Distributed by a progressive rock label called Musea Records, the band incorporates very different styles and categories, including metal, jazz, and fusion.

[5] Sebkha-Chott is created in Le Mans - France by Yüla Slipobitch and Wladimir Ohrelianov II (members of the band do not want their name to be known or spread), who were by that time studying at Université du Maine.

The band records its first demo called Ma Kët I, which contains Bienvenue à Babylone and Pinok'ïo.

A horn section joins Sebkha-Chott with Marx Bronosov on trombone and Labial Aerostick on alto saxophone.

Latin influences might be heard, especially in rhythm section, while the arrival of horns gives a jazz-funk/fusion touch to this album, turning Sebkha-Chott in a less metal band.

From this moment on, Sebkha-Chott's shows take the shape of burlesque theater, deploying the universe of an absurd dictatorship, led by a Joke Tyrant.

For this purpose, Labial Aerostick, P.A.Squale Del Amafia et Mustach'Man reintegers the band, as well as many guests: Grümse (vocals - Electro Addict Band), Arno (vocals - Carnival in Coal), Petit Zornbergette (tap dance - Mentat Routage), David Rabillet (cajon), Mimetic Angel (vocals), Guilty (turntables - Anes et Bateaux / DJ Guilty), Jules Lefranc Gaulois Kaïser (percussions), VaGoDor Deu Sahpun (baritone saxophone), GenBaku (sound painting).

VaGoDor Deu Sahpun joins Sebkha-Chott on baritone saxophone, and Jules Lefranc Gaulois Kaïser does the same on percussions.

Nagah Mahdi - Opuscrits en 48 Rouleaux is released on Musea Parallèle, giving to Sebkha-Chott international visibility.

During summer, Sebkha-Chott simultaneously records [[Nigla[h] - Tapisseries Finex en XXX Strips et LXX/X Trompettes|Nigla[h]]] and De la Persistance onboard of Péniche Excelsior on the AMMD's studio.

At the end of this recording sessions, Benoît Popol II and Jules LeFranc Gaulois Kaïser leaves the band.

Keyboard will be shared by Wladimir Ohrelianov II and Tzom Trümb (through a MIDI vibe), and percussions will be played by Yüla Slipobitch mainly.

On 30 October, [[Nigla[h] - Tapisseries fines en XXX Strips et LXX/X Trompettes]] is released on Musea Records.

This album sets a turning point by being much more dark and obscure than the previous ones, Sleepytime Gorilla Museum's being clearly hearable.

Wladimir Ohrelianov II and Yüla Slipobitch décide to go on by integrating electronic machines in an intensive way, which is a historic will of the band, never made real due to lack of time.

Tzom Trümb leaves the band as Souv Ponky Ponk joins it on saxophone and lights management altogether with Cousin Sub on guitar and audioproduction.

Sebkha-Chott goes back on tour, and cross road with Extra Life, another important meeting, which let the band even more sure about the new way he works sound as a global material.

During Summer, Sebkha-Chott plays at Zappanale, a German festival in celebration of Frank Zappa, sharing the line-up with Napoleon Murphy Brock, Robert Martin, Ike Willis... From this tour, it appears that the technical setup is a bit too complex to prepare on stage ; the band goes back working on it to make it easier to use.

Since the band creation, members of Sebkha-Chott made the choice to stay anonymous, and to hide behind fiction characters.

Political system is a dictatorship longing since 10000 years (this duration does not change with time passing), with a unique tyrant: Wladimir Ohrelianov II.

Members of Sebkha-Chott have explained that this world has been thought like a crossing point between Le Roi et l'Oiseau (Paul Grimault and Jacques Prévert), La Révolte à deux sous (Bernard Clavel) and several towns of Final Fantasy, en particulier les éditions VI, VII et VIII: Its main city is Babylone, though there is no other Ohrelander town known.

Mostly, all the concepts on which this album lays, are inspired by part of the visions of Horselover Fat in Philip K. Dick's novel VALIS, especially some confusions between Nag Hammadi (homophonic to Nagah Mahdi in French pronunciation) and Qumran caves.

This bunch of sources related one with the others, but not strictly linked, leads to a nebulous and abstractive concept, hard to explain clearly.

Sebkha-Chott's decisions, way, global manner of doing things are ruled by a firm political engagement towards indie music, ecology and free art.