Drab City share “Pourquoi tu m’fous plus des coups” cover

Having relocated from Berlin to Marseilles, Drab City are currently hard at work on the follow-up LP to their acclaimed 2020 debut, Good Songs for Bad People. The release date is very much TBC, but in the meantime they’ve provided this synthy, bossa nova-tinged cover of an 80s chanson, “Pourquoi tu m’fous plus des coups”, as an offering to the Gods of Summer. They say it was a lot of fun to make and they hope it brings a few minutes of enjoyment to everyone who hears it.

Acclaim for Good Songs For Bad People, the debut album from Drab City:

“The new king and queen of fever-dream-pop.” MOJO – 4 stars ****

“Mixing savage lyrics with a haunting, cinematic sound, this enigmatic duo deliver potent songs for surreal times.” The Observer (One to Watch)

“Disorienting but compelling… Listening to Good Songs for Bad People, you do believe you have visited a new city, but it is anything but drab.” Loud & Quiet – 8/10

“Intoxicating and otherworldly.” DIY

“It’s woozy, dubby, funky and majorly chilled out — think Wu Tang Clan, those weird, cool David Axelrod albums, Portishead — with Islamiq Grrrls’ cooing vocals pulling things into Françoise Hardy / girl group territory.” Brooklyn Vegan

“Experimental, electronic, noir-ish aesthetics… Most crucial is a penchant for 60s chanson’s soft-focus harmonies, evident on the Air-like ‘Working For The Men.’” Uncut – 8/10

Drab City embody a revolutionary ideal of the role art is supposed to play.” Paste Magazine

“Turn down the lights, stick your headphones on, and melt into Drab City’s ethereal debut. Good Songs For Bad People oozes with Portishead-like production,

combining gothic elements with smooth jazz and dark synths to create a truly haunting record that removes you from reality.” The Rodeo – 4 Stars ****

It is the gift of escapism. Like a David Lynch film, or a Kafka novel, you’re transported into a world without a guide, and it is utterly exhilarating.” Secret Meeting – 8.3/10

“Their glitchy songs of violence and paranoia radiate a deranged elegance that’s both succinct and off-kilter… positions them as heirs to the sonic lift-off Broadcast’s laser-guided radiophonics and the spectral breakbeats of Portishead’s torch song future blues.” Pop Matters