As the figurehead of a collective based in the suburbs of Rennes, the duo Columbine (Foda C and Lujipeka) embodies the perfect response of modern youth to a crumbling world. From their mixtape Enfants Terribles emerged a wild romanticism, dreams of glory, and insults; the scents of a white-trash teenage depression, the madness and sadness of a crew akin to Odd Future. An aesthetic entirely contained in the duo's name: a massacre in an American high school and the will to escape. It's a tension, a hint of despair but also a dreamy humanism, an altruistic individualism, a depressed air rifle: the dove and the Kalashnikov in the same breath. Since then, the duo has lost none of its energy, anger, and point-blank rage, and has preserved the melancholy that binds these terrible children around their sexual, musical, and technological obsessions. Loneliness, escape, and boredom parade between the speakers, a bag of gutted words from which escapes a somewhat deranged urbanity. A certain idea of youth and the world of tomorrow in which thousands of kids find themselves at their concerts. A fanbase that the collective has built without anyone's help, in record time and with unprecedented success. Independent and self-sufficient, out of the game, off the circuit, and almost out of competition, Columbine carves their own path: Luji and Foda write, produce, direct their videos, sell their records and merchandise through their own structure. They return on April 5 with "Adieu Au Revoir," the new edition of their latest album "Adieu Bientôt," which will include ten completely new tracks.
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