Left & Loud, Vol. 2
Cover photo: Guido Möbius
"Left & Loud" is our series showcasing the best new experimental tracks we've discovered.
Guido Möbius – How to Never Make Up

Berlin-based musician Guido Möbius never fails to surprise. On "How to Never Make Up" he masterfully clashes textures and rhythms accompanying mantra-like vocals by Jana Plewas. The track is scary, restless, hypnotic and fun at the same time — an irresistible combination! It's also accompanied by a goofy postmodernist video created by Super 2000 with Berlin citizens smashing guitars.

Guido Möbius
For this song I wanted to combine the tight with the cloudy, the harsh with the dreamy, so my „vision" had mostly to do with sound.

The starting point of it was Andrea Belfi's drumming (the drum rims accents). From there it developed step by step. Ansgar Wilken played the driving percussion on a table in my studio. I blew on bottle necks (the sound you can hear in the beginning) and added some synths. Jana Plewas's vocals I already used on another track on my album Batagur Baska „How to never wake up", that's how the title came up…

Andrea Belfi is the most important musician involved on this album and by far more than a guest. His drumming was the starting point and inspiration for the whole album, almost as if it was a new musical project.

The lyrics are borrowed from a spiritual ("Asleep in Jesus"). Here they were treated by Jana as a haunting lullaby-mantra, I see them as a sort of self-hypnosis..
Listen to Guido's excellent new album a million magnets in full.
Monolithe Noir – Barra Bouge

Barra Bouge by Monolithe Noir is straightforward and mesmerizing. Its charm lies in its spontaneity. Antoine, the mastermind behind the project, believes in first takes and trusting his collaborators with whatever they think suits the song. The track builds slowly over five minutes, but even when it reaches its noisy and intense climax it feels spontaneous and fun.

Antoine Pasqualini

When I get to work with other people on a song such as Barra Bouge I guess I unconsciously take account of the way my collaborators play and compose music. Jawhar performs with Yannick Dupont Condor in two different projects, Jawhar (the band) and Yallah Bye which has a totally distinct vibe vocally-wise, more sensual, I'd almost say... possessed, in a way. I had listen to Mirabelle Gilis who has the classical violin background but also played with people like Rachid Taha, Selim Sesler or Christophe Miossec. She has that very vivid and "arabesque" way of playing violin. All these elements and the way interpreted them, constituted the influences of "Barra Bouge".


I started recording a demo of the drums, that very martial rhythm you can hear all along the track. I then composed a very basic synth bass line. I think I knew quite soon I'd ask Jawhar to sing on the track. So I kept it very open though the mood was there already. I sent the track to Jawhar explaining what I wanted, then to Mirabelle a while after, and that was it! There was no need to ask more, or less, or to correct anything. Every time I collaborated with other artists, elsie dx, Peter Broderick, Rozi Plain, the first takes I received were the right ones.


The lyrics of "Barra Bouge" speak directly to the protagonist of its verses. It seeks to travel along with them, to build stairs and caves in the wilderness, to raise animals and make love in the night. All its verses begin with the melancholy tinge of "I would have liked..." That's everything I got from Jawhar.
Check out the project's earlier singles.