Founded in 2006 by Vincent Bertholet (Hyperculte), the Orchestre Tout Puissant Marcel Duchamp is a large-scale project. Designed as a real orchestra, the size of the ensemble has varied over time, starting with 6 members and at times growing to 14. Now with 12 members, the ensemble has scoured the stages of Europe to demonstrate that the formula "the more the merrier" has never been more true than on stage.

Orchestre Tout Puissant Marcel Duchamp is a mischievous title in homage to traditional African groups – Orchestre Tout Puissant Konono n°1, Orchestre Tout Puissant Polyrytmo etc. – and to one of the greatest disruptors of/contributors to 20th century art. Whether in prestigious festivals (Paléo Festival de Nyon, Fusion Festival, Incubate, Womad, Bad Bonn Kilbi, Jazz à la Vilette) or on the four albums released since its launch, Orchestre Tout Puissant Marcel Duchamp shows an incredible fluidity. The band embraces the forms of its musicians while pushing them to their limits. The result is a powerful, experimental, unstable and terribly alive, organic sound.

These characteristics can be found on We're OK. But We're Lost Anyway, fifth opus of the band. Built around twelve musicians, extirpated from their respective biotope, it develops a repetitive musicality which, deployed in successive waves, creates a feeling of trance. Mixing free jazz, post punk, high life, brass band, symphonic mixtures and kraut rock, their sound only goes beyond the limits of genre. Transcendental, almost ritualistic, the music is coupled with powerful lyrics, declaimed in rage against a world that is falling apart. Adorcist, hypnotic, and post-syncratic, the Orchestre Tout Puissant Marcel Duchamp, far from Tzara's manifesto, is somewhere between Hugo Ball's phonetic psalms, a Sufi procession that turns into a brawl and a voodoo ritual, but always with a precision proper to the monomania of an asperger.