Bolbec - Foutu Félin LP [Batov]

Format: LP in printed sleeve.
CAT: BTR136LP

The duo Bolbec return with their second album, Foutu Félin, a richly cinematic collection of instrumental music that unfolds like an imaginary film score – melodic, tactile and immersive. The record is inspired as much by the cut-and-paste production techniques of Portishead and the Beastie Boys as by the legendary composers of cinéma français and cinema italiano.

Following directly from their debut Victime De L’aube, Foutu Félin feels more like a continuation than a break, a second reel rather than a reboot. Axel Concato and Barth Corbelet each wrote five pieces independently, exploring in a deliberately instinctive and introspective manner, before reconfiguring their embryonic ideas together into larger, luminous compositions, discovering hidden humour in the process.

Cinema remains Bolbec’s primary language. “We always think in film scenes,” they explain. Barth points to Alberto Iglesias as a key influence, while Axel draws inspiration from the melodic logic of soundtracks from the 60s to the 80s, where characters had their own themes and melody was as important as atmosphere. Unlike contemporary trends in film music that prioritize texture over melody, Bolbec consciously places melody, harmony, and rhythm in the foreground in pursuit of a musical signature all their own.

That philosophy extends to the album’s French titles, which function as scene headings rather than explanations. Often playful and sometimes absurd, names like “Café Frappé,” “Foutu Félin,” or “Le Prof de Gong” sound like fragments from half-remembered films, inviting the listener to project their own narratives.

The album opens with “Café Frappé,” written in a single night by Axel. A clear nod to Morricone’s The Sicilian Clan, it also evokes classic French minimalism and the contained tension of Portishead. Minimal at first, it expands through shifting orchestration as the same theme repeats, as if following a subtly evolving scene.

“En Voiture” functions as a road movie’s opening shot. Inspired by Ravel’s Boléro, it patiently journeys through two long themes, stretching repetition to the point of almost dissolving it. The classical structure drifts into jazzy phrases, as drummer Tim Giles maintains a slow-burn momentum and flautist Gareth Lockrane freely improvises as the melody gradually fades.

The title track, “Foutu Félin,” leans into humour. Built on a walking bass full of vitality, it envisions a feline character strutting between slapstick animation and jazz club swagger. The track subtly recalls the walking bass motif of Victime De L’aube’s main piece, reinforcing the idea that both albums inhabit the same cinematic universe.

“Le Prof de Gong” unfolds like a classic piece of European soundtrack work. It begins as a simple guitar sketch and grows into a richly layered waltz with banjo, piano, and a wordless yet melodic scat vocal reminiscent of the ethereal voices in Piero Umiliani’s scores. A single melodic idea is reinterpreted through shifting moods, with echoes of Morricone, Legrand, and John Barry.

Elsewhere, recurring characters and locations appear. “Fanny” began life as a vocal piece and survived Bolbec’s original plan to avoid vocals thanks to its fragile, Robert Wyatt-esque charm. A second version, “Fanny au Phare,” reimagines the same character by the sea, windswept and romantic, with a faint Wuthering Heights atmosphere. Barth’s vocal is initially replaced by a Juno synth with a somewhat tipsy saxophone tone, before giving way to Vincent Défossé’s more sober trumpet. In the final chapter, Ross Stanley’s piano riffs approach Tyner/Coltrane’s My Favourite Things, before twisting back towards the opening motif.

Much of Foutu Félin was sketched out at home before being brought to Fish Factory Studio in the UK, where musicians were encouraged to interpret and freely improvise. The performances were then carefully edited and reconfigured, closer to a cut-and-paste aesthetic than a traditional jazz recording. Feel was always prioritised over technical perfection.

Recurring musicians Tim Giles, Riaan Vosloo, Ross Stanley, and Gareth Lockrane are joined by saxophonist James Allsop, whose contribution became a defining surprise, especially on “Ponto Final.” Additional recordings were made in Rouen, with final mixes by Axel and mastering by Sean Joseph in Bristol, whose sense of warmth and acoustic space helped shape the album’s sound.

Ultimately, Foutu Félin confirms Bolbec’s identity: music that feels like the start of a story. Less theatre, more cinema. Close your eyes: the film is already rolling.