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sweet talk, convenience & lies

by Le Bas-fond

Can’t get whatchu want It’s everyone’s fault-- Don’t know know who you are? You were gonna be my quick fix Now it’s come to this And I’m not sorry you’re sore Hung up on your own jealousy ‘Cos you’re not him You’ll never be When he has hints of Mister Snow Even when he’s stuck on flash and bone There’s no one left to blame And everytime you look the rules have changed Your great expectations have done you in Hey, but what’s come to be Is the joke is on me All my deep fears were true But that being said We’ve all reached the end And it still wasn’t you Hung up on your own jealousy ‘Cos you’re not him You’ll never be Stuck on words that you could never say Then throw a fit when you can’t get your way There’s no one left to blame And everytime you look the rules have changed Your great expectations have done you in Your great expectations have done wrong Great expectations Great expectations
Crave(n) 07:43
Hell, hell is empty they let all the damned go free in attempts to make things right but forgot all about me a breath of snow and ashes I longed to be desired but I don't know if I could even feel it the intimate exchange I crave simplicity of the hand touch to me, more than enough so much more than enough I know what's good for you I know just what you need me. Hell, hell is empty they let all the damned go free in attempts to make things right and forgot all about me
I gotta ringside seat I watch you fuck it up is my forgiveness weak and are you man enough? but I don't wanna lose you this time I gave you a child, I wouldn't be your wife cos you're JUST a child no matter the life I was there in Bolinas there in Pompeii I held your hand in Lexington I'm always there to save the mother fuckin' day but I don't wanna lose you this time Go ahead, ignore her But nobody puts Baby in the corner when they're important and you're passe until it's time for you to save that motherfuckin' day but I don't wanna lose you this time I gotta ringside seat I watch us fuck it up and in each life we meet you're the only one I love you're the only one Be my witness Don't make me take your car keys you and I can work this out don't forget that I'm your baby Don't leave me behind I'm on your side You know I never lied be my witness be-- you know I never lied (I love you)
You touched everything I love I’ll never be the same Losing all that I am Been through the wringer so now I don’t fuck around The way I loved you Could be no match for The truth about you Don’t think I don’t know That you used my body Just to make yourself feel better Would you look atchu now Ain’tchu a bad go better And you took all you wanted And you met all your needs And when it came to my turn There was nothing left for me I touched everything you love You’ll never be same All that you are: A foundation of sweet talk, Convenience & lies The truth about you Is uglier than the filth You say about me Say what you want Say what you will You’ll never not dream about me When you want a good girl But you need a bad pussy And you took all you wanted And you met all your needs And when it came to my turn There was nothing left for me And now you try to shame me I feel it in my sex And when it came to my turn There was nothing left Good riddance to bad rubbish Grandma always said Doesn’t make it hurt less Doesn’t bring the town back Too bad too bad too bad There’s nothing left Too bad too bad Into the Highland Mist


This record a piteous consolation. It was a record that, frankly, I didn't want to make. I said I wasn't going to give any energy toward new material on what had happened the last couple of years. I find taking one’s hurt and turning into art of any kind both derivative and cliché. Some people thrive off of heartache, and I am vehemently opposed to this gross misconception that torture makes good art. I’d trade my art for peace of mind any day. I didn't want a new record. I wanted it all to sort itself out. I wanted the dreams I had been promised. I wanted hope and home and family. I wanted all of my friends to be friends forever and grow old and raise all of our families together. I wanted nostalgia to be enough to save us all.

One of the fundamental aspects of making this record was letting go of my perfectionism without sacrificing any of my production values. Channeling lo-fi, 70's, early 80's grit and aesthetics, and self-made records like "An Ideal for Living" (Joy Division) and "Touch" (The Eurythmics), I chose less perfect, more earnest takes. I never autotune or retouch my vocals, but I will do as many takes as needed to achieve what I'm looking for. This was not the case. With this record I took one or two takes, let myself hit bad notes, cried during takes, and I kept them."What's the Use of Wond'rin'?" is recorded on a rotting cassette tape with a rotting cassette player, in a single take as a vocal warm up. You can hear me physically shaking at the end of "RINGSIDE (La Brea Version)." I tried to capture what it was like letting my dreams die with my perfectionism. I wanted this record to feel like a raw, festering, open wound; I wanted it to feel like the rotting fruit on the cover.

I saw the ugliest parts of people I loved---people I had known for years, decades--- and it broke me. It shook me to my core, that I could know someone for decades and then realize I didn't know them at all. People could act in such a shocking ugliness for seemingly no reason. Things that I loved so dearly just rotted before my eyes and I couldn't save them. I couldn't do the right thing no matter what I tried. I wanted to do the right things and make everyone happy. I sacrificed a lot of myself and my own needs to prioritize the needs and happiness of other people. It wasn't enough.

I wasn't enough.

With everything that happened came unexpected resurgences of sexual trauma. This record is coming to terms with the fact that there are seminal experiences from which you never completely recover. You don't always get to come out stronger on the other side. I've accepted that I will never completely heal from these last couple years, as much as I know now that I will never completely heal from my childhood sexual trauma. Sometimes you break and you don't get to bounce back.

I now have to take the coming to terms with now knowing I will never completely heal, and now go on into the rest of my life.

Bruises, decay, sacrifice, selfishness, selflessness, definitude, plaintive grief.


released July 27, 2017

Sweet Talk, Convenience & Lies

Le Bas-fond is Melody Pilotte

Executive Producer: Melody Pilotte
Mixed and mastered by Melody Pilotte

All songs written and produced by Melody Pilotte, except for:

“Great Expectations” which was written by Melody Pilotte (BMI) and Will Curry(ASCAP); co-produced by Will Curry
“RINGSIDE (La Brea Version)” written by Melody Pilotte, with new arrangements by Jason Yeager; co-produced by Jason Yeager. "Jason Yeager appears courtesy of Inner Circle Music."
“What’s the Use of Wond’rin’?” from the musical CAROUSEL, written by Oscar Hammerstein II and Richard Rogers (Imagem Music Inc)

All material © 2017.

Vocals, synths, programming, piano: Melody Pilotte
Violin, Viola & Their Arrangements: Will Curry
Wurlitzer Electric Piano and synth pad: Jason Yeager
Promotional Photography: Shawna Hamic
CD Packaging and Design: Lauren Howard

Cover painting: "Still-Life with Fruits," ( circa 1660's) Mignon, Abraham: German, 1640 - 1679

Emotional Support (what a team): Charlotte Martin, Heather Clough, Anthony Graham, Anthony Logan Cole, Catherine Richers, Melanie Montgomery, Rebecca Curran, K. Zander, Sarah Merry, Shannon Ford, Lauren Howard and Tyler Hamilton.

With Endless Gratitude: The Great Spirit and All The Ancestors, La Familia, The Garner/Hughes/ Graham/ Chin/ Stofan/ Reyes/ Gaus/ Clough/ Quirk families, Will Curry, The Roseberrys, [O] Catherine [, My Catherine,] the Great, Lauren Howard, Becca, The Fats: Mocha, Beatrice & Santa Baby, The Merry Rah-Rah, M. & F. Steffanses, Kevin & Kara Massey, Jason&Joe, Anthony Logan Cole, Matt Leisy, Jordan Nichols, Sarla Nichols, Kiki Peace, zot Megan, Walter & Jo (Ka-KAW!), Lauren Worsham, Kyle Jarrow, & Bunny Princess Oona-fishie, Freya, The Coven, Julie Benko, Jason Yeager, Jules Ho (“I wish I was at this Char show… OH WAIT!”), Morgan Kibby, ShellE Productions, Gabbie!, Kristin Allen, Ing, Mary, Mark Uhre & all our watercolour friends, Apes and Bunzy, Kate Barr, Franny Losada, [“It can’t go any faster, it’s a Geo]ffrey Fisicaro[“](TALLY HO), Charlotte Martin, Dr. Guillermo Paredes, Shannon Ford (hi ho T-rex, AWAY), The Shannons, Vienna Teng,Samantha Sandy, Daniel Zaitchik, Shawna Hamic, Lisa Claybaugh and her family, Stina Bina Pinot Noir, Daena, Sarah Copeland, Dani, Denise & Fam, Chris “Henry” (“we’ve been HAD!”) Johnston, Chris Mayer, Peter Newturkey, Arbender Robinson, Zahra Era

For Grandpa and Grandma. I love you both so much, and still believe, even when I don’t understand.


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Le Bas-fond San Francisco, California

Soprano, composer, cute animal enthusiast, synesthete. Aspiring werewolf. Graveyard girl. Like Snow White, only more maudlin. Reina Indígena. "tougher than the toughies and smarter than the smarties!"CREAG AN TUIRC.

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