Bart&Baker & Marcella Puppini team up for
STOP GOOGLING ME ! – Entouka productions – release February 11th 2013
A “future retro” tribute of Bart&Baker to the Reefer Songs of the 20/30/40s – 4 tracks to be issued in 2013
Stop Googling me ! 2 DIGITAL EPs – Release date Fabruary 11th 2013
1.Stop Googling Me ! (Original English version)
2.Mon Google Ennemi ! ( Version française avec Julia Palombe)
3.Mein Google Spion ! (Version Allemande avec MissSiss)
4.MÓWIĆ CHŁOPCOM NIE ! ( Version polonaise avec Bardotka trio)
1.Stop Googling me ! (Real Tuesday Weld Lady Goo Ga Remix )
2.Stop Googling me ! (James Copeland remix )
3.Stop Googling me ! (Rogan "future soul" remix )
4. Stop Googling me ! (Instrumental version)
Paris/London/Berlin/Warsaw - Back in the old days, the reefer songs were part of the repertoire of famous jazz musicians & singers such as Ella Fitzgerald, Chick Webb, Cab Calloway, Sidney Bechet and Benny Goodman. Although most of the reefer songs from that time referred to drug addictions, Bart&Baker have decided to investigate into the territory of modern addictions and mostly addiction to technologies and their alteration of people’s behaviours.
The first single to be released out of the 4 original tracks the french duet has produced so far is a joyful collaboration with the Marcella Puppini, neo swing here and founder of the Puppini Sisters Marcella & The Forget Me Nots
Marcella has kindly accepted to work with Bart&Baker on the first track “Stop Googling me !” a sarcastic song about a girl hacked by her boyfriend using modern technologies in order to spy on her.
The recording took place in Paris in October 2012 and the acoustic track has been provided by the english neo swing band The Swing Ninjas.
Bart&Baker describe the song as a “feelgood mixture of Rock Steady & New Orleans sound blessed by some wonderful jazz vocals”.
The Digital EP will be released on Entouka Production in February 11th 2013 in a 2 part package.
EP1 – The International EP – contains the original version, plus 3 foreign covers by Julia Palombe (France), MissSiss (Germany) & Trio Bardotka (Poland).
EP2 – The remixes – contains the Electro Swing “Lady Goo Garemix” of The Real Tuesday Weld, a Swing Hop / Moonbathon rework by James Copeland & a “future soul masterpiece” by UK Producer ROGAN.
Bart and Baker (www.bartandbaker.com) are two parisian DJ/Producers, dressed in tuxedos and hi hats with house (Bart) & jazz (Baker) backgrounds. There are many dj’s playing electronic music but what makes Bart&Baker so unique is that they were the first back in 2005 to be able to mix old vintage samples with new, remix and revive old 1920’s music, scratching 1940’s and 50’s tracks and generally making new club music from a vintage source.
As Bart&Baker says, “we pride ourselves on reinvention, using elements that already exist like vintage music, performance styles and costume so we were able to please or uncover the swing music shades of rhythms to both vintage fans and modern kids”.
Bart&Baker have played Festivals Bestival, LoveBox &Tomorrowland and various clubs throughout Europe. They also have their own monthly residency at the world-famed Parisian club La Machine du MOULIN ROUGE.
They have so far released 6 full lengths CD through Wagram Music, including the 3rd, 4th and 5th volume of the Iconic serie Electro Swing.
Through their home label Entouka Productions, they have also released on digital 8 Eps through 2012. Many of their title have charted in the Beatport Top30 as well as in Juno (Top 20 recommendation of 2012)
They have also provided official remixes to the likes of Dimitri From Paris, “lounge kings” Gabin and “electro swing stars” Caravan Palace.
About Marcella Puppini
Meet Marcella Puppini. No, not the founder of the Puppini Sisters, the close-harmony trio cherished around the world for their ability to take a song, any song, and imbue it with the charm, poise and swing of 1940s pop. This is another Marcella Puppini – an altogether darker, more tantalising proposition.
This Marcella sings of monstrous movie starlets and shameless gold-diggers, of dirty old men flashing at teenage girls, and manifestations of the devil in the Italian countryside. This Marcella prowls about the stage as a femme fatale, croons a lullaby to the lover she has just murdered, and cracks a whip as she dreams of a lonely man flagellating himself for his guilty desires. This Marcella leads, not just a vocal trio, but a seven-piece orchestra, the Forget Me Nots, whose members – all women, all classically trained, all wearing chastity belts – are every bit as dazzling as their frontwoman. Most importantly, this Marcella isn’t content to channel other people’s songs. Every word she sings, every note her orchestra play, she has written herself.
The two Marcellas seem so unlike, they might be different people. But this is typical of Marcella’s ability to metamorphose, her quest for self-reinvention. It started when she abandoned an idyllic existence in Bologna, Italy, for London and the notoriously fraught life of a fashion student at Central St Martins School of Art. In Italy, she was a lady cultured in the classics: ancient Greek, Latin, the history of art. In London, she transformed herself into a doyenne of modern punk, graduating from her degree course to a place in Vivienne Westwood’s production team.
But deep down, what Marcella really wanted to be was a singer. She sang throughout her teens: in covers bands, in madrigal choirs, in an all-girl punk outfit called Dead Sex Kitten. And after two years with Vivienne Westwood, Marcella knew it was time to shed another skin. She turned her back on fashion and embarked on a new degree, in jazz performance and composition at Trinity College of Music, which led to a successful stint as a jazz singer.
It was during this time that Marcella encountered the new burlesque scene, the alternative performance artists transforming cabaret for the 21st century. Here was the catalyst for another reinvention. Marcella began collaborating with similarly strong-willed and provocative female artists and entrepreneurs, including Marisa Carnesky and the Whoopee Club, for whom she became the in-house songwriter and musical director. And, with two friends from Trinity, she formed the Puppini Sisters, a tongue-in-cheek trio modelled on the Andrews Sisters, who dressed in meticulous vintage outfits and sang modern pop – anything from Beyonce’s Crazy in Love to, their piece de resistance, Kate Bush’s Wuthering Heights – in a gorgeously fluid, exquisitely harmonised style.
The Puppini Sisters almost pinned Marcella down. The trio became dizzyingly popular, earning a gold disc for their debut album and performing around the globe. But at the height of this success, Marcella began plotting her next, most challenging, reinvention. Something decadent, extravagant, fierce. Something redolent of cabaret – not the insipid anathema that commercialised modern cabaret has become, but the sexy and volatile cabaret of Weimar Berlin. Something that would allow her to explore the diversity of her musical inspirations: from opera to big bands, Klaus Nomi to 1970s art-rock, Nick Cave to Amanda Palmer. Above all, something totally, unflinchingly personal.
And so Marcella and the Forget Me Nots were born. This band is Marcella’s pride and joy: she writes all the songs and arrangements, taking full advantage of her liberty from the restraints of the Puppini Sisters to shift her shape at will. One moment she might be flinty and cruel, the next tenderly romantic; she is teasing in The Dancer, raucous for Femme Fatale, sincere for On an Ordinary Day. In all these twists and turns, she is perfectly matched by the Forget Me Nots, whose impeccable musicianship enriches every song.
Needless to say, Marcella and the Forget Me Nots are in a state of constant evolution. Already, Marcella is planning to transform the band into a wild rock’n'roll outfit, bringing in guitar and bass to amp up their sound. And there are so many other strands to her musical life that she could bring to the band. She moonlights as the conductor of a Russian big band; since her teens she has harboured an ambition to write an opera; she’s already in talks to write her first musical. With the Puppini Sisters, Marcella was lovable and sweet. With the Forget Me Nots, she is and can be so much more.
for enquiries (high def files for music, pictures) and interview requests please contact
00 33 1 71 18 17 77 (landline) -00 33 603 003 603 (mobile)