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dimanche 21 mai 2017

Album de la Semaine


Pourquoi Agapes?

The agapes are in Catholicism, in Freemasonry, the meals shared by the practitioners after the rituals. They celebrate their beliefs, discuss ideas, debate while drinking and eating what is layed down in front of their eyes. They feed themselves with both terrestrial and spiritual things.
To us, this is music.
To us, the word « agapes » doesn’t belong to the religious sphere and we gladly take thi...s word for ourselves.
To us, knowledge, of the world and of ourselves, is the key to truth, empathy and freedom. It must not belong to a religion, a government, a company.
We are Agapes.

Line Up :
Thomas Souriau - Vocals
Thibaut Doncker - Bass
Antonia Philippon - Drums

Label :
Third Coming Records

Tracklist :
The Believer
Faraway God
Only the Will
Here He Comes
Last Storm
Black Groove (like stars in bright day)
Dancing By the Moonlight
The Streets of Shenzhen

dimanche 26 mars 2017

Album de la Semaine : Adult. - Detroit House Guests

Detroit House Guests

Interview d'Adult. , par Michael Byrne de Red Alert

My first question is about Detroit, that’s also where I’m from, my hometown. Every time I talk to someone about Detroit, I get two reactions: the first, it’s just this totally gross wasteland, and there’s a second reaction that’s almost the exact opposite of that, from the urban decay fetishists, that it’s just this theme park to explore. The only people I’ve met that aren’t in those two camps are the people that actually live there, who are obviously neither, and, as someone from Detroit I find both reactions offend the hell out of me equally. But I have a hard time describing the middle ground to people, what it means to call Detroit home. What is your Detroit?

Nicola Kuperus: I think Detroit’s kind of a love/hate kind of thing, but I think when you live here you can be that way. Most people that live here are really Detroit proud, Detroit-centric and...

Adam Lee Miller: I know people that have so many different opinions on Detroit from just within Detroit. I know people that say they are not actually Detroiters because they don’t belong to the majority population of Detroiters because our incomes aren’t 200 dollars a year and we’re not black. A lot of people would say that to be white and to have employment in Detroit is to not actually be a Detroiter, which I’m not sure I agree with. But, people like my parents who lived in Detroit until I was 14 years old and have actually turned their backs can’t understand why I would still want to live here.

NK: I think the great thing about Detroit is that it’s really cheap, for the most part, to live here, so you can do whatever you want to do without really being bothered.
ALM: I think it’s the primary thing if you’re asking an artist why they’re living in Detroit it’s because they can keep their expenses low. I mean if you ask somebody on the street why they live in Detroit it’d be something completely different. No way out. That’s often been the case with me: there’s no way out. The expenses are low.

Sam Consiglio: I have a really conflicted opinion of Detroit myself, where one day I love it and one day I hate it. It’s like a family member for me when someone says something like, Oh, you live in Detroit...isn’t that shit? I’m like no, Detroit’s awesome. Shut up. And then if the person’s like oh, I love Detroit, I’m like it totally sucks, shut up.

ALM: I think everybody from here feels that way.

SC: When you talk to someone that’s not from Detroit, and they want to put their two cents in...you’re like shut up, you don’t know what you’re talking about.

NK: It’s kind of a scene in a bad relationship...

ALM: And, it’s like I want the city to do well, but whenever there’s a traffic jam or something then I’m just oh, man, I hate this...this city better not ever get people moving in here. Those kind of conflicts are constant.

Do you have an idealized vision of what the city should become?

ALM: Sometimes you thrive on the isolation, but sometimes you, ah, just want to go to the store. Sometimes you just want to go to be able to go to a store. You’re from Detroit, so you know there’s nothing of that kind in Detroit. It’s not like in Portland or New York or whatever and walk down to the corner and just get yourself a head of lettuce. We’d have to hop in the car, probably in the snow...

SC: There’s like one good kind of hippy/organic bakery/coffee place in the city and it’s so funny...every time you go there you end of parking your car in the alley because every parking spot is taken. It’s only...there’s so few things.

I think I might know the place you’re talking about. What is it?

ALM: Avalon.

Over on Cass?

ALM: Yeah.

I’ve been in there.

SC: You know Larry, the homeless man?

I don’t think so.

SC: Well, he lives in front.

ALM: I think if you ask Larry about Detroit, like what is Larry’s Detroit?, it’d be completely different from our Detroit.

NK: Probably loves it...he’s probably so rich...

SC: Did you see the eyeglasses on recently? He had on the fanciest eyeglasses. Larry always has something for sale, and one time I accused him...I said, well, did you just steal it from somebody? He said, “Sammy, I never steal from anybody. I find everything in the garbage.”

Moving into music: who should we be watching in Detroit music, outside of your label, and over even outside of...well I guess just overall, whether it be techno or rock or...

NK: Probably the band we’re touring with, Genders

SC: Yeah, we’re really proud of them–they’re like our little brothers.

What are they doing?

SC: They have a new sort-of mini LP coming out on Tigerbeat6 and they have a few homemade releases. And they had a real limited run on Ypsilanti Records. I think right after this tour...I have high hopes that this is their introduction to the world, the US.

Are you deliberately moving away from techno, with the inclusions of the live guitars and bass?

ALM: I never thought we were techno, so I would say we’re moving towards it incorrectly because we were never near it, so we have to be getting closer...

NK: I think the history of ADULT. is kind of weird in that, for years and years and years, people have put us in all these strange categories, none of which we’ve truly ever really belonged in, not that we belong in anything now...

ALM: I think I can kinda understand, though: we have a lot of different things going on in our music. If someone’s really into...if someone’s a poet, then they’re going to listen to the lyrics; if someone’s a programmer, then they’re going to listen to the drumbeats; if someone’s a producer, then they’re going hear the mix. I guess if someone listens to a lot to techno, they’re going to really hear the electronic elements of the music. If someone’s more into indie, then they’re going to listen more to the structure and the message. Whenever someone listens, they come with their own set of baggage that’s going to enable to hear something someone else might not. It’s always very odd to hear someone talk about our stuff because for me nothing sticks out.

NK: I think the first things we wrote up until now... We’ve obviously changed as a band, things are a lot organic sounding and less...things are a little looser and less...

ALM: Programmed.

NK: Even myself being a singer...I’m a lot more comfortable being a singer now.

I’ve definitely noticed that in the progression of albums, that the vocals are a lot less manipulated, more live sounding.

In an interview quite a ways back, like back in '99, you were describing a musical movement...you called it “generic music:” music that’s hops genre, that’s always changing. What’s that state of “generic music” now?

NK: Still generic!

Still generic?

ALM: It hasn’t caught on.

NK: Yeah, it hasn’t caught on yet.

ALM: Well, there’s more bands that would fit in it nowadays than back then. It could be a really big bin in the record store.

Name some bands that are doing it right...

ALM: Chromatics, Genders, Numbers...

Going back to genre labeling, which I know is kind of dumb and hurts music ultimately, but people like me love to do it because it makes our jobs easier. Given that, can I use this word: electropunk? Your reactions to that?

NK: I don’t know. People have been throwing that around...I can’t really say I love that...

ALM: I always have a hard time with those things because the definition of each of those terms from one person to the next is completely different and when you throw of two terms with dubious definitions together, it doesn’t make it any more clear what it is so...I mean...

(a phone starts going nuts with video game noises)

SC: Sam’s phone’s about to get techno on us! I mean electro...

NK: Can’t we just fit into the “weird” category?

SC: Yeah, I forgot, we wanted to change “generic” to “weird-o” where the “o” stands for Oprah...

Okay, I like that.

SC: That’s our new genre: weird-o, like Cheerio’s.

NK: It’s good, isn’t it? Then you just know whether you’re going to love it or you’re going to hate it because it’s weird...there’s no expectation like pop music...pop music is pretty across the board. But when you’re in the weird category, it's like, well, you don’t really don’t know what you’re going to get.

ALM: Then, hopefully, the Abercrombie and Fitch jock baseball cap wearing crowd, that’ll hopefully turn them away. Just by the name alone. Punk: you know you’ve got Green Day now, where you’ve got these total doofuses wearing these Green Day shirts–which makes sense–but if they see the word “electro-punk,” they’re not immediately turned off. They’re like, "Yeah, I’m into punk, I love Green Day!"

You don’t even want to convert this crowd?

ALM: No.

Nothing to do with it?

(affirmative vocal noise)

How did Sam come about, in the band? What’s the story behind that?

NK: We kidnapped him.

SC: They’d been emailing for, like, a year trying to get me in.

NK: Put a gun to his head.

ALM: Originally, we’re art space buddies...then we got creepy.

NK: We’ve been releasing music from his other band, Tamion 12 Inch, for a long time. And, um, we needed someone to tour with us because we couldn’t everything ourselves for our D.U.M.E. EP and then it just worked out really well and here we are...

ALM: Sam broke a really nice vase in our house, and we’re making him work it off now.

How long does he have to go?

NK: A loooong time.

ALM: Looooong time.

NK: Waterford Crystal.

You start touring the 19th?

ALM: One week.

One week from today.

NK: That’s my line!

Where are looking forward to playing?

ALM: Portland. Portland. That’s our number-one-looking-forward-to city...is this article for Portland? One my top three favorite people in the whole world moved to Portland recently. And I’m going to see her when I go there.

SC: Wow, who are your other top-two favorite people in the world?

NK: We’ll all be together. I’m really looking forward to play Tucson.


ALM: And Los Angeles.

What about Tucson?

NK: When I was a teenager, I was in Tucson and saw one of the best hardcore punk shows I ever been to there. I got slashed in the face with a nail!

SC: She’s looking forward to it for revenge.

NK: I am looking forward to it. We’ve never played there... Hard to say what will happen.

ALM: Montreal, the MEG festival, with this band Der Plan. I ‘m really excited about that. They’re a very important band.

Who’s responded best to ADULT. in the past? In terms of touring...what cities?

NK: We had a really great show in LA in May.

ALM: And Paris. We’ve had really great shows all over. We like the shows where people are losing control, and you can always tell when people are losing control. It feeds you. And in LA, they really lost control recently. And they also did in Paris...

SC: San Fran, Detroit, Chicago...those are always really good cities for us. Glasgow was really good. Moscow was really good, surprisingly, we didn’t think anyone would know who we are. We’ll see how the rest of the world is ready to meet the challenge of those other cities and show us their cities are ever more off da’ hook. D. A. Hook.

Line Up :
Adam Lee Miller
Nicola Kuperus

Label :
Mute Records

Tracklist :
01 – P rts M ss ng
02 – Breathe On
03 – Into the Drum
04 – We Are a Mirror
05 – Enter the Fray
06 – Uncomfortable Positions
07 – We Chase the Sound
08 – They’re Just Words
09 – Inexhaustible
10 – Stop (and Start Again)
11 – This Situation
12 – As You Dream

dimanche 19 mars 2017

Album de la Semaine : The Underground Youth - What Kind of Dystopian Hellhole Is This ?

The Underground Youth
What Kind of Dystopian Hellhole Is This ?

Interview de The Underground Youth, par Roman Rathert de It's Psychedelic Baby Magazine

Can you talk a little bit about how the band started as a one-man recording project?  Where did the initial idea come from and just how did it begin?  When was that?

I’d been writing rough amateurish poetry since the age of sixteen or seventeen.  When I heard Bob Dylan for the first time I realised that I didn’t need any more than a few guitar chords to turn these into songs.  In 2008 I started recording songs in my bedroom with some basic recording equipment; I guess it’s all grown from that.

You recruited band members for live performances in preparation for your tour in 2012 after signing with Fuzz Club Records, how did you go about choosing members or did you already have people in mind? 

I didn’t have anyone in mind from the start, it all just kind of fell into place.  I met our guitarist Tom through a mutual friend.  I’ve never felt more comfortable playing around another guitarist.  Our drummer Olya is my wife, so her entry into the live band was a little more natural.

Was the transition to a full band difficult for you or was it kind of a natural evolutionary process?

It started out easy but then got difficult.  I guess to call it an evolutionary process is the best way to describe it.  While it progresses it changes.  As a live band we will change in time, there’s room for more people and more instruments, it will never feel complete.  I like that about it.

What’s the band’s lineup?

Right now we just use a guitar, a bass and two drums which Olya plays standing up.  Sometimes we just play with two guitars.  It’s a stripped back sound, especially in the psychedelic scene where you can find other bands utilizing four or five guitarists.

Are any of you in any other bands?  Have you released any material with any other bands?  If so can you tell us about it?

Olya and I recorded an EP under the name Noise Exposure.  It was sort of a side project where she had more creative input.  Tom is constantly writing and recording under different names.  I’m not sure which one he’s using right now.

How and when did you all meet?

I guess it was 2011 I first met Tom.  He’s from Liverpool but we met up in Manchester.  We spent an evening drinking wine and discussing music, we’re very different people but we have a connection that really works.  As I said before, Olya is my wife, that’s all you need to know.

Where are you originally from?

I’m from a town in North-West England, Blackpool.  Olya is from Siberia and Tom is from Liverpool.

Where is the band located now?  How would you describe the local music scene there?

Manchester.  For me Manchester’s musical history is better than anywhere but unfortunately, there isn’t much excitement around any new “scene” right now, at least not for what we’re doing.  I think it is growing but in its’ current state there isn’t much to write about.

Are you very involved with the local scene?

No.  We’ve played a small handful of shows in Manchester for a small handful of people.

Has it played a large role in the history or evolution of The Underground Youth?

I would say no but it’s hard to have perspective on that from my position.  It’s been said that The Underground Youth “sound very Manchester”, which is probably just a way of saying we’re obviously influenced by Joy Division.

What does the name The Underground Youth mean or refer to?

One of the early poems I wrote, around the age of eighteen or nineteen, was called Underground Youth.  There’s actually a horribly rough recording of it on my first album of songs Morally Barren.  I just decided to name the project after that song.

Who are some of you major influences?  What about the band as a whole rather than as an individual?

I am hugely inspired by the work of Anton Newcombe and The Brian Jonestown Massacre but the sounds of other psychedelic groups are obvious in the music as well.  Olya’s drumming style is lifted from early Jesus and Mary Chain but she’s also one of the biggest Spacemen 3 fans there is.  My writing is inspired by Bob Dylan and Nick Cave, and there are flashes of post-punk in there while Tom brings a garage blues influence to the live show.

Can you describe The Underground Youth’s sound to our readers that might not have heard you before?

Something between psychedelic rock and post-punk.  It’s haunting and dark but with flashes of a melancholic lightness.  A word that often comes up is cinematic, I’m a huge fan of cinema and my music is hugely influenced by film. 

Can you talk about the songwriting process when you were still a one-man band?  How has The Underground Youth’s songwriting process changed since the addition of the live band?

The songwriting process is, and always has been the same, although a live band is now representing the music and I take this into account when recording.  The songs are all my own creation, for me writing alone is much freer.  The freedom of writing and recording alone is waking up in the middle of the night and creating something from nothing.  The danger is working your way into a corner with no one to bounce ideas off.  But my process is very much at my own pace.  With the right inspiration I can record a whole album in a week or two. 

You self-released five albums before signing with Fuzz Club records and reissuing the Delirium 12” and The Low Slow Needle 10”.  Can you tell us a little bit about the recording of those early albums as a one man project?  Where were they recorded?  Did you record the material yourself?  What kind of equipment was used?

Everything, including the new album, is recorded at home.  I do everything myself on my own cheap and simple equipment in my home.  Over the years I have improved the recording and production of my music, but essentially the equipment and process I go through is the same.  It’s only recently that I started entertaining the idea of working with someone else in the recording process.  There’s a chance the next album I record will feature someone else in a production role, but I definitely prefer to have control.

What were the names of those initial five albums?  How were those albums originally released?

Morally Barren and Voltage were released in 2009, Mademoiselle and Sadovaya in 2010 and then Delirium and the Low Slow Needle EP in 2011.  Back then I would just make copies of the albums on CD myself and send them out to people who got in touch online.  Eventually I uploaded everything online and made it available for anyone to download.  Through the following I built up with those albums I was approached by someone who was “thinking of setting up a record label”.  From there everything happened really fast for both the band and the label.

You compiled some of the tracks from those albums into the Delirium and Low Slow Needle releases, how much of the material from those early releases were compiled to make those two albums or are they straight reissues of the original albums?  Are there any plans to release the rest of that early material in physical or digital formats?

Delirium and Low Slow Needle were released on vinyl exactly as they were originally recorded.  The idea is to work our way through the back catalogue and release the early material on vinyl.

You also recently released a 7” through Fuzz Club Records, Morning Sun.  Are these tracks culled from that pool of older recordings or were they done for this release more recently?

Morning Sun and the B-side Art House Revisited were songs from the album I recorded in 2010 titled, Sadovaya.

You also released a split with a band I’ve been into for a long time at this point, Little Daggers.  How did you get hooked up with them?  Where did the track Juliette come from, was it recorded specifically for that release?

Jacob from Lil Daggers got in touch with me about arranging some shows together if they were ever to come over to Europe but our conversation ended up with us making a split 7” together.  I wanted to record a new track for it, so I wrote and recorded Juliette, which is also on our new album.

You have an upcoming album scheduled for release in the next few months.  I know the band was involved with recording for the first time, was it strange or difficult for anyone going into the studio this time?

August 2nd.  As I mentioned earlier the songs are all my creation.  I had my friend Daria, who lent her vocals to the Low Slow Needle EP, sing again on this record and Tom recorded guitars on a number of tracks.  There’s also a song that came from a bass part that Olya created.  I really do work best on my own, sat at home recording.  It’s much more effective for me than all the pressures that come with studio recording.

Can you tell us a little bit about recording the new album?  What can our readers expect?  Did you try anything radically different with songwriting or recording on this album?  Where was it recorded and who recorded it?  What kind of equipment was used?  What’s the name of the album going to be?

The album has a different feel to it for sure.  It’s my most mature work and has a much wider array of influences.  It’s a really dark and raw record.  We live in an apartment overlooking the outskirts of Manchester’s City Centre so I recorded the album looking out onto this.  I think some of the atmosphere was soaked up by the recording.  There are also some of the most fragile tracks I’ve ever recorded.  I think it’s the best of everything I’ve done rolled into one record.  The album is called The Perfect Enemy For God.

Other than the upcoming full-length do you have any other releases planned for this year?

I have a few new songs that I’ve been working on.  I might end up building them into an album or an EP but it’s too early to say, we’ll see how the new album is received before deciding on what to do next.  We had the idea of re-recording some of the older tracks, compiling a best-of and recording it in a studio with an established producer.  We’ll just have to wait and see.

With the insane recent postal increases here in the states where is the best place for US readers to purchase copies of your music?  What about international and overseas readers?

Fuzz Club Records ship worldwide and I know they try and keep the shipping costs as low as possible.  We have records in a number of independent record stores around the world.  I’d suggest people contact Fuzz Club and ask for more information.

What do you have planned as far as touring goes for the rest of the year?

We’ve got a few shows in Europe around the release date of the new album.  The release party on August 2nd will be in Berlin.  Following that we have a tour of Russia, some dates in the UK and another European tour that’s currently being booked for October/November.

Do you have any funny or interesting stories from live shows that you’d like to share with our readers?

Well we have the usual band horror stories of terrible shows, guitars breaking, drums being knocked over; a monitor once fell on me during a gig.  I love that rawness of a live show though, I don’t go and watch a band play live to listen to an exact recreation of a record I have at home.  I want to see a raw and passionate representation of the music, snapped guitar strings and onstage disagreements included.

Where’s the best place for our readers to keep up on the latest news from The Underground Youth like upcoming album releases and shows at?

The best way is to follow our Facebook page.  I update news on there regularly.  We also have a Twitter account or you can sign up to a newsletter and find other updates on the Fuzz Club Records website.

I must admit to loving my digital albums.  Having the ability to take music wherever I want is really cool, but I just can’t shake my obsession with physically released product.  Having an album to hold in your hands, artwork to look at and liner notes to read all make the listening experience more complete; at least to me.  Do you have any such connection to physical releases?

Absolutely, I couldn’t agree more.  Having a digital copy of an album is great for the ease of listening to it anywhere, but for me you can’t beat listening to an album on vinyl.  For the obvious joys such as soaking up the artwork and the quality of sound, but I think appreciating a record from start to finish is so much easier when listening to vinyl.  With no easy way of skipping a track it’s much easier to appreciate a record as a piece of art.  I understand that this isn’t the most common approach to buying/listening to music, with that in mind all our records come with a digital download included.

While digital music might be undermining decades of infrastructure in the music industry and causing a lot of turmoil it’s also exposing a lot of bands that I otherwise would never have had the pleasure of discovering.  What’s your opinion on digital music and distribution as an artist during these turbulent times?

For me the simple fact is that without the option of creating digital files that could be sent to all corners of the world via the Internet, no one would have ever heard my music.  I certainly would never have been approached to create a physical release.  It’s great for musicians and fans alike that music is so accessible.  I hate most things about the commercial music industry so I try not to think about it too much. 

I try to keep up on as much music from around the world as is humanly possible, so I ask everyone I talk to this question.  Who should I be listening to from your local scene or area that I might not have heard of before? 

As I mentioned earlier Manchester isn’t really the home of a “scene” for us right now but the European psych scene is exploding with great bands!  If you check out The Reverb Conspiracy compilation record it’s full of hidden gems.  My favorite band didn’t get featured on that record though, The Blue Angel Lounge, I can’t speak highly enough of them.

Is there anything that I missed or you’d just like to talk about?

I can’t think of anything, thanks.  Let’s hope we can get over to the States soon to play some shows.

Line Up :
Craig Dyer
Olya Dyer

Label :
Fuzz Club Records

Tracklist :
01 – Half Poison, Half God
02 – Alice
03 – You Made It Baby
04 – Beast (Anti War Song)
05 – A Dirty Piece Of Love For Us To Share
06 – Amerika
07 – The Outsider
08 – Persistent Stable Hell
09 – Your Sweet Love
10 – Incapable of Love

dimanche 19 février 2017

Album de la Semaine : Poni Hoax - Tropical Suite

Poni Hoax
Tropical Suite

Interview de Poni Hoax, par Anne Tandonnet de Le Petit Journal

Nicolas Ker, l’interprète d’origine Khmer, se réveille et nous rejoignons les autres dans le resto d’à côté. L’atmosphère est détendue. Ça parle joyeusement de musique. Vincent, le batteur et boute-en-train du groupe, m’explique très sérieusement qu’il est certain que la barbe – comme celle qu’il arbore fièrement -  va revenir à la mode incessamment sous peu : « Aux States, par exemple, les mecs s’épilent car ils trouvent ça crade de ne pas le faire. Ils travaillent leur poils quoi ! ».
Je ne résiste pas à l’envie de lui demander s’il travaille sa barbe lui aussi : « D’ailleurs je trouve que tu as l’air d’un hipster … »
Il est outré : « Ah bon ? Sérieux ? Merde…mais pourtant j’habite en banlieue…Mais non regarde, ma barbe n’est pas travaillée!...je pensais que j’avais plutôt la tête d’un baroudeur…tu vois genre, je me prends pas la tête… »
[…]Je décide de sortir mon dictaphone discrètement alors que la conversation vient de dévier sur les grandes légendes qui ont marqué l’histoire du rock.
Vincent défend bec et ongle les Pink Floyd : « C’est LE groupe de rock qui a vraiment apporté quelque chose à la musique ! - Il s’adresse à Abib, leur manager – Toi tu me parles de Dire Straits, mais c’est de la soupe Dire Straits. Ça a super mal vieilli. C’est comme Shorter (Wayne Shorter, ndrl), moi ça me file le gourdin, ça me fout les poils ! Il aperçoit le dictaphone, se tourne vers moi très à l’aise et enchaîne : « Tu connais Weather Report ? »
Je lui réponds que non. Il m’explique que c’est un groupe de jazz/rock des années 70 : « Bon, déjà faut aimer le jazz/rock, c’est spécial. Le bassiste Jaco Pastorius s’est fait descendre à Miami à la sortie d’une boîte, il trainait dans la drogue… »
Abib, intervient alors et me demande en riant si je souhaite interviewer Vincent uniquement. Je lui explique que Le Petit Journal voudrait axer l’interview sur les origines Khmer de Nicolas par rapport au contexte politique actuel et le changement qui s’opère en ce moment au Cambodge. Autrement dit, Vincent sert seulement de distraction le temps que Nicolas reprenne des forces.

Entre 2 bouchées de riz, Nicolas m’explique très simplement qu’il a quitté le Cambodge en 1975 lorsqu’il avait 5 ans et que c’est la première fois qu’il y remet les pieds, après 37 ans.
Lepetitjournal.com/Cambodge : As-tu encore des souvenirs de cette époque ?
Je ne me souviens plus de rien. Ma famille a été tuée et j’ai été rapatrié in extremis avec ma mère et ma sœur en France. Mon Grand-père, qui était le bras droit du Roi Sihanouk, a été l’un des premiers à se faire assassiner par Pol Pot.  En l’espace d’une nuit, j’ai oublié ma langue maternelle. J’ai fait un black out total de mes 5 premières années. Ma mère pensait que j’étais devenu fou. Elle est Khmer et en a beaucoup souffert. Mais pour être honnête je n’ai pas vraiment eu le temps de réaliser que j’étais de retour. Pendant des années j’ai évité de revenir pensant que ce serait un choc, et finalement me voilà…en concert c’est un autre contexte évidemment.
Tu serais prêt à travailler ici, de façon permanente ?
Oui, pourquoi pas. Je reviendrai bien une semaine, voire plus longtemps. Mais pour ne faire que de la musique. Je ne sais faire que ça d’ailleurs. D’ailleurs, la diaspora m’a contacté. Je dois les voir après le concert. Ils souhaitent créer un projet avec moi, en tant qu’interprète d’origine Khmer, mais je n’en sais pas plus. Il ne faut pas que je boive trop, ça fait désordre sinon, surtout au Cambodge.
Qu’est ce que tu as envie de dire à la nouvelle génération Khmer qui va assister au concert ?
En fait y’a la génération de ma mère qui a encaissé et qui ne veut absolument pas en reparler et y’a ma génération qui ne possède qu’une image manquante, autrement dit rien. On nous a enlevé les choses et nos aînés ne voulaient pas en parler. Le Cambodge a été mort pendant 30 ans à cause de ça. Et aujourd’hui t’as la jeune génération, dont les gamins du groupe qu’on vient de voir font partie (Underdogs, ndrl), qui n’ont pas connu cette souffrance. Et ça fait du bien de voir que le temps commence à effacer les traces.

Line Up :
Laurent Bardainne
Nicolas Ker
Nicolas Villebrun
Arnaud Roulin
Vincent Taeger

Label :
Pan European Recording

Tracklist :
01 – All the Girls
02 – The Music Never Dies
03 – The Wild
04 – Tropical Suite Sao Paulo
05 – Everything Is Real
06 – The Gun
07 – I Never Knew You Were You
08 – Tropical Suite Pattaya
09 – Lights Out
10 – Belladonna
11 – Who Are You
12 – Through the Halls of Shimmering Lights
13 – Tropical Suite

dimanche 12 février 2017

Album de la Semaine : Shannon Wright - Division

Shannon Wright

Interview de Shannon Wright, par Justine L'Habitant de Sensation Rock (2015)

SR : Ton dernier album In Film Sound est plus corsé, plus sombre peut-être même plus noise que les précédents. En général avec le temps les groupes s’assagissent, mais toi tu fais l’inverse. Pourquoi ?
Shannon Wright : Je ne sais pas trop.  J’écris, et sur le moment c’est très naturel pour moi. Ça se fait naturellement, par rapport à ce que je ressens à ce moment-là. Je pense que j’aime beaucoup explorer différentes facettes. Je ne saurais pas expliquer exactement comment je procède pour travailler, mais ce qu’il y a de sûr c’est que malgré leurs différences, tous mes albums sont connectés, il y a un fil rouge qui les lie.
SR : Comment sera ton prochain disque ?
Je n’en ai aucune idée. Si, [rire]  je suis en train d’y réfléchir. Ça commence à faire son chemin dans ma tête. Pour le moment je ne sais pas encore exactement ce que je jouerai ni même ce que je chanterai, même si j’ai déjà quelques pistes. J’ai besoin que cela mûrisse encore. J’attends que ça me coupe la respiration avant de commencer.
SR : L’un de mes amis qui est fan, joue de la batterie et a vraiment un faible pour le jeu de Kyle Crabtree (drum),  lui et Todd Cook seront de la partie ?
C’est marrant que tu me poses cette question, parce que figure-toi qu’ils – Kyle Crabtree et Todd Cook – m’ont demandé la même chose il y a tout juste une semaine. Ils voulaient savoir si j’allais les laisser jouer avec moi à nouveau. [Rire]  j’ai trouvé ça adorable : Ils ont essayé de tâter le terrain en me demandant timidement  «  alors heu… on peut jouer avec toi pour ton prochain album ? ». [Rire]   Et j’ai dit oui, parce qu’ils sont adorables et que j’adore travailler avec eux.
SR : À chacun de tes concerts j’entends des gens dire qu’ils ont les larmes aux yeux ou même pleuré… tellement il y a d’émotions dans ton chant et ta musique. Comment ça se passe pour toi sur scène ? Tu donnes tout chaque soir comme si c’était le dernier ?
Oui. Je crois que le plus important pour moi pendant un live, c’est d’établir une connexion avec mon public. Mais je ne parle pas beaucoup, je ne fais pas d’interventions entre mes chansons quand je suis sur scène, parce que ça ne semble pas naturel. Je donne tellement de moi-même pendant un live que je crois que cela n’est pas nécessaire.
Je ne suis pas dans la démonstration. Je ne fais pas le show. J’essaie d’être sincère, de donner le meilleur de moi-même lors du concert. Bien sûr, chaque soir est différent, et le concert dépend beaucoup de ma relation avec le public, mais j’essaie de créer une relation qui soit le plus intimiste possible en étant moi tout simplement. Je délivre mon concert comme un don de moi, une performance à mon public et je suis heureuse lorsque je suis sur scène, de faire ce don de moi.
SR : Tous ceux qui t’ont vue sur scène en redemandent ! Malgré ça, on connait mal ton parcours en France, comment as-tu commencé dans le monde de la musique ?
J’ai commencé à jouer dans un groupe, mais très vite nous nous sommes séparés. A ce moment-là j’ai failli arrêter la musique par ce que je n’aimais pas du tout le milieu, le côté « business » de l’industrie musicale.  Et puis je me suis mise à rejouer pour ma famille et mes amis. Et ils ont été très encourageants avec moi. Ils m’ont dit «  tu ne devrais pas arrêter la musique, tu devrais faire un album solo ».
Et c’est à ce moment-là que Touch and Go, un label américain indépendant très respectueux des artistes – qui a d’ailleurs signé des groupes incroyables – ont accepté de produire mon album solo. J’ai été très touchée et ça m’a donné le courage de lancer ma carrière.
Quant à ma carrière en France, j’ai commencé en faisant la première partie de Calexico. Et un soir, dans un club alors que je terminais de jouer, un représentant du label Vicious Circles est venu me trouver en me disant qu’il voulait absolument travailler avec moi. Ce qui m’a beaucoup touché. Et c’est la raison pour laquelle je travaille avec ce label-là en France.
SR : Tu tournes seule parfois ;  en l’occurrence ce soir ; est-ce que tu aimes l’expérience du live en solo et pourquoi ?
J’aime vraiment explorer les différentes possibilités qu’offre le live dans sa diversité : jouer en solo, en groupe, c’est à chaque fois une expérience que j’apprécie. Ce que j’aime lorsque je  joue en solo, c’est que c’est plus intimiste, mais j’adore également jouer en groupe, avec une batterie  parce que c’est plus rock’n roll. J’adore jouer du piano et de la guitare… En fait j’aime vraiment les deux, c’est indissociable pour moi : j’aime tous les aspects la musique.
SR : Est-ce que tu vis de la musique ?
Certaines années, c’est plus difficile. La musique, ce n’est pas un bon gagne-pain. [Rire] Je fais ce métier par amour de la musique. Mais ce n’est pas un milieu facile.
SR : Que penses-tu de la jeune génération du rock indépendant ? Est-ce que pour toi il y a des groupes qui prennent le relais ou à ton avis le rock va-t-il devenir une musique de vieux ? 
Non, je ne pense pas que le rock va disparaitre ou même devenir un truc de vieux. C’est tellement important, tellement essentiel. Peut-être pas pour tout le monde, mais particulièrement pour les jeunes, parce que le rock et la musique en général, permet d’être plus ouvert aux choses ; d’identifier, de comprendre et d’exprimer ce qu’on ressent. Notamment la colère et la tristesse. Et ça permet de grandir. Donc non, je suis persuadée que le rock ne s’éteindra pas.
SR : On te compare souvent à Pj Harvey. Peut-être parce que comme elle tu es une femme reconnue mondialement dans le monde du rock indépendant. Mais ne trouves-tu pas que ton style se rapproche plus de celui de la chanteuse/bassiste française Laetitia Sheriff ?
Oui, il s’avère que Laetitia Sheriff est une très bonne amie à moi. Elle a fait ma première partie en France lors d’une de mes tournées. J’ai même été sa batteuse fut un temps. Je l’ai d’ailleurs revue il y a quelques semaines. Je l’apprécie beaucoup. Et, effectivement je trouve que ce que fais PJ Harvey est très bien, mais que c’est un peu facile de nous comparer simplement parce que nous sommes des femmes et que nous faisons de la musique. Ça ne se résume pas à ça. [Rire]
SR : c’est en tant que musicienne toi-même, quelle est, selon toi,  la place occupée/laissée  pour les femmes dans le monde du rock aujourd’hui ? Est-ce que c’est plus dur pour une femme de faire de la musique aujourd’hui ?
Je ne pense pas que ce soit plus difficile de nos jours qu’auparavant. C’est un sujet compliqué pour moi. Par exemple je n’aime pas les festivals spécifiquement féminins, je trouve que c’est ostracisant. Ce que je souhaite c’est d’être considérée et respectée comme musicienne et non juste femme. De plus, je ne cherche pas à séduire sur scène, mais plutôt à être honnête et performante. Je n’adhère à cette idée que le rock est réservé aux hommes, ou qu’il faille mettre les femmes qui en font dans une case. J’exprime mon  féminisme en tant que musicienne en tentant de rester vraie, et authentique.
SR : Qu’est-ce qui tourne sur ta platine en ce moment ?
Ça dépend beaucoup de mon humeur. Je peux écouter du Schubert comme j’écoute le Groupe français Air. J’aime beaucoup aussi le groupe de hard rock Lightning bolt.

Label :
Vicious Circle

Tracklist :
01 – Division
02 – The Thirst
03 – Wayward
04 – Accidental
05 – Seemingly
06 – Soft Noise
07 – Iodine
08 – Lighthouse (Drag Us In)

dimanche 5 février 2017

Album de la Semaine : Moon Duo - Occult Architecture

Moon Duo
Occult Architecture

Interview de Moon Duo, par Aquarium Drunkard

Aquarium Drunkard: I really like Occult Architecture Vol. 1. What led you to divide this record into two halves? It might be a little reductionist to say one half represents a dark side and one a light side, but was that sort of the idea?
Ripley Johnson: Yeah. We had a lot of material, so it just sort of made sense to organize it that way. When we were making the record, the seasons were changing. We started in the winter and then we went into the summer. It was just sort of a natural way to organize the material. We didn’t want to do a double album, so it’s two separate albums, but they’re linked together. We wanted to create separation, because a double album is just a whole different beast. We didn’t want the record to be this giant release that people had to really commit to digesting. We wanted each half to stand on its own.

AD: As a band, you’re not afraid of asking for a little commitment in terms of your material. Why did didn’t you want to ask somebody to sit down to a double album?
Ripley Johnson: Part of it is that I think the double album has to be organized in a specific way so that it makes sense. We think about our records as records, as in vinyl. We think about side one and side two. I have a hard time with [buying] a new record and it’s clearly sequenced for CD or for digital and then dumped to vinyl and it doesn’t make any sense. It’s two or three records which don’t flow. But the classic double albums that are a lot of material to digest, they make sense in a certain way. Exile on Main St., Royal Trux’s Twin Infinitives, Physical Graffiti…they make sense and this was not gonna work that way.
Sanae Yamada: When we were developing the material and recording we kinda just realized we had these two different bodies of work, that we were making two records, but they were also part of the same larger pairing. Like twins or Something.

AD: At what point in the creative process did that idea occur to you guys?
Sanae Yamada: It was reasonably early on when…it just sort of became clear that we had a bunch of songs that kind of hung together in a heavier way. Then there were other songs that definitely felt like outliers to that. They had a different energy to them.
Ripley Johnson: The dark/light thing became apparent right away. That was conscious, and we wanted to do a darker record. When you do that, and you go through that process, it feels unbalanced in some way. Maybe if you’re a goth band or something that’s just your natural sort of mode, but we wanted to do something to balance it out. Almost to relieve ourselves in some way.

AD: There’s a conscious darkness to it to Volume 1, but it’s also super fun. “Creepin’” is a really a blast of a song. Do you guys sort of find that that’s a part of the appeal of darker aesthetics as well, that there’s sort of a thrilling, irreverent element to them?
Sanae Yamada: Sure. I don’t think we’re talking about darkness necessarily in terms of morbidity. We’re evoking subterranean atmospheres –- enclosed spaces and cave-like environments.
Ripley Johnson: We’ve been in Portland for about four years now but we lived in San Francisco for a long time before that. There’s no seasons there. There’s August, which is winter, and the rest is the same. So we really liked the seasons up here. We liked the winter — it’s dark, but it’s nice. We enjoy it. So there is a pleasure in the darkness. It’s not like, like Sanae said, a morbid thing. It’s another experience to explore. We’re not trying to sound “grim.”

AD: How does the occult play into these songs? There are references throughout — “Cult of Moloch,” “Will of the Devil” — but I get the sense the attraction is deeper than that.
Ripley Johnson: Yeah, it’s not like Satanism or anything like that. [That element] came about from just reading about different occult things, and just being sort of in that zone while we were working on the record. But yeah it’s more like a Nathaniel Hawthorne Young Goodman Brown vibe. The old religions, the idea of things that you can’t explain. It came from reading about that kind of stuff and being interested in that aspect of the time where people were trying to understand nature and they couldn’t, so they would just sort of make up things to sort of try to clarify what was going on in the world.
Sanae Yamada: I think a lot of the occult philosophy and hermetic philosophy and science [is driven by] trying to understand to reality from a very holistic point of view. Examining things in nature, examining patterns. In hermetic medicine…there was this whole idea of the unseen body that surrounds the physical body. In all of this are these central contrasts, opposites needing each other in order to exist. That kind of played into our playing with the idea of the dark album and the light album. These two entities balance each other, but that are also different from each other and they have a connection to natural cycles.

Line Up :
Ripley Johnson
Sanae Yamada
John Jeffrey

Label :
Sacred Bones Records

Tracklist :
01 – The Death Set
02 – Cold Fear
03 – Creepin’
04 – Cross-Town Fade
05 – Cult of Moloch
06 – Will of the Devil
07 – White Rose