L’aventure débute en 1990 dans les artères souterraines du postpunk hexagonal, tout juste relayé par quelques fanzines, des salles de concert vétustes et des boutiques de disques qui se comptent alors sur les doigts d'une main. Une musique âpre, urbaine, tendue, où résonnent encore les échos du hardcore et des flips de skateboard. Du rock qui crisse et râcle, à base de guitares atonales, de lignes de basse découpées au scalpel, de rythmiques à contretemps et de voix acrimonieuses. Mené par les frères Fabrice et Nicolas Laureau, le groupe Prohibition se démarque par une instrumentation hors du commun: le saxophone en roue libre de Quentin Rollet et le drone d’un sitar s'invitent au milieu des décibels. Leur notoriété grimpe en Europe et aux EtatsàUnis, où ils entament d’incessantes tournées, incluant des dates avec Fugazi, leurs frères aînés, mais aussi Blonde Redhead, David Grubbs ou encore Noir Désir, grands supporters du groupe. En 1999, après la tournée de 14 Ups & Downs, le groupe décide de faire une pause qui débouche sur de nouveaux projets : Don Nino, F/lor et NLF3 pour les frères Laureau, le de mutliples collaborations pour Quentin Rollet et Ludovic Morillon

Based around the complementarities of brothers Sam and Max Bodson, Patton formed as a trio on 94 in Belgium.Their first EP, Love Boat, was recorded with the help of groovy bassist Philippe Koeune and issued on Prohibited Records in 97. At the time, the sound of Patton was one of a angular and electric post-rock with text material inducing a narrative approach in otherwise abstracts atmospheres. They pursued their efforts on that basis until the completion of their first full-length: "J-R for jaune-rouge", recorded by producer f.lor and issued in 2002 on Prohibited Records. Back from the interest provoked by "JR for jaune-rouge", the two brothers went in for an underground and reflexing phase, as both had been hit by the haunting sound of early 30's rural blues, and a will to reformulate their rock n' roll. Through the exposure to more primitive music such as the one of John Fahey or even AC/DC, they stripped down the sound, and through the use of acoustic instruments but also homemade electronic devices, managed to get into rougher moods and excentric sonologies. The band is now a two-part, using their disitinctive talents as diy experimentalists, inducing the resulting unadorned whines and drones of electronic oscillators into the heart of their otherwise blues-tainted sound. While Max plays the acoustic guitar but also the bass, Sam is playing the drums and electronic elements. It's through the confinment of these heterogenic sounds and an extravagant twin-tongued lyrics (both in french and english), that Patton creates a sequential music, with the confrotation of cut-up texs acting as references to the listener. Between 2007 end 2008, they recorded the material for the full-length at home, using their own talents to craft this one-of-a-kind album: "Hellénique Chevaleresque Récital".