Stacks Image 50

Jaune Toujours - Barricade - 2004

Stacks Image 7897
(chou 0402) production Choux de Bruxelles - released 31/3/2004
The third full album by Jaune Toujours has socially commited lyrics, catchy songs carried by the groove of accordion, drums and bass, strengthened by the “crème de la crème” of Belgian horn blowers. This results in a lot of musical variation: from the accordion sounds of the Marolles (the “musette” quarter of Brussels) over brassband to influences from deep-ska and dub... Recorded at the Studio Caraibes and mastered at Galaxy Reference Mastering, released on their own label Choux de Bruxelles.
01. Ici Bxl
02. Demain Peut-être
03. Aire De Rien
04. Réfugiés Sans Frontières
05. Pas Là
06. Tattoo
07. Normal
08. Y Mientras Tanto
09. Mooi Weer
10. Ca Te Dérange
11. Tout Le Monde
12. Più Lontano
Piet Maris vocals & accordion
Théophane Raballand drums & percussion
Mathieu Verkaeren upright bass & ukelele
Mattias Laga sax soprano & clarinets
Dirk Timmermans & Bart Maris trumpet Sam Versweyveld & Yves Fernandez-Solino trumpet & flugelhorns


Bert Bernaerts
Sam Vloemans
La Nouvelle Harmonie Bruxelloise d’Accordeon
s accordion orchestra

Recording & Mixing:
Werner Pensaert at Studio Caraïbes

René Schardt at Galaxy Mastering Reference
Andrew Cronshaw in fROOTS (june 2004):
Led by singer Piet Maris, with his energetically-pumped small accordeon plus a hot rhythm unit of double bass and drums and a wild and incisive trumpets and reeds section, they have a very fully-formed, complete sound and rhythmic approach whose components and inspiration are difficult to pin down. Not like a fusionist thing where now you hear this influence, now another; this is so natural that it feels like it's always been there...  

James Attlee in SONGLINES (****) (september 2005): 
The Jaune Toujours’ sound is a high-octane combination with uplifting lyrics that celebrate life, music and the cultural diversity of their home city. (…) Standout tracks include “Ici Bxl”, the band’s anthem, on which Piet Maris’ guttural vocals make the case for the recognition of Brussels the capital of surrealism, with its sailors and its Gypsies, its refugees and its African cafés, as being the ultimate European city. “Aire de Rien” climaxes in a soaring trumpet solo that captures something of the excitement the band generate live(…).