Music

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1. 

   ArtistLinks

2. rt4a

   Apple Music Spotify Tidal Bandcamp SoundCloud

3. About

4. rt4a, read phonetically as 'Arty Fouray', is the name under which I release music on the Arthur Fouray Systems label. My recordings have been on streaming platforms since 2022: three albums and nine singles, among them songs recorded between 2008 and 2014 and two versions of Rimsky-Korsakov's Scheherazade, Op. 35, both played at half speed. Four of the singles accompany paintings.

   Albums

5. Unreleased 2008–2014 Scheherazade, Op. 35 (Wendy Version) Scheherazade, Op. 35 (Half-Speed Version)

6. Singles

7. Monsters Accelerate Beware of Curator – 
   Smithson Cultural Confinement This Is Not a Tender World Chiquito Ecco Beach (a + o –) To Japan Galeries We Are the Extraterrestrials

8. Copyright

9. © Arthur Fouray Systems

1. 

   rt4a, We Are the Extraterrestrials, 2025: release image

   Single
   Artist
   Date
   Links

2. We Are the Extraterrestrials

   rt4a
   31.12.2025

3. Apple MusicSpotifyTidalBandcampBandcamp albumSoundCloudSoundCloud releaseYouTube

4. About

5. We Are the Extraterrestrials was released as a single on 31 December 2025, the last of five tracks from Unreleased 2008–2014 to come out as singles, after Monsters, Ecco Beach (a + o –), To Japan and Galeries. Each verse asks 'Isn't it nice to…': to live in a spaceship, to eat some stones, to take a bath on Neptune, to wear the rings of Uranus.

   Track 1
   Duration
   Composer
   Lyricist
   Synths
   Drums
   Vocals
   Producer

6. We Are the Extraterrestrials [2009]3 minutes 25 seconds
   Arthur Fouray
   Arthur Fouray
   Godefroy Fouray, Arthur Fouray
   Arthur Fouray
   Arthur Fouray
   Arthur Fouray

7. Lyrics

   Isn’t it nice to live in a spaceship?
   Isn’t it nice to dream in outer space?
   Isn’t it nice to know the universe?
   Isn’t it nice to change the future?

   We are the extraterrestrials
   We are the extraterrestrials
   We are the extraterrestrials
   We are the extraterrestrials

   Isn’t it nice to hear the planets?
   Isn’t it nice to smell the galaxies?
   Isn’t it nice to visit some secret asteroid?
   Isn’t it nice to see weird creatures?

   Isn’t it nice to eat some stones?
   Isn’t it nice to drink some air?
   Isn’t it nice to take a bath on Neptune?
   Isn’t it nice to wear the rings of Uranus?

   We are the extraterrestrials
   We are the extraterrestrials
   We are the extraterrestrials
   We are the extraterrestrials

   We are the extraterrestrials
   We are the extraterrestrials
   We are the extraterrestrials
   We are the extraterrestrials

   Isn’t it nice to live in a spaceship?
   Isn’t it nice to dream in outer space?
   Isn’t it nice to know the universe?
   Isn’t it nice to change the future?

   We are the extraterrestrials
   We are the extraterrestrials
   We are the extraterrestrials
   We are the extraterrestrials

   We are the extraterrestrials
   We are the extraterrestrials
   We are the extraterrestrials
   We are the extraterrestrials

   We are the extraterrestrials
   We are the extraterrestrials
   We are the extraterrestrials
   We are the extraterrestrials

8. Design
   Copyright

9. Arthur Fouray / rt4a
   © Arthur Fouray Systems

1. 

   rt4a, Galeries, 2025: release image

   Single
   Artist
   Date
   Links

2. Galeries

   rt4a
   26.12.2025

3. Apple MusicSpotifyTidalBandcampBandcamp albumSoundCloudSoundCloud releaseYouTube

4. About

5. Galeries [Galleries] (2012) was released as a single on 26 December 2025; the recording belongs to Unreleased 2008–2014. The lyric is an itinerary through Paris: forty-eight stops, each with the time spoken, from 13:27 to 18:50, and some with a status, fermé, impasse, introuvable, déjà visité [closed, dead end, not found, already visited]. In Iceberg (2012), I gave an account of a four-hour walk through fifty Paris galleries, speaking the time of each visit into my iPhone as I left, to find out whether the walls of the white cube were still white.

   Track 1
   Duration
   Composer
   Lyricist
   Synths
   Vocals
   Producer

6. Galeries [2012]3 minutes 56 seconds
   Arthur Fouray
   Arthur Fouray
   Godefroy Fouray, Arthur Fouray
   Arthur Fouray
   Arthur Fouray

7. Lyrics

   Galerie Kamel Mennour, treize heures vingt-sept
   Galerie Kamel Mennour, quatorze heures huit
   Galerie du Jour, agnès b., quatorze heures trente-deux
   Galerie Nathalie Obadia, quatorze heures trente-neuf
   Centre Wallonie‑Bruxelles, fermé, quatorze heures quarante-deux
   Galerie Templon, impasse, quatorze heures quarante-sept
   Galerie Daniel Templon, quatorze heures cinquante-deux
   Galerie Laurent Godin, quatorze heures cinquante-huit
   Galerie Bertrand Grimont, fermée, quinze heures trois
   Galerie Anne de Villepoix, quinze heures cinq
   Galerie Métropolis, quinze heures onze
   Galerie Marian Goodman, quinze heures dix-huit
   Galerie JGM, quinze heures vingt-quatre
   Galerie Chapon, quinze heures trente-deux
   Galerie Frédéric Lacroix, quinze heures trente-quatre
   Galerie Claudine Papillon, quinze heures trente-sept
   Galerie Isabelle Gounod, quinze heures trente-huit
   Galerie Sator, quinze heures quarante et une
   Galerie Christian Berst, quinze heures quarante-trois
   Galerie Olivier Robert, quinze heures cinquante-six
   Galerie Baudoin Lebon, introuvable, seize heures sept
   Centre culturel suisse, déjà visité, seize heures douze
   La Galerie Particulière, seize heures vingt
   Galerie Pascal Gabert, seize heures vingt-deux
   Galerie Next Level, seize heures trente
   Galerie Chantal Crousel, seize heures trente-trois
   Galerie Yvon Lambert, seize heures quarante-cinq
   Galerie Xippas, seize heures cinquante
   Galerie Taïss, seize heures cinquante-six
   Galerie Thaddaeus Ropac, dix-sept heures deux
   Galerie Karsten Greve, déjà visitée, dix-sept heures trois
   Galerie Pierre‑Alain Challier, déjà visitée, dix-sept heures trois
   GDM Galerie de Multiples, dix-sept heures douze
   Galerie Chez Valentin, dix-sept heures seize
   Galerie Art Concept, dix-sept heures trente
   Galerie Polaris, dix-sept heures trente-deux
   Sultana, dix-sept heures trente-cinq
   Jousse Entreprise, dix-sept heures quarante
   Torri, dix-sept heures quarante-neuf
   Galerie Frank Elbaz, dix-sept heures cinquante-trois
   Galerie Alberta Pane, dix-sept heures cinquante-sept
   Galerie Marie Cini, dix-huit heures deux
   Galerie Richard, dix-huit heures quatre
   Galerie Anne Barrault, dix-huit heures sept
   Galerie White Project, dix-huit heures dix
   Galerie Perrotin, dix-huit heures trente et une
   Galerie Triple V, dix-huit heures quarante-deux
   Air de Paris, dix-huit heures cinquante

8. Design
   Copyright

9. Arthur Fouray / rt4a
   © Arthur Fouray Systems

1. 

   rt4a, To Japan, 2025: release image

   Single
   Artist
   Date
   Links

2. To Japan

   rt4a
   19.12.2025

3. Apple MusicSpotifyTidalBandcampBandcamp albumSoundCloudSoundCloud releaseYouTube

4. About

5. To Japan (2010) was released as a single on 19 December 2025, a week after Unreleased 2008–2014, the album that revisits, rearranges, remixes and remasters my recordings from those years. 'You’ll never go to Japan' returns throughout, sometimes 'with girls', set against 'He doesn't see what I do see'.

   Track 1
   Duration
   Composer
   Lyricist
   Synths
   Drums
   Vocals
   Producer

6. To Japan [2010]3 minutes 25 seconds
   Arthur Fouray
   Arthur Fouray
   Godefroy Fouray, Arthur Fouray
   Arthur Fouray
   Arthur Fouray
   Arthur Fouray

7. Lyrics

   You’ll never go to Japan with girls
   You’ll never go to Japan with girls

   You’ll never go to Japan
   You’ll never go to Japan
   You’ll never go
   You’ll never go
   You’ll never go to Japan

   No, no. (what I do see) Don’t go
   (He doesn’t see) Don’t go! (what I do see) Don’t go
   No (He doesn’t see) No (what I do see)
   You’ll never go (He doesn’t see what I do see)

   You’ll never go to Japan (He doesn’t see what I do see)
   You’ll never go to Japan (He doesn’t see what I do see)
   You’ll never go (He doesn’t see)
   You’ll never go (what I do see)
   You’ll never go to Japan (He doesn’t see what I do see)

   You’ll never go to Japan, with girls
   You’ll never go to Japan, with girls
   You’ll never go to Japan, with girls
   You’ll never go to Japan, (what I do see) with girls

   Never go (He doesn’t see)
   Never go (what I do see)
   Never go (He doesn’t see)
   Never go (what I do see)
   (He doesn’t see) Never go to Japan (what I do see)
   (He doesn’t see) Never go to Japan (what I do see) with girls

   (He doesn’t see) Never go to Japan (what I do see) with girls
   (He doesn’t see) Never go to Japan (what I do see) with girls
   (He doesn’t see) Never go to Japan (what I do see) with girls
   (He doesn’t see) Never go to Japan (what I do see) with girls

   You’ll never go to Japan with girls
   You’ll never go to Japan with girls
   You’ll never go to Japan with girls
   You’ll never go to Japan with girls

   With girls
   (what I do see) With girls
   (He doesn’t see) With girls
   (what I do see) With girls
   (He doesn’t see) With girls
   (what I do see) With girls
   (He doesn’t see) With girls
   (what I do see) With girls

   (He doesn’t see) With girls
   (what I do see) With girls
   (He doesn’t see) With girls
   (what I do see) With girls
   (He doesn’t see) You’ll never go
   (what I do see) You’ll never go
   (He doesn’t see) You’ll never go
   (what I do see) You’ll never go

   You’ll never go to Japan with girls
   You’ll never go to Japan with girls
   You’ll never go to Japan with girls
   You’ll never go to Japan with girls

   You’ll never go to Japan
   Never go to Japan
   Never go to Japan with girls

8. Design
   Copyright

9. Arthur Fouray / rt4a
   © Arthur Fouray Systems

1. 

   rt4a, godart, Unreleased 2008–2014

   Album
   Artist
   Date
   Links

2. Unreleased 2008–2014

   rt4a, godart
   12.12.2025

3. Apple MusicSpotifyTidalBandcampSoundCloudYouTube

4. About

5. Unreleased 2008–2014 was released on 12 December 2025: 22 tracks, 1 hour 41 minutes. The album revisits, rearranges, remixes and remasters music recorded between 2008 and 2014; I remastered it myself in 2025. Each title carries its year in brackets. Six tracks are credited 'godart & rt4a'; godart, the duo with my brother, active from 2008 to 2010, had no public existence before this album, not even a MySpace page. Five tracks came out as singles between 28 November and 31 December 2025: Monsters, Ecco Beach (a + o –), To Japan, Galeries and We Are the Extraterrestrials.

   Track 1
   Duration
   Artist
   Composers
   Lyricist
   Synths
   Drums
   Vocals
   Co-producers

6. Aurore boréale [2008]4 minutes 6 seconds
   godart & rt4a
   Godefroy Fouray, Arthur Fouray
   Arthur Fouray
   Godefroy Fouray
   Godefroy Fouray
   Arthur Fouray
   Godefroy Fouray, Arthur Fouray

7. Lyrics

   Une aurore boréale, mes yeux se ferment
   J’entrevois un tissage, fluorescent
   Un tunnel venteux, m’entraine jusqu’au néant
   Le sommeil, peu à peu me submerge

   Je suis étendu, sur mon lit ombragé
   L’écrivain me fixe, avec attention
   Il m’explique, les détails d’une mission
   Il me tend, un étrange fusil doré

   L’ambiguïté, me pousse à le prendre
   Après qu’il m’a quitté, j’observe la rue
   J’ouvre mon vitrage, les passants sont abattus
   Soudain les flics tirent, je tente de feindre

   La porte saute, et ils me chopent
   Comme un zombie, je suis mis au cachot
   J’espère qu’un pégase, viendra au trot
   Me délivrer, de ce dont j’écope

   Ma prison est, un fer à repasser
   Je sens son poids, illustre et sinistre
   La chaleur étouffe, et rend tout triste
   À travers les barreaux, je vois les geôliers

   Ils regardent, un écran qui s’éclaire
   Un bâton serti, d’un oeil ouvert
   S’engouffre, dans une bouche peinte
   La nuit, me submerge de plaintes

8. Track 2
   Duration
   Artist
   Composers
   Synths
   Drums
   Vocals
   Co-producers

9. Mutant [2008]7 minutes 14 seconds
   godart & rt4a
   Godefroy Fouray, Arthur Fouray
   Godefroy Fouray, Arthur Fouray
   Godefroy Fouray
   Arthur Fouray
   Godefroy Fouray, Arthur Fouray

10. Lyrics

    Mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant
    Tant, tant tant, tant, tant tant, mutant, mutant, mutant, mutant mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant
    Mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, tant, tant, tant, tant, tant, tant, mutant, mutant, mutant, mutant, mutant, mutant, mutant
    Mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant
    Mutant, mutant, mutant, mutant, mutant, mutant, mutant
    Mutant, mutant, mutant, mutant
    Mutant
    Mutant
    Mutant
    Mutant
    Mutant
    Mutant
    Mutant
    Mutant
    Mutant
    Mutant
    Mutant, mutant
    Mutant, mutant

    Mu mu mu tan an an ant, Mu mu mu tan an an ant, Mu mu mu tan an an ant, Mu mu mu tan an an ant, Mu mu mu tan an an ant, Mu mu mu tan an an ant
    Mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mu, mu, mu, mu, mu
    Mu tan an an ant, Mu tan an an ant, Mu tan an an ant, Mu tan an an ant, Mu tan an an ant, Mu tan an an ant, Mu tan an an ant, Mu tan an an ant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant, mutant tant, mutant tant, mutant tant, mutant tant, mutant tant tant, mutant tant tant, mutant, mutant, mutant tant tant, mutant tant tant, mutant tant tant, mutant tant
    Tant mu mu tan an ant, mu tant mu mu tan an ant, mu tant mu mu tan an ant, mu tant mu mu tan an ant, tant mu mu tan an ant, mu tant mu mu tan an ant, mu tant mu mu tan an ant, mu tant mu mu tan an ant

11. Track 3
    Duration
    Artist
    Composers
    Synths
    Drums
    Co-producers

12. Family [2008]4 minutes 25 seconds
    godart & rt4a
    Godefroy Fouray, Arthur Fouray
    Godefroy Fouray
    Godefroy Fouray
    Godefroy Fouray, Arthur Fouray

13. Track 4
    Duration
    Artist
    Composers
    Synths
    Co-producers

14. One More Tear [2009]3 minutes 35 seconds
    godart & rt4a
    Godefroy Fouray, Arthur Fouray
    Godefroy Fouray
    Godefroy Fouray, Arthur Fouray

15. Track 5
    Duration
    Artist
    Composer
    Lyricist
    Synths
    Drums
    Vocals
    Producer

16. We Are the Extraterrestrials [2009]3 minutes 25 seconds
    rt4a
    Arthur Fouray
    Arthur Fouray
    Godefroy Fouray, Arthur Fouray
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray

17. Lyrics

    Isn’t it nice to live in a spaceship?
    Isn’t it nice to dream in outer space?
    Isn’t it nice to know the universe?
    Isn’t it nice to change the future?

    We are the extraterrestrials
    We are the extraterrestrials
    We are the extraterrestrials
    We are the extraterrestrials

    Isn’t it nice to hear the planets?
    Isn’t it nice to smell the galaxies?
    Isn’t it nice to visit some secret asteroid?
    Isn’t it nice to see weird creatures?

    Isn’t it nice to eat some stones?
    Isn’t it nice to drink some air?
    Isn’t it nice to take a bath on Neptune?
    Isn’t it nice to wear the rings of Uranus?

    We are the extraterrestrials
    We are the extraterrestrials
    We are the extraterrestrials
    We are the extraterrestrials

    We are the extraterrestrials
    We are the extraterrestrials
    We are the extraterrestrials
    We are the extraterrestrials

    Isn’t it nice to live in a spaceship?
    Isn’t it nice to dream in outer space?
    Isn’t it nice to know the universe?
    Isn’t it nice to change the future?

    We are the extraterrestrials
    We are the extraterrestrials
    We are the extraterrestrials
    We are the extraterrestrials

    We are the extraterrestrials
    We are the extraterrestrials
    We are the extraterrestrials
    We are the extraterrestrials

    We are the extraterrestrials
    We are the extraterrestrials
    We are the extraterrestrials
    We are the extraterrestrials

18. Track 6
    Duration
    Artist
    Composer
    Lyricist
    Synths
    Drums
    Vocals
    Producer

19. Monsters [2009]6 minutes 20 seconds
    rt4a
    Arthur Fouray
    Arthur Fouray
    Godefroy Fouray, Arthur Fouray
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray

20. Lyrics

    Tizheruk, Aqrabuamelu, Pishacha, Grootslang, Nachzehrer, Buraq, Zahhak, Harpy, Matagot, Trauco, Giant Roc, Mara, Bloody Bones, Inugami, Pennywise, Wurm

    Okiku Doll, Hag, El Silbon, Yowie, Succubus, Bhuta, Huli Jing, Karkadann, Gigantes, Each Uisge, Abaasy, Underwater Panther, Abaddon, Jikininki, Bugbear, Onryo, Bujang Senang

    Firebird, Kur, Caipora, Jikininki, Alicanto, Behemoth, Kishi, El Sombreron, Rusalka, Homa, Alphyn, Kelpie, Salamander, Basilisk, Gargoyle, Sasquatch

    Shenlong, Pan, Cherufe, Leshy, Zombie, Satyr, Luduan, Chaneque, Tanuki, Alkarisi, Cockatrice, Balor, Hydra, Pegasus, Abathakathi, Leviathan

    Jack-in-Irons, Lamassu, Hafgufa, Djinn, Tlanchana, La Llorona, Aswang, Megaloceros, Hodag, Tiangou, Taotie, Nuckelavee, Valravn, Wraith, Anzu, Minotaur, Yali, Azeban, Griffin, Breath Stealer, Spring-Heeled Jack, Roc, Raiju, Yuki-onna, Loup-garou, Lubber Fiend, Hippogriff, Qiqirn, Tiyanak, Loch Ness Monster, Catoblepas, Slavic Dragon

    Qalupalik, Bukavac, Nidhogg, Merrow, Blemmyes, Adaro, Drop Bear, Vodyanoy, Rakshasi, Woodwose, Jiangshi, Samael, Afanc, Hidebehind, Jormungandr, Xing Tian

    Kobold, Rougarou, Kitsune, Abura-akago, Talos, Shedu (Lamassu), Alkonost, Doppelganger, Vampire, Golem, Manananggal, Umibozu, Water Leaper, Ocypete, Baku, Ogopogo

    Thunderbird, Bugul Noz, Akaname, Champ, Tokoloshe, Jorogumo, Owlman, Cerberus, Niu Mo Wang, Wampus Cat, Fei Lian, Nymph, Pazuzu, Yakshi, Melusine, Inkanyamba, Tigre Capiango, La Velue, Echidna, Oni, Fulad-Zereh, Stymphalian Birds, El Cadejo, Namahage, Chernobog, Beelzebub, Bastet, Dragon, Ittan-momen, Fafnir, Polevik, Yeti

    Drekavac, Bakunawa, Goblin, Iara, Domovoi, Cetus, Cuchivilu, Futakuchi-onna, Montauk Monster, Gulyabani, Fiura, Skin-walker, Njord’s Seal, Hedley Kow, Drude, Impundulu

    Pukwudgie, Geryon, Yamauba, Boogeyman, Dhampir, Kinoko, Kirin, Peng, Questing Beast, Vetala, Pixiu, Sleipnir, Gallu, Chimera, Rabisu, Yaoguai

    Pisadeira, Asag, Baba Yaga, Lamia, Mapinguari, Mothman, Nahual, Naga, Nue, Irdlirvirissong, Gryla, Jersey Devil, Yara-ma-yha-who, Azazel, Ammit, Dokkaebi, Taotaomona, Wanyudo, Abasi, Ahuizotl, Grendel, Strigoi, Iqniq, El Lobison, Sigbin, Ocu, Amphisbaena, Abaia, Gilgamesh, Upyr (Upior), Lusca, Bai Gu Jing, Chonchon

    Ao Ao, Piasa, Beldam, Mogwai, Osiris, Kraken, Tailypo, Nurikabe, Yurei, Sphinx, Medusa, Fog Monster, Asura, Chupacabra, Typhon, Empusa

    Duende, Banshee, Morag, Ushi-oni, Charybdis, Ouroboros, Myling, Qareen, Basilisco Chilote, Erlking, Kali, Kurupi, Nguruvilu, Marid, Dakini, Cyclops

    Dybbuk, Poltergeist, Ypotryll, Abada, Simurgh, Koschei, Leprechaun, Bunyip, Camazotz, Enfield Beast, Gumiho, Sea Serpent, Choronzon, Velociraptor, Camahueto, Troll, Jasy Jatere

    Panlong, Titan, Centaur, Abaia, Hadhayosh, Beist Kione Dhoo, Fox Spirit, Gremlin, Strzyga, Iele, Penanggalan, Ghoul, Ciguapa, Siren, Kikimora, Lyngbakr, Sceadugenga, Cipactli, Rokurokubi, Dynastie, Yamata-no-Orochi, Popobawa, Gashadokuro, Suzaku, Powrie, Cerastes, Encantado, Kulshedra, Python, Noppera-bo, Amarok, Beast of Gevaudan

    Dryad, Yinglong, Mephistopheles, Teggie, Loveland Frog, Flatwoods Monster, Mami Wata, Clurichaun, Redcap, Fomorian, Tengu, Headless Mule, Ox-Head and Horse-Face, Azure Dragon, Muldjewangk, Adze, Laestrygonians

    Qilin, Lilith, Ijiraq, Rainbow Serpent, Liderc, Cthulhu, Pontianak, Aiwass, Dire Wolf, Karakoncolos, Amphiptere, Capricorn Sea-Goat, Patasola, Makara, Kirinnya, Wendigo

    Karabasan, Mimi, Colossus, Batibat, Tiamat, Ke’let, Adlet, Revenant, Incubus, Werewolf, Yaksha, Invunche, Manticore, Tarasque, Cadborosaurus, Puca

    Tikbalang, Ifrit, Gorgon, Likho, Peryton, Ropen, Imp, Al-mi’raj, Mudlark, Kuchisake-onna, Karakoncolos, Phoenix, Umaci, Harionago, Hitodama, Dakuwaqa

    Bahamut, La Siguanaba, Legion, Lindworm, Akhlut, Buggane, El Chupacabra, Wyvern, Black Shuck, Bigfoot, Church Grim, Krampus, Nemean Lion, Azhi Dahaka, Humbaba, Scylla

    Bonnacon, Dullahan, Jenglot, Sirrush, Squonk, Cait Sith, Lamashtu, Ninki Nanka, Draugr, Mokele-mbembe, Bean Nighe, Imundogou, Kapre, Y Ddraig Goch, Mandragora, Alu

    Ogre, Fenrir, Rakshasa, Hecatoncheires, Dover Demon, Shinigami, Yama-uba, Bakwas, Kappa, Nian, Kulshedra, Bai Ze, Keelut, Fuath, Selkie, Taniwha

21. Track 7
    Duration
    Artist
    Composer
    Adapter
    Synths
    Drums
    Co-producers

22. Maraudeur [2009]5 minutes 6 seconds
    godart & rt4a
    Arthur Fouray
    Godefroy Fouray
    Arthur Fouray
    Godefroy Fouray
    Godefroy Fouray, Arthur Fouray

23. Track 8
    Duration
    Artist
    Composer
    Lyricist
    Synths
    Drums
    Vocals
    Producer

24. To Japan [2010]3 minutes 25 seconds
    rt4a
    Arthur Fouray
    Arthur Fouray
    Godefroy Fouray, Arthur Fouray
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray

25. Lyrics

    You’ll never go to Japan with girls
    You’ll never go to Japan with girls

    You’ll never go to Japan
    You’ll never go to Japan
    You’ll never go
    You’ll never go
    You’ll never go to Japan

    No, no. (what I do see) Don’t go
    (He doesn’t see) Don’t go! (what I do see) Don’t go
    No (He doesn’t see) No (what I do see)
    You’ll never go (He doesn’t see what I do see)

    You’ll never go to Japan (He doesn’t see what I do see)
    You’ll never go to Japan (He doesn’t see what I do see)
    You’ll never go (He doesn’t see)
    You’ll never go (what I do see)
    You’ll never go to Japan (He doesn’t see what I do see)

    You’ll never go to Japan, with girls
    You’ll never go to Japan, with girls
    You’ll never go to Japan, with girls
    You’ll never go to Japan, (what I do see) with girls

    Never go (He doesn’t see)
    Never go (what I do see)
    Never go (He doesn’t see)
    Never go (what I do see)
    (He doesn’t see) Never go to Japan (what I do see)
    (He doesn’t see) Never go to Japan (what I do see) with girls

    (He doesn’t see) Never go to Japan (what I do see) with girls
    (He doesn’t see) Never go to Japan (what I do see) with girls
    (He doesn’t see) Never go to Japan (what I do see) with girls
    (He doesn’t see) Never go to Japan (what I do see) with girls

    You’ll never go to Japan with girls
    You’ll never go to Japan with girls
    You’ll never go to Japan with girls
    You’ll never go to Japan with girls

    With girls
    (what I do see) With girls
    (He doesn’t see) With girls
    (what I do see) With girls
    (He doesn’t see) With girls
    (what I do see) With girls
    (He doesn’t see) With girls
    (what I do see) With girls

    (He doesn’t see) With girls
    (what I do see) With girls
    (He doesn’t see) With girls
    (what I do see) With girls
    (He doesn’t see) You’ll never go
    (what I do see) You’ll never go
    (He doesn’t see) You’ll never go
    (what I do see) You’ll never go

    You’ll never go to Japan with girls
    You’ll never go to Japan with girls
    You’ll never go to Japan with girls
    You’ll never go to Japan with girls

    You’ll never go to Japan
    Never go to Japan
    Never go to Japan with girls

26. Track 9
    Duration
    Artist
    Composer
    Lyricist
    Synths
    Drums
    Vocals
    Producer

27. Implants [2010]3 minutes 39 seconds
    rt4a
    Arthur Fouray
    Arthur Fouray
    Godefroy Fouray, Arthur Fouray
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray

28. Lyrics

    You see now, you’ve gotta do it
    The future’s driving you into it
    Plug yourself right into it
    You’ll never want to live without it
    What do you want? You’re everything with it
    I assure you that you’re safe with it
    Don’t worry, you can afford it
    You won’t be my friend if you don’t wear it
    Everyone learned to live with it
    You won’t get a job if you don’t have it

    How would you like to pay without it?
    How would you like to vote without it?
    How would you like to talk without it?
    Would you be human if you weren’t with it?

    You see now, you’ve gotta do it
    The future’s driving you into it
    Plug yourself right into it
    You’ll never want to live without it
    What do you want? You’re everything with it
    I assure you that you’re safe with it
    Don’t worry, you can afford it
    You won’t be my friend if you don’t wear it
    Everyone learned to live with it
    You won’t get a job if you don’t have it

    How would you like to pay without it?
    How would you like to vote without it?
    How would you like to talk without it?
    Would you be human if you weren’t with it?

29. Track 10
    Duration
    Artist
    Composer
    Synths
    Drums
    Producer

30. You the Cat the Devil [2010]3 minutes 24 seconds
    rt4a
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray

31. Track 11
    Duration
    Artist
    Composers
    Synths
    Drums
    Co-producers

32. Ben [2010]5 minutes 40 seconds
    godart & rt4a
    Godefroy Fouray, Arthur Fouray
    Godefroy Fouray, Arthur Fouray
    Arthur Fouray
    Godefroy Fouray, Arthur Fouray

33. Track 12
    Duration
    Artist
    Composer
    Synths
    Drums
    Producer

34. Morph [2010]5 minutes 35 seconds
    rt4a
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray

35. Track 13
    Duration
    Artist
    Composer
    Synths
    Drums
    Producer

36. Toto [2011]3 minutes 35 seconds
    rt4a
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray

37. Track 14
    Duration
    Artist
    Composer
    Lyricist
    Synths
    Drums
    Vocals
    Producer

38. Désamour [2011]3 minutes 21 seconds
    rt4a
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray, S. F.
    Arthur Fouray

39. Lyrics

    Je ne suis plus et ne t’aime plus, sale petit con, t’as tout perdu
    Pas tout à fait. Je ne te vois plus, mais je sais que je t’ai plu
    C’est ça, c’est ça, sois abattu, car ton amante a disparu
    Non, ne pars pas. Je ne peux plus, te laisser, notre lien rompu
    Ah, mais que dis-tu ? Tu dis, par là, que tu m’aimes plus ?
    Oui, je crois, j’en suis même sûr : mon désir, il perdure
    Mon ami, tu rêves, tu rêves, si tu crois que tu m’as vu
    Une étincelle me dévoile les courbures de ton corps nu
    Après tout ce temps, je pensais plus, que t’avais l’esprit tordu
    Cette démesure, qui te rend folle, rend âcres toutes tes vertus
    Et puis d’abord, moi, je n’en peux plus de ta manière de vivre reclus
    Toi, tu t’en fous. T’en as ras le cul de ce petit con qui a la berlue
    Moi, je m’en fiche, je t’écoute plus : tu ne me bouffes que trop la vue
    Tu rayonnes, et tu m’aimes plus. J’en redemande, et t’en peux plus

    Tu rayonnes, et tu m’aimes plus. J’en redemande, et t’en peux plus
    Moi, je m’en fiche, je t’écoute plus : tu ne me bouffes que trop la vue
    Toi, tu t’en fous. T’en as ras le cul de ce petit con qui a la berlue
    Et puis d’abord, moi, je n’en peux plus de ta manière de vivre reclus
    Cette démesure, qui te rend folle, rend âcres toutes tes vertus
    Après tout ce temps, je pensais plus, que t’avais l’esprit tordu
    Une étincelle me dévoile les courbures de ton corps nu
    Mon ami, tu rêves, tu rêves, si tu crois que tu m’as vu
    Oui, je crois, j’en suis même sûr : mon désir, il perdure
    Ah, mais que dis-tu ? Tu dis, par là, que tu m’aimes plus ?
    Non, ne pars pas. Je ne peux plus, te laisser, notre lien rompu
    C’est ça, c’est ça, sois abattu, car ton amante a disparu
    Pas tout à fait. Je ne te vois plus, mais je sais que je t’ai plu
    Je ne suis plus et ne t’aime plus, sale petit con, t’as tout perdu

40. Track 15
    Duration
    Artist
    Composer
    Synths
    Drums
    Producer

41. Nostalgia [2011]3 minutes 50 seconds
    rt4a
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray

42. Track 16
    Duration
    Artist
    Composer
    Synths
    Drums
    Producer

43. Cercle [2012]3 minutes 48 seconds
    rt4a
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray

44. Track 17
    Duration
    Artist
    Composer
    Arranger
    Synths
    Producer

45. Van [2012]2 minutes 12 seconds
    rt4a
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray

46. Track 18
    Duration
    Artist
    Composer
    Lyricist
    Synths
    Vocals
    Producer

47. Galeries [2012]3 minutes 56 seconds
    rt4a
    Arthur Fouray
    Arthur Fouray
    Godefroy Fouray, Arthur Fouray
    Arthur Fouray
    Arthur Fouray

48. Lyrics

    Galerie Kamel Mennour, treize heures vingt-sept
    Galerie Kamel Mennour, quatorze heures huit
    Galerie du Jour, agnès b., quatorze heures trente-deux
    Galerie Nathalie Obadia, quatorze heures trente-neuf
    Centre Wallonie‑Bruxelles, fermé, quatorze heures quarante-deux
    Galerie Templon, impasse, quatorze heures quarante-sept
    Galerie Daniel Templon, quatorze heures cinquante-deux
    Galerie Laurent Godin, quatorze heures cinquante-huit
    Galerie Bertrand Grimont, fermée, quinze heures trois
    Galerie Anne de Villepoix, quinze heures cinq
    Galerie Métropolis, quinze heures onze
    Galerie Marian Goodman, quinze heures dix-huit
    Galerie JGM, quinze heures vingt-quatre
    Galerie Chapon, quinze heures trente-deux
    Galerie Frédéric Lacroix, quinze heures trente-quatre
    Galerie Claudine Papillon, quinze heures trente-sept
    Galerie Isabelle Gounod, quinze heures trente-huit
    Galerie Sator, quinze heures quarante et une
    Galerie Christian Berst, quinze heures quarante-trois
    Galerie Olivier Robert, quinze heures cinquante-six
    Galerie Baudoin Lebon, introuvable, seize heures sept
    Centre culturel suisse, déjà visité, seize heures douze
    La Galerie Particulière, seize heures vingt
    Galerie Pascal Gabert, seize heures vingt-deux
    Galerie Next Level, seize heures trente
    Galerie Chantal Crousel, seize heures trente-trois
    Galerie Yvon Lambert, seize heures quarante-cinq
    Galerie Xippas, seize heures cinquante
    Galerie Taïss, seize heures cinquante-six
    Galerie Thaddaeus Ropac, dix-sept heures deux
    Galerie Karsten Greve, déjà visitée, dix-sept heures trois
    Galerie Pierre‑Alain Challier, déjà visitée, dix-sept heures trois
    GDM Galerie de Multiples, dix-sept heures douze
    Galerie Chez Valentin, dix-sept heures seize
    Galerie Art Concept, dix-sept heures trente
    Galerie Polaris, dix-sept heures trente-deux
    Sultana, dix-sept heures trente-cinq
    Jousse Entreprise, dix-sept heures quarante
    Torri, dix-sept heures quarante-neuf
    Galerie Frank Elbaz, dix-sept heures cinquante-trois
    Galerie Alberta Pane, dix-sept heures cinquante-sept
    Galerie Marie Cini, dix-huit heures deux
    Galerie Richard, dix-huit heures quatre
    Galerie Anne Barrault, dix-huit heures sept
    Galerie White Project, dix-huit heures dix
    Galerie Perrotin, dix-huit heures trente et une
    Galerie Triple V, dix-huit heures quarante-deux
    Air de Paris, dix-huit heures cinquante

49. Track 19
    Duration
    Artist
    Composer
    Synths
    Drums
    Co-producers

50. Ecco Beach (a + o –) [2013]5 minutes 6 seconds
    rt4a
    Arthur Fouray
    NCM, Arthur Fouray
    NCM, Arthur Fouray
    NCM, Arthur Fouray

51. Track 20
    Duration
    Artist
    Composer
    Lyricist
    Vocals
    Producer

52. Mémoire [2013]8 minutes 49 seconds
    rt4a
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray

53. Lyrics

    Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire; Mémoire; Mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire, mémoire, mémoire; Mémoire; mémoire; mémoire; mémoire; Mémoire; mémoire; mémoire; mémoire; Mémoire; mémoire; mémoire; mémoire; Mémoire; mémoire; mémoire; mémoire; Mémoire; mémoire; mémoire; mémoire; Mémoire; mémoire; mémoire; mémoire; Mémoire; mémoire; mémoire; mémoire; Mémoire; mémoire; mémoire; Mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire, mémoire; Mémoire, mémoire; Mémoire, mémoire, mémoire; Mémoire; Mémoire; Mémoire; Mémoire; Mémoire; Mémoire; Mémoire; Mémoire; Mémoire; Mémoire; Mémoire; Mémoire; Mémoire; Mémoire; Mémoire; Mémoire; Mémoire; Mémoire

54. Track 21
    Duration
    Artist
    Composer
    Lyricist
    Synths
    Drums
    Vocals
    Producer

55. Suave [2013]6 minutes 41 seconds
    rt4a
    Arthur Fouray
    Arthur Fouray
    NCM, Arthur Fouray
    NCM, Arthur Fouray
    Arthur Fouray
    Arthur Fouray

56. Lyrics

    Une forme d’académisme s’est créée
    Un peu, peut-être, courbaturé par une société, réfractaire à son objet
    Au final, le plus beau et le plus poétique dans l’art, c’est que…
    Il ne s’agit pas d’ajouter de l’art dans la vie mais d’ajouter de la vie dans l’art
    Chercher à faire le neuf, ça sert absolument à rien
    Considérer l’idée d’être d’arrière-garde, de se prôner d’arrière-garde, plutôt que d’avant-garde
    Parce qu’en fin de compte…
    Ce n’est pas incohérent de respecter…
    Ce qui a pu être fait avant soi
    Tenter de réfléchir, quelque part, peut-être au plus juste
    Non pas au plus faussement savant
    Non pas à découvrir superficiellement des choses
    Et rester plus sur des…
    Des pensées qui peuvent être préexistantes

    Du moins se poser aujourd’hui…
    La question de la relation au…
    Ouais, au double ou à…
    À la version…
    Ou au multiple…
    À des formes de frictions…
    Dans les usages que nous faisons des choses
    Qui nous font mélanger…
    Les notions, quelque part…
    Sur lesquelles la société dans laquelle on vit est basée
    Remise en question, à la fois, de notre état personnel au regard de la société mais aussi remise en question de la société au regard de notre état
    Quelque part…
    Tout peut se convertir en n’importe quoi
    Tout est susceptible d’être réinterprété à l’infini
    Tout est sujet à une forme de jugement collectif

    Et, à la fois, une envie très maniériste
    L’arrière-garde va pleinement dans ce sens-là
    Revenir à de beaux matériaux, à une forme d’essence, c’est tout un leitmotiv de cette époque
    Tout est, quelque part, soumis, à notre examen
    Même dans notre consommation de quelque chose
    On peut, à l’inverse, s’emparer de tout et n’importe quoi
    Réussir à conserver la plus petite chose
    Une fascination…
    Un enthousiasme très particulier
    Un enthousiasme…
    Très esthétisant. Très difficile
    Très exigeant…
    Plus doux…
    Assez fluet
    Assez…
    Lunatique…
    Dans lequel, finalement, dans un certain sens
    Nous sommes tous contraints à naviguer comme des…
    Des formes de poissons dans l’eau.
    Se retourner, faire un tour sur nous-mêmes.
    Sortir de l’eau,
    De temps en temps

57. Track 22
    Duration
    Artist
    Composer
    Synths
    Drums
    Vocals
    Co-producers

58. Wake Up or Die (NBA) [2014]

59. 3 minutes 58 seconds
    rt4a
    Arthur Fouray
    Arthur Fouray
    Baker Wardlaw
    NCM
    NCM, Arthur Fouray

60. Lyrics

    Wake up or die
    You can’t even be aside
    Wake up or die
    You can’t ever miss a chance for love
    You can’t ever miss a chance for love

    Wake up or die
    I’m too close to open my eyes
    Wake up or die
    I just have to put these drops away
    Away

    Put it away
    Put it away
    Put it away, away, away, away
    Put it away
    Put it away
    Put it away, away, away, away

    Wake up or die
    You can’t even be aside
    Wake up or die
    You can’t ever miss a chance for love
    You can’t ever miss a chance for love

    Wake up or die
    I’m too close to open my eyes
    Wake up or die
    I just have to put these drops away
    Away

    Believe in love
    Believe in chance
    Believe in hope
    Believe in you

    You can’t miss a chance for love
    You can’t miss a chance for love
    You can’t miss a chance for love
    You can’t miss a chance for love

    Wake up or die
    I just have to open my eyes
    Wake up or die
    You can’t ever miss a chance for love
    You can’t ever miss a chance for love

    Wake up, oh wake up, oh wake up, wake up, wake up, oh wake up, oh wake up
    Oh oh oh wake up

61. Design
    Copyright

62. Arthur Fouray / rt4a
    © Arthur Fouray Systems

1. 

   rt4a, Ecco Beach (a + o -), Ecco Beach (a + o –), rt4a, 2025: release image

   Single
   Artist
   Date
   Links

2. Ecco Beach (a + o –)

   rt4a
   05.12.2025

3. Apple MusicSpotifyTidalBandcampSoundCloudYouTube

4. About

5. Ecco Beach (a + o –) is a song and a video that NCM and I made in 2013, as a + o –, the collaborative curatorial practice we shared from 2013 to 2015. I composed the track; the synthesisers, drums and production are ours together. It came out as a single on 5 December 2025, a week before Unreleased 2008–2014, and its official video was published on rt4aVEVO the same day.

   Track 1
   Duration
   Composer
   Synths
   Drums
   Co-producers

6. Ecco Beach (a + o –) [2013]5 minutes 6 seconds
   Arthur Fouray
   NCM, Arthur Fouray
   NCM, Arthur Fouray
   NCM, Arthur Fouray

7. Ecco Beach (a + o -)

8. Design
   Copyright

9. Arthur Fouray / rt4a
   © Arthur Fouray Systems

1. 

   rt4a, Monsters, 2025: release image

   Single
   Artist
   Date
   Links

2. Monsters

   rt4a
   28.11.2025

3. Apple MusicSpotifyTidalBandcampSoundCloudYouTube

4. About

5. Monsters (2009) was released as a single on 28 November 2025, two weeks before Unreleased 2008–2014. For six minutes and twenty seconds the lyric names more than four hundred monsters from myth, folklore and fiction, from Tizheruk to Taniwha.

   Track 1
   Duration
   Composer
   Lyricist
   Synths
   Drums
   Vocals
   Producer

6. Monsters [2009]6 minutes 20 seconds
   Arthur Fouray
   Arthur Fouray
   Godefroy Fouray, Arthur Fouray
   Arthur Fouray
   Arthur Fouray
   Arthur Fouray

7. Lyrics

   Tizheruk, Aqrabuamelu, Pishacha, Grootslang, Nachzehrer, Buraq, Zahhak, Harpy, Matagot, Trauco, Giant Roc, Mara, Bloody Bones, Inugami, Pennywise, Wurm

   Okiku Doll, Hag, El Silbon, Yowie, Succubus, Bhuta, Huli Jing, Karkadann, Gigantes, Each Uisge, Abaasy, Underwater Panther, Abaddon, Jikininki, Bugbear, Onryo, Bujang Senang

   Firebird, Kur, Caipora, Jikininki, Alicanto, Behemoth, Kishi, El Sombreron, Rusalka, Homa, Alphyn, Kelpie, Salamander, Basilisk, Gargoyle, Sasquatch

   Shenlong, Pan, Cherufe, Leshy, Zombie, Satyr, Luduan, Chaneque, Tanuki, Alkarisi, Cockatrice, Balor, Hydra, Pegasus, Abathakathi, Leviathan

   Jack-in-Irons, Lamassu, Hafgufa, Djinn, Tlanchana, La Llorona, Aswang, Megaloceros, Hodag, Tiangou, Taotie, Nuckelavee, Valravn, Wraith, Anzu, Minotaur, Yali, Azeban, Griffin, Breath Stealer, Spring-Heeled Jack, Roc, Raiju, Yuki-onna, Loup-garou, Lubber Fiend, Hippogriff, Qiqirn, Tiyanak, Loch Ness Monster, Catoblepas, Slavic Dragon

   Qalupalik, Bukavac, Nidhogg, Merrow, Blemmyes, Adaro, Drop Bear, Vodyanoy, Rakshasi, Woodwose, Jiangshi, Samael, Afanc, Hidebehind, Jormungandr, Xing Tian

   Kobold, Rougarou, Kitsune, Abura-akago, Talos, Shedu (Lamassu), Alkonost, Doppelganger, Vampire, Golem, Manananggal, Umibozu, Water Leaper, Ocypete, Baku, Ogopogo

   Thunderbird, Bugul Noz, Akaname, Champ, Tokoloshe, Jorogumo, Owlman, Cerberus, Niu Mo Wang, Wampus Cat, Fei Lian, Nymph, Pazuzu, Yakshi, Melusine, Inkanyamba, Tigre Capiango, La Velue, Echidna, Oni, Fulad-Zereh, Stymphalian Birds, El Cadejo, Namahage, Chernobog, Beelzebub, Bastet, Dragon, Ittan-momen, Fafnir, Polevik, Yeti

   Drekavac, Bakunawa, Goblin, Iara, Domovoi, Cetus, Cuchivilu, Futakuchi-onna, Montauk Monster, Gulyabani, Fiura, Skin-walker, Njord’s Seal, Hedley Kow, Drude, Impundulu

   Pukwudgie, Geryon, Yamauba, Boogeyman, Dhampir, Kinoko, Kirin, Peng, Questing Beast, Vetala, Pixiu, Sleipnir, Gallu, Chimera, Rabisu, Yaoguai

   Pisadeira, Asag, Baba Yaga, Lamia, Mapinguari, Mothman, Nahual, Naga, Nue, Irdlirvirissong, Gryla, Jersey Devil, Yara-ma-yha-who, Azazel, Ammit, Dokkaebi, Taotaomona, Wanyudo, Abasi, Ahuizotl, Grendel, Strigoi, Iqniq, El Lobison, Sigbin, Ocu, Amphisbaena, Abaia, Gilgamesh, Upyr (Upior), Lusca, Bai Gu Jing, Chonchon

   Ao Ao, Piasa, Beldam, Mogwai, Osiris, Kraken, Tailypo, Nurikabe, Yurei, Sphinx, Medusa, Fog Monster, Asura, Chupacabra, Typhon, Empusa

   Duende, Banshee, Morag, Ushi-oni, Charybdis, Ouroboros, Myling, Qareen, Basilisco Chilote, Erlking, Kali, Kurupi, Nguruvilu, Marid, Dakini, Cyclops

   Dybbuk, Poltergeist, Ypotryll, Abada, Simurgh, Koschei, Leprechaun, Bunyip, Camazotz, Enfield Beast, Gumiho, Sea Serpent, Choronzon, Velociraptor, Camahueto, Troll, Jasy Jatere

   Panlong, Titan, Centaur, Abaia, Hadhayosh, Beist Kione Dhoo, Fox Spirit, Gremlin, Strzyga, Iele, Penanggalan, Ghoul, Ciguapa, Siren, Kikimora, Lyngbakr, Sceadugenga, Cipactli, Rokurokubi, Dynastie, Yamata-no-Orochi, Popobawa, Gashadokuro, Suzaku, Powrie, Cerastes, Encantado, Kulshedra, Python, Noppera-bo, Amarok, Beast of Gevaudan

   Dryad, Yinglong, Mephistopheles, Teggie, Loveland Frog, Flatwoods Monster, Mami Wata, Clurichaun, Redcap, Fomorian, Tengu, Headless Mule, Ox-Head and Horse-Face, Azure Dragon, Muldjewangk, Adze, Laestrygonians

   Qilin, Lilith, Ijiraq, Rainbow Serpent, Liderc, Cthulhu, Pontianak, Aiwass, Dire Wolf, Karakoncolos, Amphiptere, Capricorn Sea-Goat, Patasola, Makara, Kirinnya, Wendigo

   Karabasan, Mimi, Colossus, Batibat, Tiamat, Ke’let, Adlet, Revenant, Incubus, Werewolf, Yaksha, Invunche, Manticore, Tarasque, Cadborosaurus, Puca

   Tikbalang, Ifrit, Gorgon, Likho, Peryton, Ropen, Imp, Al-mi’raj, Mudlark, Kuchisake-onna, Karakoncolos, Phoenix, Umaci, Harionago, Hitodama, Dakuwaqa

   Bahamut, La Siguanaba, Legion, Lindworm, Akhlut, Buggane, El Chupacabra, Wyvern, Black Shuck, Bigfoot, Church Grim, Krampus, Nemean Lion, Azhi Dahaka, Humbaba, Scylla

   Bonnacon, Dullahan, Jenglot, Sirrush, Squonk, Cait Sith, Lamashtu, Ninki Nanka, Draugr, Mokele-mbembe, Bean Nighe, Imundogou, Kapre, Y Ddraig Goch, Mandragora, Alu

   Ogre, Fenrir, Rakshasa, Hecatoncheires, Dover Demon, Shinigami, Yama-uba, Bakwas, Kappa, Nian, Kulshedra, Bai Ze, Keelut, Fuath, Selkie, Taniwha

8. Design
   Copyright

9. Arthur Fouray / rt4a
   © Arthur Fouray Systems

1. 

   rt4a, Scheherazade, Op. 35 (Wendy Version), Scheherazade, Op. 35 (Wendy Version), rt4a, 2025: release image

   Album

   Artist
   Date
   Links

2. Scheherazade, Op. 35
   (Wendy Version)

   rt4a
   24.10.2025

3. Apple MusicSpotifyTidalBandcampSoundCloudYouTube

4. About

5. The Wendy Version, released on 24 October 2025, is a new mix of my Half-Speed Version, inspired by the electronic textures of Wendy Carlos. Both play Nikolai Rimsky-Korsakov's Scheherazade, Op. 35 at half speed, performed in real time on keyboards with digital and analogue synthesisers, in several passes; neither is a MIDI render. I wanted a vrai faux, the simulacrum of an orchestra, and it took nearly two years of experiment. The four movements last an hour and forty-one minutes.

   Track 1

   Duration
   Composer
   Arranger
   Synths
   Producer

6. Scheherazade, Op. 35: 
   I. The Sea and Sinbad’s Ship. 
   Largo E Maestoso – Lento – Allegro 
   Non Troppo – Tranquillo22 minutes 56 seconds
   Nikolai Rimsky-Korsakov
   Arthur Fouray
   Arthur Fouray
   Arthur Fouray

7. Track 2

   Duration
   Composer
   Arranger
   Synths
   Producer

8. Scheherazade, Op. 35: 
   II. The Story of the Kalendar Prince. 
   Lento – Andantino – Allegro Molto –
   Vivace Scherzando – Moderato Assai –
   Allegro Molto Ed Animato25 minutes 8 seconds
   Nikolai Rimsky-Korsakov
   Arthur Fouray
   Arthur Fouray
   Arthur Fouray

9. Track 3

   Duration
   Composer
   Arranger
   Synths
   Producer

10. Scheherazade, Op. 35: 
    III. The Young Prince and the Young Princess. 
    Andantino Quasi Allegretto – Pochissimo
    Più Mosso – Come Prima – Pochissimo
    Più Animato 19 minutes 3 seconds
    Nikolai Rimsky-Korsakov
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray

11. Track 4

    Duration
    Composer
    Arranger
    Synths
    Producer

12. Scheherazade, Op. 35: 
    IV. Festival at Baghdad. The Sea. 
    The Ship Breaks against a Cliff Surmounted
    by a Bronze Horseman. 
    Allegro Molto – Lento – Vivo – Allegro
    Non Troppo E Maestoso – Tempo Come I34 minutes 21 seconds
    Nikolai Rimsky-Korsakov
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray

13. Design
    Copyright

14. Arthur Fouray / rt4a
    © Arthur Fouray Systems

1. 

   rt4a, Scheherazade, Op. 35 (Half-Speed Version), Scheherazade, Op. 35 (Half-Speed Version), rt4a, 2025: release image

   Album

   Artist
   Date
   Links

2. Scheherazade, Op. 35
   (Half-Speed Version)

   rt4a
   25.05.2025

3. Apple MusicSpotifyTidalBandcampSoundCloudYouTube

4. About

5. I rearranged Nikolai Rimsky-Korsakov's Scheherazade, Op. 35 for synthesisers and played it at half speed, in real time on keyboards, in several passes; it is not a MIDI render. Released on 25 May 2025, this original version lasts an hour and forty-one minutes over four movements. The aim was to create a vrai faux, the simulacrum of an orchestra, the result of nearly two years of experiment. A new mix inspired by Wendy Carlos, the Wendy Version, followed on 24 October 2025.

   Track 1

   Duration
   Composer
   Arranger
   Synths
   Producer

6. Scheherazade, Op. 35: 
   I. The Sea and Sinbad’s Ship. 
   Largo E Maestoso – Lento – Allegro 
   Non Troppo – Tranquillo22 minutes 56 seconds
   Nikolai Rimsky-Korsakov
   Arthur Fouray
   Arthur Fouray
   Arthur Fouray

7. Track 2

   Duration
   Composer
   Arranger
   Synths
   Producer

8. Scheherazade, Op. 35: 
   II. The Story of the Kalendar Prince. 
   Lento – Andantino – Allegro Molto –
   Vivace Scherzando – Moderato Assai –
   Allegro Molto Ed Animato25 minutes 4 seconds
   Nikolai Rimsky-Korsakov
   Arthur Fouray
   Arthur Fouray
   Arthur Fouray

9. Track 3

   Duration
   Composer
   Arranger
   Synths
   Producer

10. Scheherazade, Op. 35: 
    III. The Young Prince and the Young Princess. 
    Andantino Quasi Allegretto – Pochissimo
    Più Mosso – Come Prima – Pochissimo
    Più Animato 19 minutes
    Nikolai Rimsky-Korsakov
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray

11. Track 4

    Duration
    Composer
    Arranger
    Synths
    Producer

12. Scheherazade, Op. 35: 
    IV. Festival at Baghdad. The Sea. 
    The Ship Breaks against a Cliff Surmounted
    by a Bronze Horseman. 
    Allegro Molto – Lento – Vivo – Allegro
    Non Troppo E Maestoso – Tempo Come I34 minutes 20 seconds
    Nikolai Rimsky-Korsakov
    Arthur Fouray
    Arthur Fouray
    Arthur Fouray

13. Design
    Copyright

14. Arthur Fouray / rt4a
    © Arthur Fouray Systems

1. 

   rt4a, Accelerate, 2022: release image

   SingleArtist
   Date
   Links

2. Accelerate

   rt4a
   30.06.2022

3. Apple MusicSpotifyTidalBandcampSoundCloudYouTube

4. About

5. Accelerate condenses Bernard Herrmann's Psycho score twentyfold, into an urgent five minutes, where Douglas Gordon stretched the film to twenty-four hours in 24 Hour Psycho (1993). The repeated word 'accelerate' recalls the Beatles' 'Revolution 9’ (1968), over thousands of samples that shift with each bar, and the Wilhelm scream, a nod to the film's climax, returns faster and faster. Released on 30 June 2022, the track accompanies my painting Accelerate (2022), acrylic, KRINK marker and pencil on linen.

   Track 1 Duration
   Composer
   Synths
   Drums
   Vocals
   Producer

6. Accelerate 4 minutes 56 seconds
   Arthur Fouray
   Arthur Fouray
   Arthur Fouray
   Arthur Fouray
   Arthur Fouray

7. Lyrics

   Accelerate, accelerate, accelerate, accelerate, accelerate, accelerate, accelerate, accelerate.

   Accelerate, accelerate, accelerate, accelerate.

   Accelerate, accelerate, accelerate, accelerate, accelerate.
   Accelerate.
   Accelerate, accelerate, accelerate, accelerate, accelerate.

   Accelerate, accelerate, accelerate, accelerate, accelerate, accelerate.

   Accelerate, accelerate, accelerate.
   Accelerate, accelerate, accelerate, accelerate, accelerate.
   Accelerate, accelerate, accelerate, accelerate, accelerate, accelerate.

   Accelerate, accelerate, accelerate, accelerate, accelerate, accelerate, accelerate, accelerate, accelerate, accelerate, accelerate, accelerate, accelerate.

   Accelerate, accelerate, accelerate.

8. Design
   Copyright

9. Arthur Fouray / rt4a
   © Arthur Fouray Systems

1. 

   rt4a, Beware of Curator – Smithson Cultural Confinement, 2022: release image

   Single

   Artist
   Date
   Links

2. Beware of Curator –
   Smithson Cultural Confinement

   rt4a
   29.06.2022

3. Apple MusicSpotifyTidalBandcampSoundCloudYouTube

4. About

5. AI voices read Robert Smithson's 'Cultural Confinement', published in Artforum in October 1972. Released on 29 June 2022, the recording lasts eight and a half minutes and accompanies my painting Beware of Curator – Smithson Cultural Confinement (2021), acrylic on cotton canvas, which turns the 'Beware of Dog' sign towards the museum. The curator guards culture as the dog guards the house and, in protecting works, may also confine them: for Smithson, cultural confinement takes place 'when a curator imposes his own limits on an art exhibition'.

   Track 1

   Duration
   Composer
   Text

   Synths
   Drums
   Producer

6. Beware of Curator – 
   Smithson Cultural Confinement8 minutes 30 seconds
   Arthur Fouray
   Robert Smithson
   (Artforum, 1972)
   Arthur Fouray
   Arthur Fouray
   Arthur Fouray

7. Lyrics

   (Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits.)

   Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits. Artists are expected to fit into fraudulent categories. Some artists imagine they’ve got a hold on this apparatus, which in fact has got a hold of them. As a result, they end up supporting a cultural prison that is out of their control. Artists themselves are not confined, but their output is. Museums, like asylums and jails, have wards and cells—in other words, neutral rooms called “galleries.” A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world. A vacant white room with lights is still a submission to the neutral. Works of art seen in such spaces seem to be going through a kind of esthetic convalescence. They are looked upon as so many inanimate invalids, waiting for critics to pronounce them curable or incurable. The function of the warden-curator is to separate art from the rest of society. Next comes integration. Once the work of art is totally neutralized, ineffective, abstracted, safe, and politically lobotomized it is ready to be consumed by society. All is reduced to visual fodder and transportable merchandise. Innovations are allowed only if they support this kind of confinement.

   (All is reduced to visual fodder and transportable merchandise. Innovations are allowed only if they support this kind of confinement.)

   Occult notions of “concept” are in retreat from the physical world. Heaps of private information reduce art to hermeticism and fatuous metaphysics. Language should find itself in the physical world, and not end up locked in an idea in somebody’s head. Language should be an ever developing procedure and not an isolated occurrence. Art shows that have beginnings and ends are confined by unnecessary modes of representation both “abstract” and “realistic.” A face or a grid on a canvas is still a representation. Reducing representation to writing does not bring one closer to the physical world. Writing should generate ideas into matter, and not the other way around. Art’s development should be dialectical and not metaphysical.

   (Writing should generate ideas into matter, and not the other way around. Art’s development should be dialectical and not metaphysical.)

   I am speaking of a dialectics that seeks a world outside of cultural confinement. Also, I am not interested in art works that suggest “process” within the metaphysical limits of the neutral room. There is no freedom in that kind of behavioral game playing. The artist acting like a B. F. Skinner rat doing his “tough” little tricks is something to be avoided. Confined process is no process at all. It would be better to disclose the confinement rather than make illusions of freedom.

   (It would be better to disclose the confinement rather than make illusions of freedom.)

   (I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation.)

   I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation. The parks that surround some museums isolate art into objects of formal delectation. Objects in a park suggest static repose rather than any ongoing dialectic. Parks are finished landscapes for finished art. A park carries the values of the final, the absolute, and the sacred. Dialectics have nothing to do with such things. I am talking about a dialectic of nature that interacts with the physical contradictions inherent in natural forces as they are—nature as both sunny and stormy. Parks are idealizations of nature, but nature in fact is not a condition of the ideal. Nature does not proceed in a straight line, it is rather a sprawling development. Nature is never finished. When a finished work of 20th-century sculpture is placed in an 18th-century garden, it is absorbed by the ideal representation of the past, thus reinforcing political and social values that are no longer with us. Many parks and gardens are re-creations of the lost paradise or Eden, and not the dialectical sites of the present. Parks and gardens are pictorial in their origin—landscapes created with natural materials rather than paint. The scenic ideals that surround even our national parks are carriers of a nostalgia for heavenly bliss and eternal calmness.

   (Landscapes created with natural materials rather than paint. The scenic ideals that surround even our national parks are carriers of a nostalgia for heavenly bliss and eternal calmness.)

   Apart from the ideal gardens of the past, and their modern counterparts—national and large urban parks, there are the more infernal regions—slag heaps, strip mines, and polluted rivers. Because of the great tendency toward idealism, both pure and abstract, society is confused as to what to do with such places. Nobody wants to go on a vacation to a garbage dump. Our land ethic, especially in that never-never land called the “art world” has become clouded with abstractions and concepts.

   (Our land ethic, especially in that never-never land called the “art world” has become clouded with abstractions and concepts.)

   (Could it be that certain art exhibitions have become metaphysical junkyards? Categorical miasmas? Intellectual rubbish?)

   Could it be that certain art exhibitions have become metaphysical junkyards? Categorical miasmas? Intellectual rubbish? Specific intervals of visual desolation? The warden-curators still depend on the wreckage of metaphysical principles and structures because they don’t know any better. The wasted remains of ontology, cosmology, and epistemology still offer a ground for art. Although metaphysics is outmoded and blighted, it is presented as tough principles and solid reasons for installations of art. The museums and parks are graveyards above the ground—congealed memories of the past that act as a pretext for reality. This causes acute anxiety among artists, in so far as they challenge, compete, and fight for the spoiled ideals of lost situations.

   (Robert Smithson)

   Robert Smithson

8. Design
   Copyright

9. Arthur Fouray / rt4a
   © Arthur Fouray Systems

1. 

   rt4a, This Is Not a Tender World, 2022: release image

   SingleArtist
   Date
   Links

2. This Is Not a Tender World

   rt4a
   18.03.2022

3. Apple MusicSpotifyTidalBandcampSoundCloudYouTube

4. About

5. This Is Not a Tender World was released as a single on 18 March 2022: two minutes and twenty-seven seconds of post-punk, for guitar, synth and voice. It accompanies my painting This Is Not a Tender World (2021), acrylic on hessian, where the same words are set in Croissant, the typeface Philip Kelly designed in 1978.

   Track 1Duration
   Composer
   Guitar
   Synth
   Vocals
   Producer

6. This Is Not a Tender World2 minutes 27 seconds
   Arthur Fouray
   Arthur Fouray
   Arthur Fouray
   Arthur Fouray
   Arthur Fouray

7. Lyrics

   This Is Not a Tender World.
   This Is Not a Tender World.
   This Is Not a Tender World.

   This is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world, this is not a tender world.

8. Design
   Copyright

9. Arthur Fouray / rt4a
   © Arthur Fouray Systems

1. 

   rt4a, Chiquito, 2022: release image

   SingleArtist
   Date
   Links

2. Chiquito

   rt4a
   07.03.2022

3. Apple MusicSpotifyTidalBandcampSoundCloudYouTube

4. About

5. Released on 7 March 2022, Chiquito sets elements of the theme from The Matrix over beats inspired by Massive Attack’s ‘Teardrop’ (1998). The French lyric is the description of Telfar’s Small Shopping Bag, translated from Telfar’s official website. My painting CHIQUITO (2021) shows a black Telfar Small Shopping Bag on a green ground that recalls the code rain of The Matrix (1999); the title refers to a tiny Jacquemus bag.

   Track 1Duration
   Composer
   Synths
   Drums
   Vocals
   Producer

6. Chiquito3 minutes 12 seconds
   Arthur Fouray
   Arthur Fouray
   Arthur Fouray
   Arthur Fouray
   Arthur Fouray

7. Lyrics

   L’emblématique sac de shopping unisexe est un sac de tous les jours pour tout le monde.
   Il est doté d’une double sangle (poignées et sangles transversales), d’un logo en relief et d’une fermeture à bouton-pression magnétique. Fabriqué en faux cuir et doublure en sergé. Le sac est emballé dans un sac à cordon 100 % coton avec logo sérigraphié.
   La taille S convient pour la fête et l’after aussi.
   (Hauteur 12 cm, Largeur 17 cm, Profondeur 7,5 cm, Longueur de la sangle 55 cm, Longueur de la poignée 12 cm).
   Comptez 5 à 7 jours pour l’envoi de la commande.

   L’emblématique sac de shopping unisexe est un sac de tous les jours pour tout le monde.
   Il est doté d’une double sangle (poignées et sangles transversales), d’un logo en relief et d’une fermeture à bouton-pression magnétique. Fabriqué en faux cuir et doublure en sergé. Le sac est emballé dans un sac à cordon 100 % coton avec logo sérigraphié.
   La taille S convient pour la fête et l’after aussi.
   (Hauteur 12 cm, Largeur 17 cm, Profondeur 7,5 cm, Longueur de la sangle 55 cm, Longueur de la poignée 12 cm).
   Comptez 5 à 7 jours pour l’envoi de la commande.

   L’emblématique sac de shopping unisexe est un sac de tous les jours pour tout le monde.
   Il est doté d’une double sangle (poignées et sangles transversales), d’un logo en relief et d’une fermeture à bouton-pression magnétique. Fabriqué en faux cuir et doublure en sergé. Le sac est emballé dans un sac à cordon 100 % coton avec logo sérigraphié.
   La taille S convient pour la fête et l’after aussi.
   (Hauteur 12 cm, Largeur 17 cm, Profondeur 7,5 cm, Longueur de la sangle 55 cm, Longueur de la poignée 12 cm).
   Comptez 5 à 7 jours pour l’envoi de la commande.

8. Design
   Copyright

9. Arthur Fouray / rt4a
   © Arthur Fouray Systems