We thought a lot about language when we started writing texts. we wanted to sing mostly in English, because it is the language that people internationally best understand - but as it isn’t our mother tongue, we sing in a kind of „international English" it means that we have accents and also that our accents can change the meaning of the words sometimes or add meaning. We sing in French too but I am not the only one who is going to sing in French because I know that language best, Linda also sings in French for example. There is also one song that is French and Bulgarian because it fits very well to the content of the song. basically we use languages as instruments, -you can take one, then take another one - , we use many different instruments, some of them we haven’t really learned before, and we play these instruments them with accents too.


BabesInBoyland/OvaryAction: You released an e.p. earlier, and then it was this track on the Toxic Girl compilation, which means a few of yours tracks were already recorded, so why did you wait for such a loooooong time before releaseing I'm Disco? Can you tell us about the choice of label: did Kitty-Yo get in touch with you? Did you send them some material? Had you thought about releasing your music on MrLady Rec... Before it disappeared?
Pauline: We started playing together 5 years ago, and it's true that in 2000 we had already finished some of the tracks that are on I’m disco. We were in such a hurry to release them on a label, for us it was important to develop our projects incur communities; we were selling a cd that we had recorded in our living room. During that time we remained a bit underground, a lot happened as a matter of fact, we learnt how to record music ourselves, how to book shows, we met a lot of interesting people, our project itself evolved, and it was really important for us to keep control over our productions. Two years ago, we thought it was time for us to send our tracks to a label and we sent a demo to Kitty-Yo, who was really positive, we had a good feeling right away. A few months later, we recorded the album and it was released in May 2004. One of the things we liked about kitty-yo was that they really wanted to support us in what we wanted to do. For example, to record the album, they told us we knew exactly what sound we wanted, and we therefore did not need a producer. They asked us if there were some journalists in particular we did not want to work with for political reasons, and I think it was important for us to know we could keep on working like before, but also enjoy their structure for distribution. mrlady did not exist anymore at that time. After we toured with le Tigre in 2002, they told us we had to send them something, they thought it would be great to have us on their label, but they stopped right after.

BabesInBoyland/OvaryAction: 3 (un/)known female, that you love and that brought radical changes to music, bands who have had a crucial impact on your life, as a musician, and generally speaking..... Ok 5 if you really insist.
Pauline: god is my co-pilot, esg, missy eliott, the slits, the au-pairs, patti smith, salt’n pepa, yoko ono, luscious jackson, sleater-kinney, monie love, brigitte fontaine, bikini-kill, queen latifah, lizzy mercier descoux, the b-52‘s, laurie anderson, ....Oh, it was only 3 ....

BabesInBoyland/OvaryAction: I saw you perform in London in October, you were only two on stage, what happened to the third Rhythm Friend?
Pauline: Sara decided to quit the band to concentrate on her university work.

BabesInBoyland/OvaryAction: This concert was presented as an anti-racist event (within THE EUROPEAN SOCIAL guests ), the audience did not seem to be paying attention to your set, how did you feel about that? Was it more challenging for you to play electronic music on a mainly "rock" line-up or to be women among almost exclusively male bands?
Pauline: It was a rather strange happening, indeed! It was supposed to be an anti-racist night, and I must say I was a bit shocked that it was an almost total white dominance both on stage and in the pit. I do not think it's possible to be political this way. I do not know whether it was an exception, or if it is usual in the left scenes, in England. So the expected music style was of course some kind of alternative punk rock with 4-5 guys in the bands giving their all on guitars. I did not get any political message from these bands and I have mixed feelings when people separate the political (the debates and the demonstrations within the social guests) and the cultural this way, when music is a mere entertainment for the evening. they managed to fill in several quotas in one with us being queer, feminist, playing electronic music... etc in this reactionary atmosphere, it don't think it's really surprising that some are bothered by our presence.

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