Passe-Pipe (sometimes improperly spelled without dash and / or lowercase 1 ) is a group briochin music founded in 1990 by Louis-Pierre Guinard and Philippe Onfray, quickly joined by Daniel Riot 2 . The group then joined Gil Riot and Tonio Marinescu at the end of 1991, then Christophe Menguy and Christophe Lecouflet at the end of 1994, and finally Daniel Pabœuf in 1997. Gil Riot and Daniel Pabœuf left the band in the fall of 2001; Gil Riot is then replaced by Manu Le Riboter. In the summer of 2002, the group reformulated its musical concept, causing the departure of Philippe Onfray, Daniel Riot, Tonio Marinescu and Manu Le Riboter; the last two are replaced respectively by Boris Sellem and Philippe Brosse, and the group is renamedLouis Pierre . In early 2004, he became a trio with the departure of Boris Sellem. This last training ceases all activity after the summer of 2005.

The group takes its name from the unfinished novel Pipebreaker by Louis-Ferdinand Céline 3and is firmly in the tradition of the black song, realistic and committed, with a particular literary concern; it is sometimes likened to Straight Heads, The Twisted or Miossec. The canonical repertoire of Casse-Pipe combines repetitions, compositions around poems outside the group, and entirely internal creations. The covers are mostly inter-war songs, the rest coming from different times or previous groups of members. The external texts are taken from missing poets, or are written for Casse-Pipe by contemporary authors. The brand combines existential darkness, desperate love songs, anarchist pamphlets and stories without addressing complex 4 of addiction ,, alcoholism , poverty , discrimination, occupation , etc. These very dark texts do not exclude humor or irony, especially if one takes into account the interpretation that is made of it. In addition, the musical style oscillates between popular ball (ubiquitous accordion, rhythms of java and tango, etc.) and cabaret (muted saxophones, clarinet, drums played on brooms, etc.), all forming a deliberate mix strange, where many songs can be read in both directions.

Training

Full Members

  • Louis-Pierre Guinard: Singing, Choirs (1990-2005)
  • Philippe Onfray: Accordion , Bandoneon , Organ (1990-2002)
  • Daniel Riot: Sound, Regie (1990-2002)
  • Gil Riot: Guitar , Banjo , Jew’s Harp , Harmonica , Dobro , Choirs (1991-2001)
  • Tonio Marinescu: Drums , Percussion , Graphics (1991-2002)
  • Christophe Lecouflet: Light, Scenery, Scenography (1994-2002)
  • Christophe Menguy: Acoustic Bass, Guitar, Double Bass (1994-2005)
  • Daniel Pabœuf : Saxophones (Alto, Tenor, Baritone, Soprano), Clarinet (Regular guest from 1994, integrated from 1997 to 2001, guest in studio in 2002)
  • Manu Le Riboter: Guitar (2000-2002)
  • Philippe Brosse: Guitar (2002-2005)
  • Boris Sellem: Percussion (2002-2003)

Guests

  • René Boisard: Bass Guitar (1992, in concert)
  • Paul Gasnier: Violin (1992, in concert, 1993 on the album “Black Songs – Volume 1”)
  • Sam Manson: Piano , Cello (1993, on the album “Black Songs – Tome 1”)
  • Samuel Giard: Piano, Cello (1994, in concert, 1995, on the album “Café du ‘Siècle'” 2000, on the album “casse pipe”)
  • Michel Aumont : Clarinet (1995, on the album “Café du ‘Siècle'”)
  • Marc Bourdin: Musical Saw (1995, on the album “Café du ‘Siècle'”)
  • Raphael Chevalier: Violin (1995, on the album “Café du ‘Siècle'”)
  • David Euverte: Piano (1995, on the album “Café du ‘Siècle'” 2000, on the album “casse pipe”)
  • Gaby Kerdoncuff: Trumpet (1995, on the album “Café du ‘Siècle'”)
  • Franck Bougier: Trumpet, Bugle (2000, on the album “casse pipe”)

Biography

Origins and previous formations of the members

Louis-Pierre Guinard was born in 1956 in the Quintin area . As a child, he already sings a lot, and is part of the choir when he joins Quintin’s Petit Séminaire. His tuition in private education does not prevent him from listening to rock ( Led Zeppelin , Aphrodite’s Child , etc.); in the same way, it is a monk who makes him discover the song engaged on the left ( Jacques Brel , François Béranger , etc.). At the end of his studies, he became a teacher in Catholic Education, in a rather academic style (he refuses to cut his hair or inculcate religion to students). Parallel to his studies,Alan Stivell in the 1960s and worn by Gilles Servat and Malicorne in the 1970s, he began to travel Brittany with a few friends, to collect songs in Gallo and French. Some of these companions decide to take these pieces back on stage and melt, under the aegis of André “Judikaël” Lalycan, La Mirlitantouille 5: Gildas Chassebœuf (Bouzouki, Mandolin, Violin), Louis-Pierre Guinard (Autoharp, Vocals, Guitar), Michel Kerbœuf (Diatonic Accordion, Epinette des Vosges), André Maillet (Banjo, Clarinet, Vielle), Yvon Rouget (Violin). They are preparing a first album at the beginning of 1978 when Odile Bourdonnais and Martine Camio, two members of the Les Pillotouses singing group (with Jacqueline Bourdonnais and Brigitte Kerbœuf), are dying of whom they are very close; as a tribute, the recording is augmented by some models of The Pillotouses, and is co-signed by the two groups (“Musiques du Pays Gallo”, by Les Pillotouses / La Mirlitantouille). Michel Kerbœuf was later replaced by Étienne Grandjean (Diatonic Accordion, Bouzouki, Guitar, Mandolin, Violin) and the training was reinforced by Pierrick Lemou (Bass, Mandolin, Violin); in 1979 they recorded a second album “La Mirlitantouille”; Patrice Paichereau (Guitar) will finally join the band in 1980.Melaine Favennec , Gilles Le Bigot and Daniel Pabœuf write, compose and play with them occasionally, both on record and on stage. The group toured intensively in Brittany, but also in the rest of France, as well as occasionally in Quebec and Northern Europe, before separating in 1981 (a compilation of their repertoire was published at Iguane in 1995 6 ). Louis-Pierre becomes a crêpier, first in his own restaurant called La Perdriole (named after a song from La Mirlitantouille) in Quessoy , then at the Grain de Sel in Saint-Brieuc . In 1983, he met Jean-Philippe Brochard, a pianist with whom he founded Bal Perdu, in reference to Bourvil’ssong C’est bienor the little ball lost . The duo tries to recreate “the glittering chicos perverse atmosphere of the Berlin cabaret”, on a repertoire based on covers of songs of the 1930s and borrowing from the album Fonds de tiroirs by Patrick Modiano and Hugues de Courson , then little to few compositions based on texts by Philippe Marlu 7 . In 1987, the duo records with Griffe a single including Étoile Rose and Melécass 8 , then becomes quartet by integrating Mathias Perronno 9 at Basse and Yannick Jory 10Saxophone; an album is prepared under the leadership of Boris Crépinior, but does not succeed. Jean-Philippe Brochard wishing to stop, Bal Perdu gives his last concert in June 1988. Louis-Pierre becomes a crêpier at Sunset, a bar at Erquy concerts, from which he sometimes leaves the kitchens to come on stage to sing some songs of the repertoire of Bal Perdu .

Philippe Onfray was born in 1956 in Poissy . His parents, from Brittany, run a restaurant in Eragny sur Oise called Au Relais des Pécheurs. He learned the accordion from nine to thirteen with Jean-Charles Malbec (student of Marcel Azzola ), but lost interest in the instrument as a teenager (much to the dismay of his mother), while the guinguette leaves little to few orchestras in favor of a jukebox broadcasting tubes of the moment. He studied computer science in Paris, where he occasionally uses the accordion to animate weddings; this is how he meets Moko (from Oberkampf), with which he tries the organ. He then left France for England, then spent 4 years in Germany, where he sometimes plays with Manfred Praeker  (de) . Returning to Conflans-Sainte-Honorine in 1982, he founded, with Moko (Drums) and his brother Eric Ducly, the group Strahler (Stravinsky + Mahler), where he sings and plays the synthesizer. Musically in the wave free punk, the group makes a lot of sound experiences; for example, Philippe Onfray voluntarily lets the bands oxidize in his cellar so that they saturate. The band records a cover of I Wanna Be Your Dog by The Stooges 11at Garage Studio on behalf of Contortion, but the piece will only be released in 1986 on GARAGE 1966-1970 cover compilation at Garage Records; then News Games 12 which appeared in 1983 on the compilation “Studios WW 91 Quai de la Gare Paris 75013” at WW Records; and finally a 33/45 Towers of three titles at Contorsion in 1984, simply titled Stralher and available in two versions, one English, the other German, including Between four walls / Zwicken vier wanden 13 , A war relation / Bezug zum krieg 14 , Love Murderous / Morderische Liebe 15. They were joined in 1984 by Joe Hell (also from Oberkampf) for a concert, but the band, which became Paris Noise, broke up at the end of the year. In 1986, he founded SDF (Structure Diagonale France), a computer hardware import company; he resells his shares in 1988 to settle in Brittany where he works for Europe 2 . There, attracted by the theater, he met The Theater Company of Haha 16 , based in Lamballe and led by Denis Flageul; he composes the music of two pieces of the company, entitled The Java of the Whales and The Last of the Castel Pavic. In 1989, he also joined Les Soupeurs 17 , a group of bastard songs led by Philippe Marlu.

Daniel Riot begins his professional career as a specialized educator. In 1986 he opened a Café-Concert called Le Barracuda near Saint-Brieuc. He then becomes familiar with the stage material (control room, sound system). The Barracuda first welcomed local musicians, and the place quickly forged a solid reputation, which attracts groups from everywhere; Parabellum , Roadrunners 18 , Les Sheriff and Los Carayos , in particular, will rub shoulders with the Breton public.

Gil Riot , whose real name is Gilles Riot, was born in 1962 in Plérin ; he is the younger brother of Daniel Riot. He became a prominent member of the Rennes music scene in 1979, his bands having all participated in the Rencontres Trans Musicales: Singer and guitarist of p.  38 (1981), a group strongly influenced by The Clash, then Les Conquérants (1983 and 1987), who recorded an eponymous album in 1984. Gil Riot continued solo under the name of Dizzy Romeo 19 , before joining the band. same name some musicians like Tonio Marinescu (Rencontres Trans Musicales 1990). He also toured with Marc Seberg and Dominic SonicThey too are pillars of the Rennes festival.

Tonio Marinescu (sometimes spelled Tonio Marinesco), whose real name is Antoine Perrault, was born in 1963 near Lamballe . Musically focused on the power-trio and artists such as Patti Smith , Ramones , Jeffrey Pierce Lee , Nick Cave & Iggy Pop , he began playing at the age of 11 on drums; leftist, his game is described as fluid and flexible, simple, sober and effective, without superfluity, always listening to other musicians 20 . In 1976, he founded the group Kalashnikov 21 , with his brother Martin on guitar. Highly influenced by The Stooges , Johnny Thunders, Lou Reed , Dogs & Television, their free rock style is largely based on improvisation and originally offers many instrumental pieces; Moreover, their performances are often impromptu: They invade the rooms of other groups, seize instruments to monopolize the scene and “tax beers in the boxes”. Other musicians come and go in the formation, until the integration of Boulmiche on bass in 1979, then Dominic Sonic singing in 1980. In 1981, they moved to Rennes, where they radiate a little all over; their style destroy and their mode of hacking happy halls makes cross many of their counterparts: They sympathize with La Mirlitantouille, which they divert the benefits in “anti-fest-noz”, and p.  38, with whom they take over Johnny Thunder. Kalashnikov builds an audience and becomes an important group in the Rennes scene. Spotted by Jean-Louis Brossard in 1982, the group was successively scheduled for the first part of Johnny Thunders the same year, then the Terrapin Nights and Rencontres Trans Musicales 1983. Christian “Kid” Martinez joined them on the saxophone the same year, while Boulmiche, gone up Animatorz 22 , is replaced by Benoît Touchard in 1984. This training, with a big success at the Rock Against Tarzan of 1985, records a model under the direction of Daniel Chenevezand publishes a four-song Maxi-45-Tours called Deal Deal’s Too Late (a CD produced by Marc Minelli, and the first cover by Tonio, who has already created the band’s stage sets). In 1986 (imprecise date, 1984 or 1985 would also be possible), they are sold out at the Printemps de Bourges; they are amused by the chronicle of Paroles et Musiques, which speaks of their performance as “the worst of the festival with that of Gainsbourg”. Kalashnikov separated in 1987 after 300 concerts, after a Spanish tour ended at the legendary El Kremlin of Vigo 23 . For two concerts in the first part of OTH(whom Tonio considered as the best French rock band of the time), he went up Les Congaceiros with Boulmiche, Vincent Sizorn on guitar and an OTH roadie on vocals; then, he plays with Dominic Sonic in 1987 and with Les Nus . Still with Boulmiche, he joined Iffic and Dominic Sonic’s guitarists in Coyote Pass, which will make the 1989 Trans Musicales Encounters. In parallel, he founded T’es Foutu Bohington 24 , with Saucisse.pt ( Tulaviok bassist).), Christian “Kid” Martinez (saxophone), Étienne Maignen (guitar) and later Iza Lavioque (second bass), Chris Georgelain and Djeuni Trup (guitars), where he sings and plays drums; the band separated in 1992. Tonio Marinescu then joined Gil Riot with Dizzy Romeo. Moreover, Tonio Marinescu is a graphic artist known for his portraiture, very influenced by Austrian Expressionism (notably Egon Schiele ) and Pop Art 25 .

Christophe Lecouflet , a native of Caen , is a boilermaker by training. In parallel with his work, he is interested in theater by integrating in 1984 La Compagnie du bout d’ficelle, whose lyrics are very much inspired by the black song of the 1930s; he is familiar with lighting and scenography. Gradually, he works with other groups or companies, for small concerts or shows for children. In 1987, he took saxophone lessons in Paris, before moving to Rostrenen in Brittany at the end of the year. There, he tries to make show alive his job; he became intermittent in 1989 and joined a sound and light production company in Saint-Brieuc in 1990, where he worked with various music groups and theatrical companies. This is how he worked several times with Dizzy Roméo, then with Casse-Pipe, which he illuminated for a concert at the MJC in Quintin at the beginning of 1992. At that time, he founded the

Christophe Menguy was born in 1960 in Pontrieux. He gives his first concert in the Superiority One at the age of 8 (with a “tube” called “Do not destroy nature!”) In a cellar, playing with plywood guitars and drums drums laundry on a playback. At the age of 14, he played on a real guitar and with a flutist friend, before founding Les Buzzucks (a Breton earthworm) which brought together a dozen musicians (including Boris Crépinior) playing on ancient instruments such as cromorne, psaltery or the spruce of the vosges and resuming medieval songs or traditional Irish; The Buzzucks chain fest-noz and kermesses a few years before dissolving. Christophe Menguy studied agriculture, during which he discovered Russian literature ( Bukowski ,, Turgenev , the Manifesto of the Communist Party, the Right to laziness, etc.), the song engaged ( François Béranger , Henri Tachan , Gerard Manset , Léo Ferré, etc.) and the realistic 1930s song (Damia, Marianne Oswald, etc.). At the end of his studies, he tried to live music by singing and playing guitar in various formations, including Gogo No Ko and Sam & Duv; at the same time, he began learning computer music in a studio in Saint-Brieuc, then created musical pieces for exhibitions in Rennes, including a quadraphon for La Passageta composed on an Atari 1040 and four synthesizers; he founded with Samuel Giard the association Les Transducteurs, which proposes musical dressings for exhibitions of visual artists. In 1989, he founded Dr. Mabuse, where he wrote, composed, sang and played guitar; the group gets along well and records the title punk-rock If that …but separates at the end of the summer. Christophe Menguy resumes his compositions by adapting The Legend of the Dead by Anatole Le Braz , in a style he calls bizarre contemporary ethno-jazz. In the early 1990s, he accompanied on guitar Christy Gray, singer anarchist salon, and Mina Agoussi, jazz singer.

Daniel Pabœuf was born in 1957 in Lyon , before his family moved to Rennes . He begins the music at 12, when he follows his brother Christian at the Conservatoire; he wants to play the violin, but as he has exceeded the age limit, he is offered a list of instruments: He chooses the saxophone by taste for the sound of the word. The rigor of teaching is counterbalanced by the exchanges he can make with his brother’s oboe; in high school, they play jazz and progressive rock, then Daniel Pabœuf devotes himself entirely to music. After completing his training at the Conservatoire, he plays for Melaine Favennec and Gérard Delahayewhile teaching his art. He is sometimes invited to join La Mirlitantouille on stage. He played in 1977 with the group Marquis de Sade , on stage and in studio, where he sympathizes with Hervé Bordier . The following period is particularly intense: Daniel Pabœuf met Philippe Herpin in 1978, with whom he formed a duo of saxophonists named Anches Doo Too Cool 26 , which publishes two albums (“Nous deux” in 1981 and “Sacrée musique” in 1982) with some guests ( Philippe Pascal , Nicole Calloc’h, Pierre Fablet). Daniel Pabœuf also joins Sax Pustuls 27, the group of his accomplice, in 1980, when the formation is reworked in trio with Nicole Calloc’h to singing; they record 5 songs (including two 45s), then sign at CBS where they publish an album in 1982. In parallel to these two formations, the duo plays, on stage and in studio, for many other groups of the Rennes scene. the time (Marquess of Sade, Kalashnikov, Tohu Bohu 28 of Jello, former guitarist of Starshooter , Ubik of Philippe Maujard , etc.): At the Rencontres Trans Musicales of 1981, the duo played with no less than a dozen groups during the festival! Philippe Herpin leaves Reeds Doo Too Cool in 1985 to found FFF; Daniel Pabœuf, he goes to Paris and finds a friend in the person of Victor Zazou, and the new duo publishes a third album in 1987 soberly titled “Reeds Doo Too Cool” (sometimes called “What’s the story?” ). In 1988, the formation is enriched by four musicians and takes the name of “Reeds Doo Too Cool Sex-Heads” to publish in 1990 the album “Love in the soul”, then separates a few months later. Daniel Pabœuf continues to work punctually, on stage and in studio, with Étienne Daho (1985-1986), Alain Chamfort , Niagara (he ensures the artistic production of their first two 45 Tours), Françoise Hardy , Mory Kanté (1986-1987) ,, Yma Sumac (1992) and many others. In 1988, Tohu Bohu became a trio (Pierre Fablet on guitar and Christian Le Chevretel on trumpet) and renamed The Phantom Train, where machines are very present, and who will publish an album at Fnac Musique in 1991, before in 1992. Having already touched a little theater for Hervé Le Lardoux, he played in two shows of the Louise Lame Company 29 in 1992, texts by Robert Desnos and music by Jean Viéner. At the end of 1994, Daniel Pabœuf broke with his hectic lifestyle to re-settle in Brittany, where he became a saxophone teacher again.

Manu The Riboter

Philippe Brosse began learning jazz guitar with Eric Boell in Paris in 1984. He continued his training until 1993 at the CIM in Paris, G.Renne and T. Ballester, then worked with Ivan Jullien . During these years, he composes and conducts a work of author with Coop Breizh editions. From 1987 to 1996, he was guitarist, composer and arranger of the groups Dexter Ward, Kabeka, then Dominique Babilotte 30 and Group 10, with whom he recorded an album in 1995. From 1994 to 1998, he joined the Michel Aumont Trio as a guitarist and bass player. From 1997 to 2004, he is bassist of the band FMB 31, with Eric Blivet (Percussion), Gilles Floury (Violin), Célestin Mével (Acoustic Guitar, 1997-2001), Eric Jaglin (Acoustic Guitar, 2001-2004), Claude Morice (Wood Flute, 2001-2004), who publishes three albums. He joined Louis Pierre early in the fall of 2002 32 .

Boris Sellem was born in 1960 in Paris. He obtained a License Cinema / Theater and a Master Audiovisual / Communication in Paris VIII, then went to the American Center in the United States to deepen his theatrical practice, especially with Géraldine Baron. Back in France, he trained at the Battery School Agotini 33 (L. Cuny) and Workshop Jazz Montreuil from 1984 to 1991 while working in the cinema and advertising, and by exercising the trade of ‘actor. He then leaves Paris to settle in Brittany; he animates theater courses, while incorporating La Battucada 34 as a drummer. In 1995, he joined the jazz formation Copper Oxide 35 , as well as Ouf La Puce 36! (Participating notably in albums Respire by the ear of the world in 1996 and Le Balouf in 1998 before leaving the group in 1999 37 .

Meeting and beginnings

It was in the summer of 1989 that Philippe Onfray, passing by Erquy’s Sunset, heard Louis-Pierre Guinard singing La Chanson de Craonne (a mutiny waltz from 1917) even though he had just read Casse- pipe of Louis-Ferdinand Céline (who tells his incorporation in the army). The two men tame each other little by little and take up the repertoire of Bal Perdu by increasing it with various contributions: Traditional songs, classics (Gainsbourg, Ferré etc.), as well as loans to Pierre Mac Orlan ); Philippe Onfray takes the accordion and proposes to baptize the duo Casse-Pipe . The canons of the Casse-Pipe universe are set: demanding, committed and toxic texts, sober, warm and bewitching arrangements.

In February 1990, they test with some success eight pieces in public in the first part of Sue & Les Salamandres 38, at the barracuda of Daniel Riot. The latter is immediately excited by their songs, and he decides to take charge of them to turn them and sound them in concert. They gradually expand their repertoire and drain a growing audience. Their respective affinities, for the theater on the one hand, and for the classy moods on the other hand, naturally push them to a theatrical approach to concerts; a photographer friend invites them to mount a real show around their songs. Thus was born, in early March 1991 in the bistro Quessoy (arranged for the occasion in theater) a show of 22 pieces named On the footsteps of Johnny Palmer; the evening of the last, at the moment of starting La Javanaise, the last reminder of the show, the fuses jump; a few minutes later,

The show itself is abandoned, but the songs that make it up form the main part of the Casse-Pipe repertoire, which the duo continues to travel around Brittany; the only backed up element of this essay is the red velvet curtain at the back of the stage, which becomes a trademark. The rock public, a priori not very interested in this repertoire, is still often challenged by this French version and the accordion of Anarchy in the UK . Casse-Pipe also participates in the show Men of fire and embers songs, mounted by the MJC Lamballe for the centenary of the death of Rimbaud; the songs are interspersed with little quatrains of the poet. Still in 1991, Casse-Pipe tries a more literary adventure by working on the adaptation ofThe Condemned to death , Jean Genet , but the project is finally stored; however, reading the Journal du voleur inspires Louis-Pierre Guinard the first throw of Stilitano , which will become a classic Casse-Pipe. In the same way, it is at this period that Denis Flageul, who already works with Philippe Onfray, begins to write to them texts that they set to music; a collaboration that will not be denied anymore.

New members

At the beginning of 1992, Daniel Riot’s interpersonal friend allowed the group to travel extensively throughout the region, for a total of 200 concerts. It is natural that Gil Riot, brother of Daniel, a talented guitarist and composer, joins Casse-Pipe for a concert; the current goes very well, and it is quickly integrated, while Philippe Onfray also joins Gil in Dizzy Romeo (the two bands even did a concert together at the end of 1991). After a few concerts of Casse-Pipe trio, the Committee of Profets offers them to close, in April 1992, the festival of Mauron (at which musicians, comedians and graphic artists invade streets, bars and cultural center of the small town, to the Bois de la Roche, where the musicians play camped on a tractor trailer) with extensive training; René Boisard on bass, Paul Gasnier on violin and Tonio Marinescu on drums complete the trio; in a few repetitions, the 18-song repertoire is ready. But the opening of the festival is disturbed by the absence of a group: Casse-Pipe, in quartet with Tonio Marinescu, provides without blinking the replacement, then ensures its normal delivery to six; but the formula of four seduced them, and it is natural that this formation will remain thereafter. It is quickly consolidated by fifty concerts, including the closing of the festival in foursome with Tonio Marinescu, provides without blinking the replacement, then ensures its normal delivery to six; but the formula of four seduced them, and it is natural that this formation will remain thereafter. It is quickly consolidated by fifty concerts, including the closing of the festival in foursome with Tonio Marinescu, provides without blinking the replacement, then ensures its normal delivery to six; but the formula of four seduced them, and it is natural that this formation will remain thereafter. It is quickly consolidated by fifty concerts, including the closing of the festivalArt Rock in October.

In parenthesis of the tour, and in order to work in the urgency and shake the codes of the concert, the group reinvents, with the support of the “Committee of the Professions”, the concept of world tour: A city = A world, the challenge is to play in as many places in the same city during the same day. This marathon requires the work of a dozen technicians responsible for installing the rooms before the arrival of the group, disassemble everything after the service and take the equipment elsewhere to start again. The places are mostly bars, but some more offbeat places are also on the program, including a laundromat and a market; at each stage, Casse-Pipe plays for a quarter of an hour and gradually drains a growing public, despite a rather discreet advance promotion, and it all ends around four in the morning. The group will repeat the experience in February 1994 in Brest, where, having scoured including a hotel and the Foyer des Marins Arsenal, they will end the day in a restaurant in the neighborhood on a hot La Javanese recital sung by 200 people …

It was at this period that the identity of Casse-Pipe refined, to take its final form: The repertoire focuses on the realistic song and the music finds its balance between musette and jazz, all in a spirit rather punk . In the same way, the internal workings of the group stabilizes, in a libertarian spirit: The members being all “a little anar, a little anti-everything”, the unanimity is the rule (“Must everyone be of agreement!”); It should be noted, on this point, that the technicians (Daniel Riot and later Christophe Lecouflet) are considered as an integral part of the group. The success at Art Rock allows the group to be supported by the national scene of La Passerelle and the municipality of Saint-Brieuc, in order to record an album. The group is concerned about its independence and to maintain a human dimension, Daniel Riot, still general manager and sound system, proposes to assemble the association “Casse-Pipe Production” and to obtain a license of organizer of spectacle. The group has already worked with Christophe Lecouflet earlier this year for a concert at the MJC Quintin; the decorator, fascinated by the moods of the emerging quartet, collaborates little by little more closely with them and will develop the atmosphere of the concerts (light, scenography, smoke box, etc.). The group has already worked with Christophe Lecouflet earlier this year for a concert at the MJC Quintin; the decorator, fascinated by the moods of the emerging quartet, collaborates little by little more closely with them and will develop the atmosphere of the concerts (light, scenography, smoke box, etc.). The group has already worked with Christophe Lecouflet earlier this year for a concert at the MJC Quintin; the decorator, fascinated by the moods of the emerging quartet, collaborates little by little more closely with them and will develop the atmosphere of the concerts (light, scenography, smoke box, etc.).

In June 1993, Casse-Pipe invests La Passerelle to work on his repertoire, which now has thirty songs, and to sort through to define the content of the disc; Paul Gasnier (violin) and Sam Manson (piano, cello) are also invited. It is finally eleven songs (four compositions, seven times) which are retained. Meanwhile, Casse-Pipe has collected savings, subsidies and bank loans. In July, the group and its guests enter Philippe Penin’s Studio Philpen in Châteaugiron for the recording of “Black Songs – Volume 1”, under the artistic production of Chris Mix. The disc, self-produced under the label “Casse-Pipe Production”, is presented as a black series cover of the NRF (Two vertical stripes yellow and black), where the famous logo “Série Noire – NRF”a priori ironic given the importance of the covers and the weight of the tribute in the repertoire 39); the libretto, designed by Daniel Riot and Philippe Onfray, is embellished with drawings by Tonio Marinescu (filigree texts) and photographic portraits of musicians on stage. In its musical content, the record is marked by three small noise instruments (one in opening, one halfway, one in conclusion) which recall the atmosphere of the bar and whose titles are in the form of puns around this universe; it delivers quite dramatically the essence of Casse-Pipe, with its sordid stories (Stilitano, Carnaval, The lament of Kesoubah) and its toxic pieces (The coco of the wise children, The pink star) interspersed with songs of hopeless love (Pretty Nanon, Tango flicker) and cockroach evocations (Foutu Sunday, The song of Mac Orlan, The stairs, everything fucks the camp).Good night the little ones in The cocoon of the wise children, and the grandiloquence of Tout fout camp).

Promotion and new stage experiences

Taken in December 1993 to 1000 copies and distributed by Kerig in Brittany, the album is unlikely to be widely distributed. But Casse-Pipe sends him at random to some personalities likely to be interested in his universe: Christian Caujolle (director of the agency VU, columnist in Globe Hebdo), Philippe De Brenne (assistant of Jean-Louis Foulquier), Christian Lacroix (stylist), Hélène Hazéra (columnist in Libération) and Juliette Gréco. In addition, a promotional maxi of four titles is pressed on Mini CD and sent directly to various radios. These contacts on the base allow some broadcast on some national radios, attract the attention of a distributor at the national level, Media 7, and allow the group to meet Jean René Courtès and thus forge closer ties with Kerig and get closer to the programmers of the Trans Musicales Meetings. The return on stage, with Samuel Giard on cello, is quite buoyant, including the Élysée Montmartre in the first part of Dominic Sonic, the Jeudis du Port in Brest and the “Off” Francofolies of La Rochelle.

Always attracted by a theatrical expression of music, and encouraged by the good professional contacts gleaned during the tour, the group works, under the auspices of the Departmental Office of Cultural Development, to create a new show. , based on a completely new scenography, special settings and the staging of two dancers: “The little theater of Casse-Pipe”, which is repeated in Guingamp. But the first performances do not attract the attention of the public or the programmers. Casse-Pipe, who is fond of this show, tries a game of poker: The group invests its savings in the rental of a small theater in the Italian (a hundred seats) in Paris, the Theater Clavel, and abandons the idea of ​​the dancers; the show is played from 9 to 12 November 1994,

This failure somewhat undermines the motivation of the group, which resumes its tour in the south of France, including L’Antirouille de Montpellier and Le Bijou de Toulouse. At the beginning of December, Casse-Pipe is at the Ubu de Rennes, as part of the Rencontres Trans Musicales, alongside Celtas Cortos and the friends of Jack O’Lanternes (a concert that was put on tape just in case); the excellent reception of the public gives back to the group, despite the departure of Samuel Giard, who is dedicated to his career (he will be invited once again) and advises them to call on Christophe Menguy to play acoustic bass by their side. The period is still troubled, and the group squarely doubt to be able to federate a public outside Brittany; and the prospect of finding the Clavel Theater at the end of January 1995, despite the arrival of Christophe Menguy, is not reassuring. The Parisian public is sulking them again; Casse-Pipe’s finances are at an all-time low and morale is seriously affected.

Rebound and confirmation

If the new show of Casse-Pipe does not find its public, the group however has a correctly filled logbook for the year 1995. They occur in particular at the Francofolies of La Rochelle under the itinerant tent Magic Mirror in July. They are again solicited by the Committee of the Professors for an even more daring project: During two weeks, put several groups in a barge which surveys the canals of South Brittany and stops in the river ports; at each stop, the roof of the barge, arranged on stage, scrolls the groups in front of an audience listening from the bank. This is the Pénich’Tro who embarks Miossec Jack O’Lanternes, Clam’s, Locus Solus, Zebra and Dominic Sonic, for a festive fortnight and rich blends 40 .

At the same time, the group was able to break a number of new songs, enough to consider a new record. The end of summer was again spent at La Passerelle to repeat, in the company of many guests: Michel Aumont (clarinets), Marc Bourdin (musical saw), Raphael Chevalier (violin), David Euverte (piano), Paul Gasnier ( violin), Samuel Giard (cello), Gaby Kerdoncuff (trumpet) and Daniel Paboeuf (saxophones). Then everyone migrates to the Ubu de Rennes in October to make recordings under the direction of Laurent Dahyot and David Euverte. Coffee of the Centurygoes out at the end of the year and immediately enjoys some recognition in the press. The disc, still produced under the label “Casse-Pipe Production”, but in a closer collaboration with Kerig (executive producer), is illustrated by a painting of Tonio Marinescu representing a café / hotel / restaurant / cellar obviously disused under the eyes crossed by an orange sun with wide eyes and a two-headed and amused moon, all on a black background. The inside of the cover presents a photo Black & White musicians, recomposed from individual portraits, framed by a text by Denis Flageul evoking the atmosphere of the bar and spinning the metaphor of Casse-Pipe as revealing what lives l back rooms of the soul. The booklet includes on the cover a photo of the instruments and sets of the group, only on stage, only lit by a huge chandelier projecting a red light; the inner pages, still on a black background, deliver, in an almost imperceptible yellow script, the texts of the songs, and present in the center a second painting by Tonio Marinescu reproducing the strange scene photo of the cover. The whole object is made so that the elements it contains barely emerge from the shadows, just like the group photo where the musicians cut with darkness only by the pallor of their faces; Pipebreaker, that’s what we find when we search in the recesses of the the inner pages, still on a black background, deliver, in an almost imperceptible yellow script, the texts of the songs, and present in the center a second painting by Tonio Marinescu reproducing the strange scene photo of the cover. The whole object is made so that the elements it contains barely emerge from the shadows, just like the group photo where the musicians cut with darkness only by the pallor of their faces; Pipebreaker, that’s what we find when we search in the recesses of the the inner pages, still on a black background, deliver, in an almost imperceptible yellow script, the texts of the songs, and present in the center a second painting by Tonio Marinescu reproducing the strange scene photo of the cover. The whole object is made so that the elements it contains barely emerge from the shadows, just like the group photo where the musicians cut with darkness only by the pallor of their faces; Pipebreaker, that’s what we find when we search in the recesses of the it contains barely emerge from the shadows, like the group photo in which the musicians settle with the darkness only by the pallor of their faces; Pipebreaker, that’s what we find when we search in the recesses of the it contains barely emerge from the shadows, like the group photo in which the musicians settle with the darkness only by the pallor of their faces; Pipebreaker, that’s what we find when we search in the recesses of theCoffee of the century. Musically, the content is a little more dense than the previous one: Fourteen songs including “only” five times, more worked and rich arrangements, themes a little more varied, and a warmer and hushed atmosphere. However, we remain in known territory, both musically (the popular ball is more discreet, in favor of a more jazzy and classy atmosphere, but no less present) than in the texts that alternate existential darkness, political commitment, cockroach (Moi j ‘ bored) and artificial paradise (Opium, Go out tonight). However, the songs are often more ambivalent, marrying more willingly within the same text tendencies or different intentions; for example, humor, in the form of irony and sarcasm, crosses the disc, including in songs that are not fundamentally funny (Black Scarf, Misery, Viva the Muerte, The Fetuses, Critical Condition), and not just by interpretation or arrangements; likewise, the political content is more murky, because systematically associated with a part of shadow: Crime (Black Scarf), opportunism (Viva la muerte), marginality (The misery, The people) or drunkenness (To go out tonight).

Casse-Pipe quickly found the scene by making the first part of Miossec at the Olympia on January 31, then creating, with Têtes Raides, La Tordue and Miossec, the show Mauvaises Grainesthat they will all play together at La Cité de la Musique in Paris. The second half of 1996 is split between touring and studio work; indeed, the critical and commercial success of the album allows to weave an agreement with Wagram, who proposes to produce a mini-album. At Studio Ubu, Casse-Pipe reworks “Stilitano”, mixes a concert version of “Tout fout camp” from Trans Musicales 1994 and records two new songs; the first is a cover of Léo Ferré’s famous “Monsieur tout blanc”, and the second comes from the meeting with Alexandre Dumal during a festival of crime: He writes to them “I band for crime” which is quickly put in music. Once past the post-production, the four songs, augmented by “Viva la muerte” (become a staple of the repertoire), appear in October in the form of a vintage album Mini 45 Tours (cardboard sleeve) and allows to maintain the media exposure of the group. In the wake, taking advantage of the relative stabilization of the region, and in order to see events and people in a direct way, Casse-Pipe embarks for Palestine and Gaza, an initiative that will emulate41 . This trip will inspire Louis-Pierre Guinard an adaptation of a traditional song under the title “Voyage en Palestine”, which testifies to this visit among the rubble.

On returning to France, in 1997 promises to be particularly active since the group occupies Le Sentier des Halles in Paris from 11 February to st March 1997; by the way, they are the guests of honor of Jean-Louis Foulquier in the show “Pollen”. He will re-invite them, on television this time, on the set of Captain Café on France 3, in the show dedicated to Hubert-Felix Thiefaine, to play Viva la muerte and Je bande pour le crime and answer to some questions 42 .

A style (and group) changing

The tour then continues, but the band does not stop composing in preparation for a new record; After the peak of activity in the summer, the fall has passed at La Passerelle where Casse-Pipe is putting the finishing touches to his compositions, then Studio Ubu welcomes them in December again for the recording. In front of the equipment, their new distributor uses the time of post-production to stimulate the press by extracting two titles of the strips from the studio that it makes available to the media (The trace / The razor’s edge, versions pre- mix) and announces the imminent release of the album. “La Part des Anges” is published in February 1998. Under a cover inspired by the red velvet scene sets, the thirteen songs bring a jazz and gypsy air more pronounced: The accordion is more discreet, the guitar more virtuosic (a good part of the compositions are signed Gil Riot, which asserts itself as a melodist of the highest quality) and saxophones Daniel Paboeuf finish coloring the sound of the band. The only cover is “Les petits pavés”, a 1900 romance by Maurice Vaucaire, and the texts are, under the combined efforts of Christian Caujolle and Sylvie Rouch, much less dark, tending rather in intimate and sibylline evocations (“Fréhel” , both tribute to the singer and evocation of the famous cape, “Misappropriation of travelers”, “Dorms”, “Angels”, “No pot”). Some black pearls signed Denis Flageul, Philippe Maujard or Louis-Pierre Guinard punctuate nevertheless the disc (“The trace”, “The thread of the razor”, “A Maurice Pilorge”, “Everything must disappear”, “Journey to Palestine”) and maintain a balanced balance. Humor is also less present: This is probably the most serious record of the group. The album receives good reviews and it is barely out when Casse-Pipe again occupies the Sentier des Halles in Paris, from March 4th to 28th.

Influences / Style

Influences

Aside from the influences cited in his biography, Louis-Pierre Guinard quotes Diary of a thief and the other works of Genet, Villa Triste de Modiano and Casse-pipe Celine, as well as the novels of Gerard Alle, the Crachin collection, the novels police officers Didier Daeninckx, Jean-Bernard Pouy and Didier Belloque, and The Tempestaries of Denis Flageul. His notable films include Federico Fellini’s La Strada , Stanley Kubrick’s Pathways of Fame , Stanley Kubrick’s Mechanical Orange and Full Metal Jacket , Alexandro Jodorowsky’s Sacred Mountain , The Tales of the Arabian Nights, andSalò or the 120 Days of Sodom of Pier Paolo Pasolini, and Have 20 years in the Auresof René Vautier. Musically, he likes Brigitte Fontaine, Rufus Wainwright, Ingrid Caven, Hughes of Courson, Nick Cave, Marianne Faithfull, and Breton artists and bands such as Alan Stivell, Dan Ar Braz and Malicorne.

Tonio Marinescu quotes, among his favorite literary works, “The sailor rejected by the sea” of Mishima, “The guitar” of Michel Del Castillo, “Journey at the end of the night” of Celine, “The hunger” of Knut Hamsun, ” Last exit to Brooklyn “by Hubert Selby Jr,” On the Marble Cliffs “by Ernst Jünger, as well as Herman Hesse, Lautréamont and Edgar Poe, and finally Vuillemin, Hugo Pratt, Willem and Matt Konture in comics. The film influences him through “Husbands” and other films by John Cassavetes, “The Wings of Desire” by Wim Wenders, “The Night of the Hunter” by Charles Lotton, and Tim Burton, Jim Jarmusch, John Houston , Jean-Pierre Jeunet and Marc Caro, and finally “black and white films with Jean Gabin and Lino Ventura”.Alain Bashung and Einstürzende Neubauten

Christophe Menguy cites Michel Des Castillo’s “La guitare” and Ernst Jünger’s “On the Marble Cliffs” among his favorite books, and “The Wings of Desire” by Wim Wenders, he listens to Jimmy Page & The Black Crowes, ” Climax “by Alain Bashung, The Straight Heads, Venus,” Faces, Figures “by Noir Désir, Saint Germain and Greg Armstrong

Daniel Riot reads mainly black novels, as well as Léo Mallet, André Héléna and Gabriel Garcia Marquez. On the cinema side, he quotes Jacques Tati’s “Jour de fête”, Jacques Becker’s “Touchez pas au grisbi” and the Monthy Python films (notably “Sacré Graal”). His musical references are The Beatles , Leo Ferré , Jean-Roger Caussimon , Charles Trenet and reggae “roots” (as Linton Kwesi Johnson )

Style

Passe-Pipe has a series of songs are mostly realistic or committed songs of the 1930s ( Fréhel , Damia , Marianne Oswald , Marie Dubas , etc.), some classics of Serge Gainsbourg , Léo Ferré , Bourvil or Édith Piaf , songs traditional Breton French, and finally extracts from the album Fonds de Drawers Patrick Modiano and Hughes de Courson , as well as songs from previous groups of different members. The texts outside the group are taken from missing or forgotten poets like Jean Cassou , Malek Haddad, Jules Laforgue or Jean Genet , or are written specifically for Casse-Pipe by contemporary authors such as Denis Flageul, Sylvie Rouch , Philippe Marlu, Alexandre Dumal or Christian Caujolle . The repertoire thus constituted presents songs in the darkness existential (Foutu Sunday, The fetuses, Litanies of my sad heart), desperate love songs (Stilitano, Pull Over), anarchist pamphlets (The song of Craonne, Black scarf, Nibergue, Viva la muerte), and a whole gallery of songs tackling uncomplicated subjects as delicate as drug addiction (The coco of wise children, Opium), crime(Carnival, tango with stop), alcoholism(going out tonight, melalcoolie), poverty (misery) and sexual discrimination (the pink star, Mélécass, Lethal bites of dawn). These texts are not necessarily devoid of irony (Black Christmas), even sarcasm (Tout tout le camp), and many songs are composed and arranged in a register evoking the gaiety of the popular ball, or in a soft style, warm and cozy, which makes the whole mix strange, contrasting and destabilizing, many songs can be read in both directions.

Discography

Albums :

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1993 : Black Songs – Volume 1 (Casse-Pipe Production)

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1994 : Black Songs – Volume 1 (Kerig)

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1995 : Coffee of the Century (Kerig)

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1996 : Viva the muerte (Kerig)

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1998 : The Share of Angels (Kerig)

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2000 : broken pipe (often called Litanies of my sad heart , sometimes We will return late or The trace ) (Kerig)

Under the name Louis Pierre :

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2003 : The Hall of Passions (Avel West / Molène Music)

Singles, maxis and promotional copies :

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1993 : Excerpts from Black Songs – Volume 1 (Casse-Pipe Production)

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1997 : Excerpts from The Part of the Angels (Kerig)

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1998 : The Trace (Kerig)

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2000 : Extracts of broken pipe (1) (Kerig)

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2000 : Extracts of broken pipe (2) (Kerig)

Appearances in compilations :

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1993 : The Grignous Volume 4 44 (Grignou Production)

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1994 : Trans Musical Meetings – Rennes 29-30 Nov ● 1-2-3 Dec 94 45 (Trans Musicales of Rennes)

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1997 : Best Of Rock French 46 (CNR Music France)

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1999 : In the West nothing new 47 , 48 ? (Kerig)

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1999 : The alternative: the other French sound 49 , 50 (Universal)

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2000 : 40 Years Of French Rock (1960 – 2000 The Definitive Anthology) 51 (Remedy)

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2000 : Songs of the zinc edge 52 (1nc @)

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2001 : Tolerance Double Zero Volume 1 53 (CIRC)

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2002 : Songs of the end of the night 54 (Wagram Music)

Clips

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1998 : Viva la Muerte

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1999 : The Trace

Shows

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1991 : In the footsteps of Johnny Palmer

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1991 : Men of fire and embers

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1994 : The small theater of Casse-Pipe

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1996 : Bad seeds

Notes and references

  1. ↑ The confusion comes mainly from the fact that the fourth album, the only one still found sometimes in the trade, is titled simply breaks pipe (no dash, no capital letters); however, booklet credits indicate spelling with two capital letters and a hyphen.
  2. ↑ One of the main sources of this article is this site  [ archive ] , based on interviews given to the author by the group
  3. ↑ “Breakdown, it means burst of rage!”, Louis-Pierre Guinard interviewed in Pollen on France Inter
  4. ↑ “[…] claim something politically incorrect […]”, Louis-Pierre Guinard questioned in Captain Café
  5. ↑ [1]  [ archive ]
  6. ↑ We can get an idea of ​​their style by listening to this dance  [ archive ]
  7. ↑ [2]  [ archive ]
  8. ↑ [3]  [ archive ]
  9. ↑ [4]  [ archive ]
  10. ↑ [5]  [ archive ]
  11. ↑ [6]  [ archive ]
  12. ↑ [7]  [ archive ]
  13. ↑ and https://www.youtube.com/watch?v=_JABIy7usdw [ archive ]
  14. ↑ and https://www.youtube.com/watch?v=BxsT_x3d-yU [ archive ]
  15. ↑ and https://www.youtube.com/watch?v=L7iV4yMa1vQ [ archive ]
  16. ↑ [8]  [ archive ]
  17. ↑ [9]  [ archive ]
  18. ↑ [10]  [ archive ]
  19. ↑ [11]  [ archive ]
  20. ↑ [12]  [ archive ]
  21. ↑ [13]  [ archive ]
  22. ↑ [14]  [ archive ]
  23. ↑ [15]  [ archive ]
  24. ↑ [16]  [ archive ]
  25. ↑ Tonio Marinescu has his own graphic work in this interview  [ archive ] (video)
  26. ↑ [17]  [ archive ]
  27. ↑ [18]  [ archive ]
  28. ↑ [19]  [ archive ]
  29. ↑ [20]  [ archive ]
  30. ↑ [21]  [ archive ]
  31. ↑ [22]  [ archive ]
  32. ↑ [23]  [ archive ]
  33. ↑ [24]  [ archive ]
  34. ↑ [25]  [ archive ]
  35. ↑ [26]  [ archive ]
  36. ↑ [27]  [ archive ]
  37. ↑ [28]  [ archive ]
  38. ↑ [29]  [ archive ]
  39. ↑ “I like this quote from Prévert: ‘The novelty is as old as the world.’ “(Louis-Pierre Guinard)
  40. ↑ [30]  [ archive ]
  41. ↑ “Palestine is not a destination that will often artists. I remember that after our visit to Gaza, there are some like Sappho, who played in the same room where we played.” Louis-Pierre Guinard interviewed on the program Armorick’n’roll.
  42. ↑ We can watch this show here  [ archive ]
  43. ↑ [31]  [ archive ]
  44. ↑ [32]  [ archive ]
  45. ↑ [33]  [ archive ]
  46. ↑ [34]  [ archive ]
  47. ↑ [35]  [ archive ]
  48. ↑ [36]  [ archive ]
  49. ↑ [37]  [ archive ]
  50. ↑ [38]  [ archive ]
  51. ↑ [39]  [ archive ]
  52. ↑ [40]  [ archive ]
  53. ↑ [41]  [ archive ]
  54. ↑ [42]  [ archive ]