Les Fleurs du Mal

by EaViL

/
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  • Compact Disc (CD) + Digital Album

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    "EaViL" was a simultaneously unwieldy and timid odd couple of queer synth pop outsiders. For ten years, E. Al Dente and N. Vilches released home-made CDRs in EP format, almost always containing one or two cover songs.

    EaViL were either indifferent or untoward regarding the unspoken obligations of your average musical acts, while still maintaining a sort of resolute hermetic diligence in terms of promotion, regardless of their intentions. There are no overwrought affectations, no "ersatz bad boy" aesthetics, no self-conscious posturing, no Machiavellian bullshitters, and no obnoxiously ambitious go-getters here. Rather, in the place of any particular over-arching gimmick, is a general "take it or leave it" tone to the work, which is brimming with a sense that the listener is being welcomed as a guest into the artists' home; and with it, the kind of spiraling raw inspiration mixed with studio-rat isolation vibes that so many of us crave. Nevertheless, the audio/visual performances of this yin/yang dynamic were nothing less than stimulating.

    What initially rose out of the ashes of membership in a precociously noisey Indian Jewelry related band, The Electric Set, was a series of modest, yet earnest and gentile nods to the history of performance art , as well as italo disco, among other things. Odd masks, warped videos of Diana Ross, and lyrics about EaViL's cats ("Patsy" and "Edwina"), Alfred Hitchcock movies, their south side Chicago stomping ground (McKinley Park), or "Tarantula Juice" and other surrealismo permeate the lo-fi synth soundscapes, which at times just happen to tip-toe similar territory as wide-ranging as BeNe GeSSeRiT, Atari Teenage Riot, Giorgio Moroder, or Le Forte Four.

    Initially, EaViL were an all-analog group, slowly evolving to embrace laptop technology. During their tenure, they performed on the famed "Chic-A-GoGo" public access TV show, and opened for popular "electro-glam" duo Glass Candy, among other ventures, but as far as we at NO PART OF IT are concerned, their collective musical candle went out too early.

    "Les Fleurs du Mal" is a kind of anthology of favorite tracks, including some highlights from an unreleased/unfinished album called "DeciMaL" for your personal enjoyment. The digital download contains more than twice as much material with hidden bonus tracks, including some more experimental dimensions from the outfit, not to mention some particularly deconstructed covers of Prince, Yaz, and Siouxsie.

    Includes unlimited streaming of Les Fleurs du Mal via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ... more
    ships out within 3 days

      $7 USD or more 

     

  • Compact Disc (CD) + Digital Album

    Most titles in this format are still in print. Feel free to note in the purchase comments (or in an email) which titles you would like. 333REDUX Data Disc version is out of print, as well as "333" itself, but there is still a pro DVD menu version of that one available. Arvo Zylo/Dental Work - "Velcro Bismol" is out of print. The V/A "Delirious Music For Delirious People" is out of print. I don't think anything else is out of print at this time. If no specifics are made, the most recent five releases will be sent. Please note what you want in the message section during your order. Downloads for all five releases do not come in this bundle.

    Includes unlimited streaming of Les Fleurs du Mal via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 3 days

      $20 USD or more 

     

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LETHARGICA 03:31
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DOLLEYES 04:58
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about

"EaViL" was a simultaneously timid and unwieldy odd couple of queer synth-pop outsiders. For ten years, E. Al Dente and N. Vilches released home-made CDRs in EP format, almost always containing one or two cover songs.

The two as a unit were either indifferent or untoward regarding the unspoken obligations of your average musical acts, while still maintaining a sort of resolute hermetic diligence in terms of promotion, regardless of their intentions. There are no overwrought affectations, no "ersatz bad boy" aesthetics, no self-conscious posturing, no Machiavellian bullshitters, and no obnoxiously ambitious go-getters here. Rather, in the place of any particular over-arching gimmick, is a general "take it or leave it" tone to the work, which is brimming with a sense that the listener is being welcomed as a guest into the artists' home; and with it, the kind of spiraling raw inspiration mixed with studio-rat isolation vibes that so many of us crave. Nevertheless, the audio/visual performances of this yin/yang dynamic were nothing less than over-stimulating (there are a number of music videos on youtube that were used during live sets).

What at first rose out of the ashes of membership in a precociously noisey Indian Jewelry related band, The Electric Set, was a series of modest, yet earnest and gentile nods to the history of performance art , as well as italo disco, among other things. Odd masks, warped videos of Diana Ross, with lyrics about EaViL's cats ("Patsy" and "Edwina"), Alfred Hitchcock movies, their south side Chicago stomping ground (McKinley Park), or "Tarantula Juice" and other surrealismo, permeate the lo-fi synth soundscapes, which at times just happen to tip-toe similar territory as wide-ranging as BeNe GeSSeRiT, Atari Teenage Riot, Giorgio Moroder, or Le Forte Four.

Initially, EaViL were an all-analog group, slowly evolving to embrace laptop technology. During their tenure, they performed on the famed "Chic-A-GoGo" public access TV show, were featured in Mark Solotroff's (Bloodminded, Intrinsic Action, Bloodlust label) "Autosuggestion" live series, and opened for popular "electro-glam" duo Glass Candy, among other ventures, but as far as we at NO PART OF IT are concerned, their collective musical candle went out too early.

"Les Fleurs du Mal" is a kind of bittersweet posthumous anthology of favorite tracks and alternate versions, including some highlights from an unreleased/unfinished album called "DeciMaL" for your personal enjoyment. The digital download contains more than twice as much material, with hidden bonus tracks-- A smattering of more experimental dimensions from the outfit, not to mention some particularly deconstructed covers of Prince, Yaz, and Siouxsie.

credits

released October 30, 2018

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about

NO PART OF IT

Private label formed in 2008. Formerly an "off-the-grid" label for a significant period of time, dealing in only money orders and xerox newsletters. Now back on the digital scene.

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