[1] Kilo of Black Bondage

Paris, France

Aka Bondage, Black Sifichi & Somekilos, the musicians of [1] Kilo of Black Bondage were united for the first time in 2003 during the I.D.E.A.L Festival at Le Lieu Unique in Nantes, France. Moving from stage to stage in France and Europe, they enriched and cultivated an original musical material made from evolving textures, sonic landscapes – more so than songs – that borrow from rock, dub, hip-hop and electronica, responding to the texts -which are dark as they are precious.

Released on both Ronda & Wallace records, this album is the crystallisation of this musical evolution. The album Fear The Windows was recorded, mixed and produced by Norscq (The Grief / Colder / Von Magnet) between 2004 & 2005. The record received numerous laudatory reviews and even did an unwaited entry into small Radio Charts : Top 21 in the Top 50 artists 2005 by Nameless Webzine, Radio Punto‘s 2005 30 Favorites Albums, N°10 in the Future Mix Playlist on RTF (Limoges), N°6 in the "Top 43 artists" 2005 by Wreck This Mess Amsterdam.

Fear the Windows

October, 2005
9 tracks
46 minutes

Less a band in the traditional sense than a collaboration by three avant-garde solo artists, [1] Kilo of Black Bondage consists of Aka_bondage (Nicolas Marmin, who has played with such bands as Colder, Damo Suzuki’s Network and Permanent Fatal Error), Black Sifichi (French radio DJ and singer for the group Tempsion) and SomeKilos (of the group My Own). Musically, this diverse group has put together forty-five minutes of beatnik-inspired experimental electronic music, clearly inspired by late ’50s jazz and poetry but not in the least retro or contrived. These tracks range from laid-back breakbeats on “Murder CBP” to the frantic, jazzy wailings of “Earth Multi Hop Whistlers,” but it’s the spoken-word tracks that demand the most attention. Black Sifichi’s style is hip enough to snap your fingers along to, but thankfully he has his own lyrical style, rhythmic and compelling but not burdened by Ginsberg or Burroughs affectations. “Muhlet” is a tale of a schizophrenic, suicidal transvestite, while “Static Charge” evokes the image of a lonely soldier, camped out in winter with nothing but radio static for company. “A Bark for Fate” is more abstract, a poem against poetry, Sifichi railing against the constraints of art over sinister ambient noises and a deliciously fuzzy upright bass, while final track “Too Broken” is an angry homage to one of the project’s literary forefathers, with double-layered shouts of Bukowski lyrics and abrasive trumpet screeches. This album is unique and compelling ; check it out if you ‘ve got a yen for the ’50s avant-garde but can’t stomach the idea of wearing a beret to a poetry reading.
Julie Johnson, Grave Concerns