Joe La Truite is a name that resonates with anarchy, raw energy, and an unfiltered passion for creating music without boundaries. Emerging from the underground scene of the South of France, this audacious trio—Julien Liphard (Guitar/Vocals), Charles Roussel (Bass/Vocals), and Martin Denquin (Drums)—has spent the past several years refining their signature sound. Blending the chaotic spirit of punk, the intensity of metal, and the mind-altering tendencies of psychedelia, they have carved out their own niche in a world where conformity is the enemy.
Their latest single, “Bad Death City,” is more than just a song—it is an experience, a statement, and an explosion of sonic rebellion. Serving as the first stage in their upcoming video game-inspired album Ultimate Ninja Storm 2: Full Zguen, the track sets the scene for a dystopian, noir-infused world dripping with danger and decay. Think Sin City meets Streets of Rage with a soundtrack engineered for headbanging mayhem. This marks a pivotal moment in the band’s trajectory, proving that their high-energy, genre-blending approach is not only sustainable but thriving.
From the very first notes, “Bad Death City” engulfs the listener in a dark, urban atmosphere. Julien Liphard’s enigmatic guitar riff, inspired by the brooding soundscapes of Gotham and the gritty noir aesthetics of Sin City, builds an eerie, detective-movie ambiance. The track wastes no time in throwing us into its grimy, dystopian world, where the streets pulse with danger, and every shadow hides a story waiting to be uncovered.
But Joe La Truite doesn’t just play with sound; they wield it like a weapon. The track seamlessly fuses punk’s raw aggression, metal’s technicality, and a hip-hop influence that makes the verses swagger with a streetwise attitude. The decision to incorporate rap-like vocal deliveries adds a fresh, urban grit to the track, grounding its dystopian themes in a more contemporary, ghetto-noir aesthetic. And just when you think you’ve settled into the groove, the chorus detonates with a riotous, headbanging force, reminding us why Joe La Truite has become synonymous with the term Zguen Banger.
The production on “Bad Death City” is a testament to the band’s meticulous approach. Every instrument occupies its own space in the mix, ensuring that the low-end punch of Roussel’s bass, Denquin’s thunderous drumming, and Liphard’s razor-sharp guitar riffs cut through with unrelenting force. The transitions between sections are seamless, reinforcing the song’s cinematic nature, making it feel like a high-speed chase through the alleyways of a doomed city.
The lyrics of “Bad Death City” paint a bleak yet oddly exhilarating picture of a corrupted metropolis, a place where survival is a game, and morality is an afterthought. The opening lines introduce us to the suffocating gloom that pervades the city— Ditch your soul on the side of the road / But don’t fool yourself ‘cause this ain’t gold
It’s a place where hope is currency, and most have long since spent their last dime. The city itself becomes an antagonist, its presence so menacing that it can chill the very soul of those who walk its streets. The metaphor is potent, likening the metropolis to a predatory force that consumes those who dare to exist within it. A standout moment comes with the line: This city is a chunk on the teeth of the universe. A nod to The Good Place, this phrase encapsulates the idea that Bad Death City isn’t just another dangerous town—it’s a cosmic mistake, an aberration that festers in the fabric of existence.
The protagonist, a restless wanderer searching for the elusive CosmoRider, seems both lost and driven. His search is a metaphor for something deeper, a quest for meaning in a world that offers nothing but corruption and vice. And as he spirals further into the abyss, his hunger takes on a more sinister form—A li’l blood that’s what my circuits need / And I know how to get it.
Is he even human? Or has the city itself transformed him into something else—something mechanical, something monstrous? The song never answers this directly, instead allowing listeners to immerse themselves in its dark poetry and draw their own conclusions.
The track closes with an ominous declaration: Dead men tell no tale / Murder is up for sale. An unmistakable homage to Iron Maiden’s Gangland, this final refrain seals the fate of those who dare to venture into Bad Death City. It’s a place where justice is a myth, life is cheap, and death is just another business transaction. The lyrics are not just a backdrop to the music—they are an essential element, working in tandem with the sonic chaos to craft a visceral and immersive experience.
“Bad Death City” isn’t just another single—it’s a manifesto of everything Joe La Truite stands for. The track pulsates with unrelenting energy, daring its audience to either join the ride or be left in the dust. And with its dark narrative, genre-defying composition, and sheer visceral impact, it serves as the perfect opening chapter to the upcoming Ultimate Ninja Storm 2: Full Zguen.
Joe La Truite’s approach to music is fearless, and that audacity is reflected not only in their sound but in their entire ethos. Their willingness to push genre boundaries, challenge expectations, and deliver high-energy performances has made them a must-see act. With the support of Blue Tongue Management and representation in multiple territories, their reach is expanding rapidly. The psychedelic punk-metal revolution is here, and it starts in Bad Death City.
With a full-scale media campaign, strategic management support, and a growing international fanbase, Joe La Truite is poised to make 2025 their defining year. From Marseille to the rest of the world, the Zguen energy is spreading like wildfire, and those who aren’t ready might just get left behind. Buckle up—this is only the beginning.
As the band prepares to take their relentless, high-energy spectacle to audiences worldwide, Bad Death City serves as both an invitation and a warning. Step inside, but beware: once you enter, there’s no turning back. With their upcoming album set to redefine expectations, Joe La Truite is proving that punk-metal is not just alive but mutating into something even more ferocious. The storm is coming—and it’s moving at full Zguen speed.
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