Fresh from their fantastic update of Tullio de Piscopo`s Stop Bajon (Primavera) for Paisley Dark, Jezebell now squeeze their dope psychedelic dub juice in the direction of Max Berlin`s Elle Et Moi – Berlin being a pseudonym of Marc “Love In C Minor” Cerrone`s brother, Jean-Pierre.
The 1987 original is a song that was initially big in Belgium. One of DJ “Fat” Ronny Harmsen`s staples at Antwerp’s Ancienne Belgique. One of the tunes that in the hands of Ronny’s biggest fans, Liaisons Dangereuses, aka Paul Ward and Sven Van Hees, gave birth to new beat. It even got a pretty decent new beat cover by an act named Joy – produced by the highly influential DJ, JC Maury (Alfredo`s key source of turntable inspiration). It became sought after, a sort of must-have. Joakim first reissued it on his label, Tiger Sushi, and then remixed it in an epic italo-disco fashion, where it found favour with DJ Harvey. Subsequently, the whole world – predictably – queued for a copy. Back when I was still digging I found two – as Balearic Mike would say, “In the wild.” One moderately pricey (for the time, at around 20 / 25 quid) and the other super cheap. I gave the cheap one to Moonboots, as a thank you for the hundreds of tips and IDs. Described – I think by Bill Brewster – as the “best record that Serge Gainsbourg never made”, the OG does indeed sound like an extended romp through the seminal sleaze of Serge’s provocative Requiem Pour Un Con – ripe with, stinking of, sex and desire.
Jezebell extend Max`s missive out from nearly eight minutes to nearly twelve, adding a post-punk vibed intro of isolated bass strings, percussive rattle, and sharp shards of guitar. Slowly, the familiar piano hook eases into earshot, and at the three minute mark the cowbell and finger clicks start. The “upgraded” drums packing a significant punch. Then at six minutes the duo drop acid – sending everything spatially, temporally, panning and spinning. Breaking down, and then hitting a euphoric, Spacemen 3-esque, ecstasy symphony, pure phase finale, it`s the sort of thing that I would have gone completely daft over in the daze of Happy Jax and Sabresonic.
Three additional mixes cut the “suite” into its constituent parts. Le Dub Et Moi focusing on the intro, Le Funk Et Moi, the slightly straighter, central section, while Le Acid Et Moi is based on the final third. The latter losing pretty much all of Max`s track, save a brief snatch of the vocal, showcasing Jezebell’s production chops, and to all intents and purposes, something completely novel and new.
You can find Jezebell’s “Seedy sonics and illicit electronics” for sale – often at a name-your-own price – over on Bandcamp.