this a while now. Arthur Satan is releasing a solo album on Born Bad; and that's wonderful news. . . The key to this record is in a chest thrown down a well. Rewind back to spring 2010 and remember "Four Naked Sons", with those divine '60s folk songs recorded by Arthur. They already came across as the negatives to his multiple bands -- now they clearly sound like early demos. That plus all the experience and you get today's album. There's this old joke of the guy tumbling down the stairs thinking to himself, at each floor landing: 'So Far So Good'. Less electricity, less noise, more tenderness: yes, the beast can do it. Softness and light, that's what it's about. Who would have thought? Then there's also some beautiful piano... Thanks to his buddy Dorian? Nope. True to himself, Arthur does it all alone. The hefty servings of Mellotron are his, too. And what about the wonderful guitars? Same! And the refined arrangements? The heavenly vocal harmonies? Still him. Le Nain Boit du Vin -- or 'the dwarf drinks wine', Arthur's alias on social media -- is full of surprises indeed. And so is his record. The distinctive backing choirs on 'Free' are reminiscent of an encounter between the Pole Krzysztof Komeda ('Fearless Vampire Killers', the soundtrack of Rosemary's Baby) and the American collective Elephant 6 (Elf Power, Of Montreal, Neutral Milk Hotel, Apples in Stereo, Olivia Tremor Control). 'The Nap' is tea time: Arthur's the host, John Fahey the guest. 'The Boy In The Frame' is the famous unreleased ballad of the album Sabbath Bloody Sabbath. Well, well... 'Summer' starts off like a lullaby on the metallophone and evolves into something of a Donovan song, minus the unexpected crankshaft solo. 'Love Bleeds From You Neck' is somewhere between acid folk song and medieval lament. 'It's All The Same' is another surprise, with its modern mix and particularly innovative arrangements. 'Time Is Mine' might be the track most evocative of J.C. Satàn... Though actually all the tracks on So Far So Good hover between tradition and modernity, obscure sunshine pop, good old classics and weird experiments. Before the album's outlandish finale, with Ween's cosmic overture to 'Boredom is Quiet', 'She's Long Gone' will have had time to evoke Brian Wilson's Beach Boys roaming through the English countryside looking for the perfect cottage . . . 'She's Hotter Than The Sun' owes just as much to T. Rex than to the ubiquitous Beatles. For, at last, that's what's so wonderful about pop music: as long as it's made honestly and wholeheartedly, it touches very different people in the same manner..."
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