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dimanche 15 octobre 2017

Album de la Semaine

Zola Jesus

Interview de Zola Jesus, par Pitchfork

Pitchfork: You’ve said Okovi was fed by a return to your roots, as well as several very personal traumas. What were your past few years like?
Nika Roza Danilova: When I was living in Seattle a couple of years ago, I was really depressed and I couldn’t write. I couldn’t really do anything. I was on tour, and how I interacted with my music became very masochistic to the point where everything felt destructive in my life. I just wasn’t feeling balanced. Intuitively, I felt like I needed to move home, to find stability and actually physically find roots, because I was feeling like I didn’t have that for so long.
So I came to Wisconsin and everything started coming together. I started feeling more whole and working through the things that I was going through the past few years. But while I moved back home and was becoming healthier, I noticed that so many people who are very close to me were struggling in their own ways. It just felt like this mirror: Everybody around me was going through a shared existential trauma. So for the first time in a long time, I used music to work through all of that—as a means to let go, rather than a means to regain control.
Everything feels very new, but at the same time, it feels kind of like an ouroboros; it’s new, but it’s also very old. As you grow up, you go through life feeling like you don’t have the answers, so you’re trying all these different things to find them—and you end up feeling very lost and derailed. In the end, you realize that you knew the answer all along. You were just refusing to acknowledge the fact that it was within you since birth.

What answers have you found?
I guess “answer” is the wrong word because I don’t think I have the answers for anything, actually. But in a sense, there is a realization that in life, you don’t become anything, you just are. I grew up with such a strong work ethic—feeling like you can always be better and achieve more. My parents pushed me to be driven and determined. I’m from the Midwest, and that’s our MO here. There was always this feeling of evolution: You’re not something now, but you'll evolve to the thing you want to be in the end. But that was unhealthy for me, because it made me feel like I’ll never be able to achieve that. In a way, I am coming to terms with the fact that there is no fully-realized self. You are who you are, and that power is always within you.

Your music always feels kind of life-or-death. Did the stakes feel higher this time around?
The opposite. I feel like I have nothing to lose. What I went through with this record—I felt like everything finally opened up, having that empowerment by not caring at all [what people think]. So much of how I work as a musician is masochistic because I do feel like I need to prove something to myself, and I need to prove something to the world. I feel like I am born to fail, because I constantly feel like everything I do is failing. At this point, I’d rather fail than do nothing.
I saw you play in Brooklyn this spring, and before you played the new song “Witness,” you said, “This song is about suicide.” What did it take to write these songs?
Someone very close to me attempted suicide last summer, and I was away. I was actually stranded because I was doing these writing retreats where I would have someone drop me off at a cabin and I couldn’t leave for a week. I got a call saying that this had happened and I felt powerless. I really connected with this person and I wanted to be there. That’s when I wrote “Witness” and “Half Life.” Then they attempted again, and that’s when I wrote “Siphon.” It was my way to speak to this person, because it was one of the few ways I could communicate to them. It was very hard. Thankfully they’re still here.

Did you play the songs for this person?
Yeah, they heard them last year. I wanted them to hear them. But to have the songs on the record is a different thing, because it’s so public. That person has heard the record, and they’re OK with it. They really loved the songs, but it feels very vulnerable to me. But it’s something that needs to be talked about. I don’t just want to say those words to this one person, I want to say them to everyone that’s going through this.

The title of the record is the Slavic word for shackles. What moved you towards that?
I was thinking a lot about how the person close to me who attempted suicide several times last year felt like they were stuck here—like they were a prisoner on earth, and circumstances wouldn’t let them leave. On the flip side, someone else very close to me has terminal cancer, and that person feels like they’re a prisoner to the inevitability of potentially dying very soon. They feel like they’re trying everything they can to stay here. And personally, I felt in my own way like I was chained to my mind, like I couldn’t reconcile so many things within myself, and that’s what was making me so sick inside. “Okovi” means shackles in almost every Slavic language, and I liked that because it brought so many people, and a lot of parts of me, together. My family is from Ukraine—my mother’s side is Slovenian—but it’s something that Russia and Ukraine have in common.

To me, Okovi sounds like all of these styles you’ve worked in have coalesced: noise, pop, orchestral, goth. Did you sense that happening when you were working on it?
Yeah, in a sense. So much about my past records has been trying to nail something specific. With Taiga, it was about nailing production and songwriting and making everything really slick, and knowing that I have what it takes. It was so much more about a crash course for me. I feel like I’ve never been able to fully make a statement because I’m always using my records as an opportunity to try and get better in certain areas. But now I feel like I’m getting to the point where I am fluent in all of these things, and I can finally use music as a means to communicate what I want to communicate. I produce everything—I don’t have that much help—so it takes a long time to figure it out.

Your new single “Soak” was written from the perspective of a serial killer’s victim—she knows she is going to die, so she flips the situation in her mind, and chooses to die. The context made me think of your interests in horror movies and philosophy. Where did that song come from?
Since moving back to Wisconsin, I got really into true crime. We’ve got Dahmer and Ed Gein [serial killer and body snatcher from Wisconsin] and I felt interested in their stories. I started reading about a lot of serial killers, and it insidiously made its way into me and my music. It fed my anxiety—pretty masochistically. Like, “Do you have extreme anxiety? How about you read about serial killers nonstop?”
But in reading these stories, I started thinking a lot about the victim and what it must feel like—those moments when you know you’re not going to come out of a situation alive, and that someone has just blindly decided to take your life without even having a valid reason. I just started putting myself in the mind of those—I’m going to say women, because they mostly are women—and thinking about what you would have to do psychologically to allow yourself to have peace in that moment.
In the verses, it goes, “Born into debt, line and no request/I pay what I can, but the rest I have no chance/So I pay nothing instead.” It’s like: I have an opportunity to do something, but I can’t fulfill it, so I might as well do nothing. And there’s that biting resentment and bitterness that I’m sure someone would be going through. I was feeling those same things, but towards my life—trying to find peace before I realize there’s nothing left. That’s been the turning point in my life: really trying to train myself to go, “I don’t need to have a purpose. Nothing needs to matter.” That’s what I’m working through.

Do you feel like the natural environment out in the woods has taught you anything lately?
Oh, fuck yeah. It’s so cool because you watch the forest transform. Every day I’ll go out to the same part of the woods and it’ll look different. There’ll be a new plant that comes up, or another plant will die, because everything is very seasonal. It feels like this living, breathing organism and ecosystem. At the same time, it reminds you that things die, but they come back again. And maybe they die in one way, but they’ll come back in another way. That taught me a lot about not taking things for granted, but also letting things go, because they’ll come back in different ways.

Label :
Sacred Bones

Tracklist :
01 – Doma
02 – Exhumed
03 – Soak
04 – Ash to Bone
05 – Witness
06 – Siphon
07 – Veka
08 – Wiseblood
09 – NMO
10 – Remains
11 – Half Life

dimanche 8 octobre 2017

Album de la Semaine

The Lair of Gods

Line up :
- Arthur Pierre (guitare/chant)
- Louis Hebert (basse/chant)
- Hugo Magontier (batterie/chant)

Label :

Tracklist :
Love #2
The Way
Fear & Love
Ô God

dimanche 24 septembre 2017

Album de la Semaine

Everyday's Death And Resurrection Show

Présentation de l'album, par Florence Hamon de Hejko


Le post punk d’Empereur est de retour et frappe fort. Timbre puissant et voix envoutante, sonorités intenses tendant aussi bien vers le psyché, le shoegaze et les résonances orientales, la musique des quatre punk belges est loin d’être chétive. Ce n’est pas un canular, « Everyday’s death & Resurrection show » est sorti sur le Turc mécanique le 17 mars. Deux ans après leur super premier EP « She Was / While Puritans » , notre patience est récompensée avec ces quatre morceaux ardents, qui font de cet EP un talent de plus chez le label français de Charles Crost.

Résurrection auditive

Les premières secondes sont frénétiques, les dernières sont athlétiques. Les deux premiers morceaux de l’Ep sont des shot post punk teintés d’un chant qui pourrait être un fin mélange entre celui de Alan Vega , Fad Gadget et Morrissey.  Avec  No Shelter puis Mandalas, on ne redescend toujours pas en passant à des sonorités un peu plus psyché et garage. C’est court (peut-etre) mais intense, techniquement  comme musicalement.
Leur énergie va te faire craquer, te déhancher et surement te décoiffer (même si t’as la boule à zéro).

Line Up :

Label :
Casbah Records, Le Turc Mécanique

Tracklist :
Everyday's Death And Resurrection Show
No Shelter

dimanche 17 septembre 2017

Album de la Semaine : Big/Brave - Ardor


Interview de Big/Brave, par Ralph Elawani de Noisey

Noisey: You guys are the first band from Montreal to sign to Southern Lord, a record label synonymous with doom and black metal. You don’t seem to fit any of those genres. How did it happen?
Louis-Alexandre Beauregard: We had a few labels in mind and we ended up sending the album to Greg and he got back to us. It was basically ready to be released. The mastering was done and everything.

During your live shows, there’s never really a sense that all three of you are filling in one single position like a regular rock band does. Where did you pick that up?
Sometimes we’ll simply step back and Louis’s drum becomes the central element of a song. Sometimes Robin will just play one chord or one sound and we’ll expand on that. I think the question we ask ourselves is: what can we do with much less. We don’t really play chords, so we move and play with the feedback we create.
Robin Wattie: We play chords but there’s never any chord progression or patterns...We try to push ourselves and see what we can do. What kinds of sounds we can create, how we can structure a piece of music that does not fit the verse-chorus-verse pattern.

You’ve escaped certain musical patterns but you are tied to the performance of your gear.
Ball: Yes, and in some ways it’s stressful… we need feedback to play. There’d be very little fun in hearing us strum one sound on an acoustic guitar.
Wattie: And it’s funny, we’re not even a “gear-oriented” band.
Ball: The effects we use are basic. It’s just reverb and overdrive. They’re necessary, but basic. We work a lot more with the sound itself.

Your songs are based on a lot of repetition and reverberation. How do you deal with the physicality of the venues where you play?
Beauregard: Our live shows are always loosely planned out, but I’d say that apart from the room itself, we sometimes use the crowd.
Ball: We work a lot with silence. We’ll let room for Louis and sometimes, he’ll become the main instrument and then we’ll pause and see what’s going on. And that’s actually what is kind of hard to do when you play at punk houses and venues where people are there to party.

That’s what’s great about playing with noise outfits and drone bands. Nobody’s there to party or dance; people listen to what’s going on. I mean – and this is perhaps where we differ from some bands – we do not really see ourselves as members of a band, as much as three individuals playing music at the same time in the same project.
Continued below...
You recently opened for Kim Gordon’s Body/Head and Godspeed You! Black Emperor at Sled Island. How did the crowd respond?Beauregard: The Body/Head concert was a good one. The Godspeed show was by far the best. Wattie: There were something like 800 people packed in a church. You could literally hear them breathing between songs. It was frightening. But looking back at it, if we’d been told “this is your last performance ever, as a musician,” I don’t think we could hope for a better show
Has your record deal with Southern Lord affected people’s response?Ball: People now reply to our emails. I mean, people who did not want to take the time to do so now think they have a valid reason to do it… someone in a certain position has put his “seal of approval” on the band, so it’s OK to give us some attention… which is a pretty sad thing to do. Beauregard: On the other hand, we’ve been offered shows in Europe and elsewhere. People have manifested themselves. We work with a booking agency now. We’re leaving in October for a few shows [with Goatsnake] and we’ll be touring Europe in November.

Line Up :
Robin Wattie
Mathieu Bernard
Louis-Alexandre Beauregard

Label : 
Southern Lord Records

Tracklist :


dimanche 10 septembre 2017

Album de la Semaine : Algiers - The Underside of Power

The Underside of Power

Interview de Algiers, par Claire Lobenfeld de FACT

I really want to start with the title of the album. Where did the phrase “the underside of power” come from?
Franklin James Fisher: The initial recording sessions we did for this record were with Adrian Utley from Portishead and his production partner Ali Chant. We did it at Real World Studios, which is Peter Gabriel’s fancy studio out in the countryside in west England. In the evenings, there was this private French chef named Jerome and he made these extravagant meals for us. [We would eat in] this dining room and we would just sit there and talk. Often times we would talk about what was happening with current events because the beginning of these recording sessions when things [with Brexit] were starting to come undone. Ryan would talk about his job – he monitors human trafficking and they help refugees get settled in. He deals with the worst of human nature on a daily basis. All these conversations kind of led me to find a narrative from the perspectives of all these people who are under the heel of the powerful and really can’t do anything about it.

The band is coming from both Brexit and the Trump presidency. FACT is a British magazine, but half of the editorial staff is American, so there has been a communal experience watching the fracturing of our ideals and futures, a thing that didn’t seem possible last year. I was curious about how you guys were able to balance a perspective about what’s going on in the world right now and how you wanted to present that on the record?
Fisher: From my perspective, it was very much a whirlwind, this recording process, and so fragmented. We worked with six or seven different engineers and in all these different studios, from Bristol to London to New York. In the midst of doing all of this, it was just kind of absorbing everything that was happening, for me, without really having the a specific opinion or diagnosis about what was happening, other than I knew what it was rooted in. We kind of knew it was fucked. It was only kind of recently that I’m going back to listen to the record again that it’s starting to become elucidated to me. It was really just about absorbing and reflecting everything that was happening, which is kind of what we’ve always been about.
Tong: I think the whole point of Algiers is to illustrate the myriad things wrong with the way our various systems are set up. We’ve had this wave of public outcry that’s flared up against them, but it’s just a part of a number of similar processes that have happened over the last couple of centuries where fear of the other is exploited for political gain. This isn’t new to us, but I think the important thing to underline right now. Algiers is, hopefully, a long-term project and that [project] is to kind of constantly remind people that these same problems have always existed in various forms.
Fisher: What did Gore Vidal call it? “The United States of Amnesia”? I mean, obviously this is happening: this kind of right wing resurgence of fascist populism in Europe, as well, and in the UK, but the United States is particularly good at erasing or revising history. And the people are particularly good at not learning it or unlearning it. I think there’s a certain indignation underlying what it is that we do as it pertains to this idea that, “Wow, people are fucking idiots and how are they letting this happen again?”
These forces have always been just beneath the surface of the culture and of the politics. That it’s kind of reaching a kind of unprecedented prosperity, for lack of a better word, it’s really angering and frustrating… I lost any sort of faith in the American people after they re-elected George W. Bush back in 2004. But with this election, the Democrats took [Hillary Clinton], this cardboard cutout product of the standardized political electoral machine just resting on her laurels, without any sort of critical self-examination or real zeal going against obvious fascists. Everybody was so self-confident, so self-assured that it was a foregone conclusion that she was going to win. That says more to me about the state of the Democrats than it does about the Republicans.

You guys have a very stacked deck of collaborators: Adrian Utley from Portishead, Ben Greenberg from The Men, Randall Dunn, who has produced for Sunn O))). How did you guys build this team?
Tong: A lot of it was good fortune. At various points, it felt like we didn’t have enough time in the initial sessions with Adrian and [his production partner] Ali [Chant]. It felt like we probably could have done with a bit more time, but our schedule and finances made it difficult to be able to get everything down in that time.
Fisher: With the rare exception of a couple of really bright moments, spending some time at Real World and meeting Adrian and ultimately Ben, for me, personally, recording this album was an utter nightmare.
Tong: It was tricky. It was a real problem child.
Fisher: It was so amazing working with Ben Greenberg because he got it immediately and it’s the not the easiest world for somebody on the outside to kind of step into and understand what we’re trying to do. Our music’s quite weird and the way we go about making it is quite convoluted, but he got it. That was the missing piece of the puzzle we needed. Later on, Ryan, Matt and Lee, at different intervals, went out to Seattle to mix the record with Randall, who is also really brilliant. He did these finishing touches that made it really nice.
Tong: His pedigree speaks for itself. We were very lucky that he wanted to come aboard. He took what was quite messy, giving that we had recorded in different places. He just brought everything into the same world.

Reading the annotations for the record, or even just being told a list of influences, it is a little bit inscrutable, but when you hear the album, all of those references, whether it’s Kraftwerk or Suicide or gospel, all make sense. How do you guys fit those puzzle pieces together?
Fisher: The way that we write as a band changes almost perpetually from one song to the next. A year ago this time, we had just taken a break after the first tour cycle. Everyone went away for a couple months and came back with different sketches and various demos and we kinda sat down and figured out what out of that bunch we would work on. I think a lot of the songs on this record came from Ryan, from his initial sketches. For songs like ‘Death March’, we were looking to incorporate Matt, who is obviously an amazing drummer, and we were trying to do it in a way that was organic. There was some trial and error there, but we were finally able to bring his style into [our] cadence and to have his drum sound that are produced without any kind of weird flashiness or “Look everybody, we got Matt Tong!” You do whatever you need to do to serve the song, but you have to put the craftsmanship first.
Tong: Everyone is really patient to accommodate everyone’s ideas. In my experience, it’s important to be able to do that, but equally as important is to be able to be mindful about when the song could potentially getting away from you. By that I mean, the producer or engineer or whoever it is you’re working with, who is there to help you realize that idea, you have to make sure that they kind of understand what you’re trying to do, as well. You’ve gotten be careful that you don’t go too far to accommodate them that you can’t come back and you have to start again. It’s very tricky.

Another thing that stuck out to me in album details was that the track ‘Walk Like a Panther’ is referred to as a love letter to A$AP Rocky, Drake and other pop star rappers, but the rest of your notes do not make it sound like you have much esteem for them or their music.
Fisher: It comes from my work. My best friend runs a club on the Lower East Side, and he gets me work there checking coats just so I can make some cash when we’re not on the road. I’m really grateful to him for doing it, but at the same time, it completely sucks your soul dry. The music that the clientele wants to listen to is nothing but Drake and Nicki Minaj and bling era hip-hop. It’s a mostly white audience and it’s a white DJ that’s spinning this stuff. It starts to grate on you when you’re in this subservient position and you’re listening to this music. It’s total blaxploitation. It really plays into this narrative that I have been fighting against my whole life which is what is expected of you in the eyes of, not just the mainstream American culture and in the eyes of other black people. Authentic black representation is this bullshit that you hear on Top 40 radio and that you see in fucking movies, which is all fucking manufactured and perpetuated by white-owned corporations and it’s completely fucking destructive to black identity.
Listening to songs like ‘Fucking Problems’ with 2 Chainz and A$AP Rocky with that one line, I can’t get over it: “They say the money makes a nigga act niggerish / But at least a nigga’s nigga-rich.” It’s a room full of drunk white people singing along to the fucking lyrics and, in the meantime, I’m waiting on them. That’s fucked up. And I got sick of it. When Ryan and I were demoing ‘Walk Like a Panther’, he laid out the beat and everything, and he was like, “Just improvise”. I did something, I don’t really remember. He cut it up and re-arranged it and presented it back to me. I wasn’t singing any words or anything. I heard it and I immediately had this image of a modern day Reign of Terror, post-French Revolution, and the black aristocracy, so to speak. The people, the real people, went and rounded up all these motherfuckers for selling them out and they were gonna bring them to the gallows and execute them for their crimes except for at the last minute, they don’t get executed. You realize, ultimately, they’re just playing into the hands of The Man, and if you love somebody, if you love something, then you discipline them. So that’s where it comes from. It’s a weariness and an anger with this entire culture which has gone on uninterrupted since the early ‘90s. This is the pervasive image of what it’s like to be a black person in our culture and, therefore, the rest of the world. It’s bullshit and I’m sick of it.

Do you think there’s any possibility popular culture will change, specifically the portrayals of non-white people?
Fisher: The only real way that you can instigate any sort of change is to give credence to the idea of difference within the people themselves. Dylan called these kinds of songs “finger-pointing songs”. I’m talking to other black people. The irony is other black people don’t listen to our music. But I’m not the most optimistic person in terms of social change, but I know the difference between right and wrong and it’s a moral obligation, once you do know what’s right, [to work toward change]. I think that’s the basis of any sort of social change and the drive to enact change, even if you don’t think you’re gonna see it or you don’t think it’s achievable, at least not in your lifetime. You still must be compelled to do it if you understand the situation and the basis of things. I think that may be a theme of our record.

Line Up :
Franklin James Fisher
Ryan Mahan
Lee Tesche
Matt Tong

Label :

Tracklist :
01 – Walk Like a Panther
02 – Cry of the Martyrs
03 – The Underside of Power
04 – Death March
05 – A Murmur. A Sign.
06 – Mme Rieux
07 – Cleveland
08 – Animals
09 – Plague Years
10 – Hymn for an Average Man
11 – Bury Me Standing
12 – The CycleThe Spiral Time to Go Down Slowly

dimanche 28 mai 2017

Album de la Semaine

United States of Horror

Interview de Ho99o9, par Noisy

Ho99o9 (à prononcer 'horror', comme vous avez pu vous en douter) sont les nouveaux fers de lance d'un crossover particulièrement féroce, mêlant rap, punk et thrash metal. Oui, tout ça, mais jamais en même temps, car Eaddy et The OGM, les deux types qui forment le groupe, n'ont pas hyper envie de tomber dans des plans fusion. Ce pont entre leur adolescence hip-hop et leur évolution plus rock a récemment pris la forme d'un premier EP, Horrors of 1999 et d'un démanagement à Los Angeles, qui leur a accesoirement permis de faire figurer Ciara le Gale dans un de leurs clips. On a rencontré le duo à quelques jours de sa prestation très attendue aux Eurockéennes, juste avant un concert à Brighton où ils ont débrqué sur scène en robes de mariées, avant d'échanger des bières avec le public et de se jeter dans la foule, pour finir leur show dans le plus simple appareil. Bref, le résultat typique d'une éducation stricte dans le New Jersey.
Noisey : Comment est né Ho99o9 ?
OGM : Trs franchement, c'est juste arrivé comme ça.On était amis depuis longtemps, bien avant de monter le groupe et on a décidé un jour de bosser ensemble sur ce projet. Rien de sérieux au début, c'était juste pour déconner et voir ce qu'on pouvait en tirer... Puis on a commencé à devenir vraiment bons et on s'est mis à y a réfléchir un peu plus sérieusement.
Vous venez tous les deux du New Jersey. Est-ce que tu dirais que votre son est lié à cet endroit ?
OGM : Définitivement. On vient de zones urbaines où la plupart de la musique se résume à du rap pur et dur. On a grandi au milieu des dealers et des gangs. Quand tu ramènes le punk dans le hood, les mecs sont là, 'c'est quoi cette merde ?' Ils nous prennent pour des weirdos.Eaddy : Ouais, on est tarés.
Et donc il s'est passé quoi quand vous avez ramené le punk dans le hood ? OGM : Eh bien ça a carrément changé les choses au sein de notre scène. Avant de monter le groupe, on organisait des concerts - on faisait partie d'un collectif et on organisait des concerts hip-hop et on les mélangeait avec du punk, du rock, des performances artistiques, et les gens ont commencé à s'ouvrir au fur et à mesure, tu vois ? Le quartier ne connaît que le quartier parce que les gens ne cherchent pas à aller au-delà. Donc si tu leur apportes des trucs et que tu leur mets sous les yeux, c'est cool, et ils finiront par l'accepter.
Vous avez déclaré être assez frustés par les concerts hip-hop où le public reste plutôt statique. C'est important pour vous, l'interaction avec le public ?
OGM : C'est ce qui attire l'attention. Les gens viennent te voir, alors tu dois les divertir. Les gens viennent te voir, toi. Tu ne peux pas leur sortir une demi-molle.Eaddy : Ecouter de la musique est une chose, et la voir en live en est une autre. C'est une expérience totalement différente. Tu dois bosser là-dessus.OGM : Le tout doit être parfaitement affuté, la musique comme la perf'.Eaddy : Ouais, parce que si la musique est bonne, c'est ça qui te pousse à aller la voir en live...OGM : … et si la performance est bonne aussi, tu te fais des fans ! Ça m'est arrivé d'aimer des groupes et d'être vraiment déçu après les avoir vu en live. Zéro émotion. C'est vraiment con quand ça arrive.
Vous envisagez vos concerts comme des performances artistiques ?
Eaddy : Ouais je crois qu'on peut dire ça...
Qu'est ce que vous voulez faire ressentir au gens dans le public ?
Eaddy : Je veux qu'ils soient excités, qu'ils se sentent heureux, j'ai envie qu'ils lâchent toute l'agressivité qu'ils ont accumulée tout au long de la semaine. Je veux qu'ils se sentent libres et qu'ils ressentent notre énergie.OGM : Et aussi qu'ils se disent, 'bordel qu'est ce qu'il vient de se passer ? Je veux recommencer !'
Quelle importance vous donnez à votre look ?Eaddy : Ça joue un rôle quand tu es sur scène... Ça te permet de jouer différents personnages, de jongler entre plusieurs alter ego. C'est comme quand on était gosses et qu'on matait des films et des dessins-animés avec des superhéros. On s'inspire de différents personnages.OGM : Même quand on n'est pas sur scène, on aime bien déconner comme ça.
Il y a des concerts qui vous ont particulièrement marqués quand vous étiez gamins ?
Eaddy : Je n'allais pas aux concerts, j'ai été élevé dans une famille stricte donc je n'avais pas la permission de sortir. On allait à des fêtes de quartier, cela dit. Jersey est réputé pour la jersey club, la dance music, et on se pointait à ce genre de soirées. Je ne suis allé à des concerts que bien plus tard.OGM : Ouais, quand j'étais gamin on était juste trop pauvres. On ne quittait jamais le quartier. Je ne pouvais rien demander à ma mère. Et en plus, je ne connaissais rien.Eaddy : Je ne pouvais aller nulle part, même si je savais qu'il se passait un truc à tel endroit. Mes parents refusaient systématiquement tout ce que je leur demandais.OGM: J'ai commencé à sortir en concert à la fin du lycée.
Vous mélangez tous les genres dans votre musique.
Eaddy: Ouais, c'est bien plus excitant ! Si tout était pareil tout le temps, on s'ennuierait très vite. Voilà pourquoi dès qu'un truc qui sort du lot débarque, on le chope au passage.
Vous aimeriez entendre votre musique en bande-son de quel genre de film ?
Eaddy : Sur tout ce qu'a fait Rob Zombie, des trucs comme The Devil's Rejects.
Donc des trucs relativement pétés.
Eaddy : Oui, plutôt... Ce film est bien pété.OGM : Ou les films de Quentin Tarentino. Il faudrait qu'on rencontre ce mec.
Allez-y ! Votre EP s'appelle Horrors of 1999… il s'est passé quoi de si grave en 1999 ?
OGM : Un tas de trucs pétés.
Un truc en particulier ?
OGM : En fait, le projet se concentre sur un paquet d'évènements qui sont arrivés cette année-là. Comme le massacre de Columbine où ces kids se sont juste mis à tirer sur tout le monde. Ça s'est passé en 1999, t'avais oublié ? Checke un peu les évènements de cette année-là, c'est taré tout ce que tu trouveras. C'est la vie, quoi.

Line Up :

Label :
Toys Have Powers

Tracklist :
01 – U.S.H.
02 – War Is Hell
03 – Street Power
04 – Face Tatt
05 – When Death Calls (Interlude)
06 – Bleed War
07 – Moneymachine
08 – Splash
09 – Knuckle Up
10 – Dekay
11 – Sub-Zer0
12 – Feels Like… (Interlude)
13 – City Rejects
14 – Hydrolics
15 – New Jersey Devil
16 – United States Of Horror
17 – Blaqq Hole

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