One of the most mysterious groups from the French experimental underground of the early ‘70s, Fille Qui Mousse was as radical as the German band Faust, and utilized similar studio trickery. Their one album never got properly released, and they might have been forgotten if not for being included on the influential Nurse With Wound list of influences in the early '80s. Fille Qui Mousse was a leftist political collective led by journalist/musician Henri-Jean Enu in the very early '70s in Paris. In 1971 they obtained a record deal with the legendary Futura label, which had mostly released avant-jazz at that time but were expanding into more experimental rock. The record was recorded in the summer of 1971, most likely in one day, and then mixed in December of that same year. Over a year passed before about a dozen test pressings of the record were made in early 1973. Unfortunately, Futura was having financial problems at the time and these 10 or 12 copies were all that existed, becoming one of the most rare, sought, and yet virtually unobtainable LPs of French avant-rock. Finally, in the mid- to late '90s, several CD versions of the record were released, under the titles Trixie Stapelton and Se Taire Pour une Femme Trop Belle, often without song titles or the names of performers or composers (which weren’t listed on the test pressing), until the Fractal release of Se Taire in 2002….. by Rolf Semprebon…….
Often referred to as the French Faust, Fille Qui Mousse’s album mixed collage, psychedelic rock, surreal poetry, and organically tapped noise purity with the absolute best of experimental '70s rock-and-beyond. For 1971 Fille Qui Mousse was far out, even more extreme than the Mothers Of Invention. Today, fans of Neu!, Faust, the No-Neck Blues Band or Jackie-O Motherfucker will find this entertaining. Limited to 500 copies!…………..
2013 release. Monster Melodies Records presents a reissue of Trixie Stapleton 291 - Se Taire Pour Une Femme Trop Bell by Fille Qui Mousse, originally recorded in 1971. The group was created from the culmination of a movement born after the Second World War, counter culture and the apparition of Lettrism, founded by Isidore Isou who wrote the book The Uprising Youth accompanied by Gabriel Pomerand, Maurice Lemaitre, Jean-Louis Brau, Guy Debord, Gil Wolman. The band consisting of Barbara Lowengreen (vocals), Bernard Gilson (guitar), Sylvie Péristéris (sound effects), Henri-Jean Enu (guitar, vocals), Denis Gheerbrandt (vocals), Daniel Hoffmann (guitar), Benjamin Legrand (piano, vocals), Dominique Lentin (percussion), Jean-Pierre Lentin (guitar, bass), Léo Sab (violin), François Guildon (guitar) recorded its only album in one day on July 8th, 1971. Fille Qui Mousse is on the list established by Steven Stapleton, John Fothergill and Heman Pathak of the 291 musicians who influenced the band Nurse With Wound. Comes as a red translucent vinyl comes in a sleeve which opens up, presenting unpublished photos of the group and containing two postcards reproducing the vintage concert posters and an insert with an unpublished text by Henri-Jean Enu. Edition of 500…………..
At the beginning of the 70’s, Futura Records from France released some of the most intriguing, strange and unsung LP’s of all times. The artists who recorded them were alternately serious jazzanatics and social outcasts - most of the times, they satisfied both categories.
People like Red Noise, Mahogany Brain and Jacques Berrocal (most recently involved in some Nurse With Wound project) chose to make wildly experimental music, spiked with psychedelia and free jazz, following an approach not so distant from their German counterparts.
Even if Futura releases are more stressed on the jazzy side, it is not impossible to consider them as cousins of the most adventorous Krautrock heroes.
Among the others, Fille Qui Mousse, led by the erratic talents of Henry Jean Enu, were maybe the best - or, at least, their only record was more focused in its relentless phantasmagoria of different inspirations.
Trixie Stapleton 291 is packed with ideas and little follies: you cannot find much actual music in it, but many of its solutions remind Faust and anticipate some of the Residents’ best work.
Sound collages, cut ups, short crazed piano pieces (sounding like Chopin on speed), white noises cranking up the stereo, all of these studio trickeries manage to create a mysterious, shadowy, ever shifting soundscape.
The final effect is paradoxically much more in a proto wave vein than in a progressive one.
Fille Qui Mousse arrange their sonic chemistry paying absolutely no attention to the well-practised musicianship: they edit the sound in an almost cinematic way, and their “songs” have a vivid cinematic feel - albeit they do not perfectly fit the Hollywoodian norm.
For example, in the fourth track we can hear a girl told us a story in her beautiful French,while dogs are furiously barking in the distance, evoking confused images of urban wilderness.
Massive layers of noise begin to grow in the background, until everything is submerged by this white, thick sheet of demented sound - the track is over, and it was like watching one of those ugly, pretentious short movies of the 70’s (but with much more effect and no nude scenes).
The first and the last pieces of the album are, on the other hand, “real” music: the same theme is developed in two different ways, with an incredible acid punch for the opener, with a more jazz inclination for the closer (here, we can also listen to what seems an electric violin, but played with such an eversive attitude to make it hardly recognizable).
Trixie Stapleton 291 has been recently re released and is worthy of a listening, especially if you want to taste something really different even in terms of 70’s standards (by Ur from headheritage.co.uk)…………….
Personnel: Henri-Jean Enu — guitar, voice Barbara Lowengreen — voice Benjamin Legrand — piano, voice & effects Denis Gheerbrandt — voice & effects Sylvie Péristéris — effects Daniel Hoffmann — guitars Jean-Pierre Lentin — bass Dominique Lentin — percussion + Léo Sab — violin François Guildon — guitar