Posts Tagged ‘France’

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One night in Paris, a perfect moment preserved and documented for posterity. If you have been lucky enough to see The KVB on their 2019 North American tour, then this live album captures that same energy, that same space perfectly. I very much look forward to being able to see them perform again, but for now “Live at La Cigale” offers a reminder of what we all have to look forward to. The visionary film-maker Christopher Brown delivers a love letter to Berlin in a new short film ‘Sehnsucht’, the city where the London based brits lived for a year in 2016 and collaborated with the likes of The Brian Jonestown Massacre, The Underground Youth and Neu!, under the Moniker ‘Browzan’. The film scored by The KVB gives us an insight into the dark, creative and the freak show that is Berlin. In this film-poem Brown illustrates his experience living in Berlin between 2016-17. Brown uses collage, still photography, video and boomerangs to re-imagine this dirty paradise as a throbbing visual mosaic. The evocative imagery is harmonised by a dark music score composed by the illustrious duo: The KVB (Invada Records)

In 2020, feeling nostalgic in UK lockdown, Brown reminisced over his time in Berlin and wanted to make a piece that captured his experience living there. His concept was to make a film-poem using still photography, boomerangs and collage techniques.

A long time admirer of British audio-visual duo The KVB (Nicholas Wood & Kat Day), Brown reached out to the band to make an original score – they had been wanting to collaborate for a while and finally the opportunity came to being. Having lived in Berlin also, Brown thought the UK duo were the prefect act to generate the atmosphere that Brown’s imagery evoked.

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‘Live at La Cigale’ LTD Edition silver vinyl available now exclusively via Invada Records UK. Each vinyl purchase guarantees access to our upcoming ‘Dreamspace’ live stream concert.

Recorded on the 29th January 2020 live at La Cigale in Paris.

All songs written and performed by The KVB

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This Is The Kit is the musical project of Kate Stables and whoever joins her. You thought you didn’t like the banjo but you were wrong pal. Listen as Kate rips forward with her hypnotic twang pattern and a voice of rare, unaffected beauty.  I have come here to bring you the news that we have made a new album called ‘off off on’ and that it will be released on october the 23rd by Rough Trade records. Since 2008’s debut album Krülle Bol, This Is The Kit (lead by Kate Stables) have unpicked emotional knots and woven remarkable stories, but even by their high standards, “Off Off On” is a beautifully clear distillation of Stables’ song-writing gifts.

By the end of 2018, the band had finished touring their last album, the talismanic Moonshine Freeze – leading to Kate’s Ivor Novello nomination, but when it came to Stables’ natural impulse to start the next record, her efforts were diverted by an invitation to join The National on the road for multiple tours and TV appearances – a continuation of the role she took on their album “I Am Easy To Find“ It was so brilliant when I was writing to be away from my songs and the responsibility of being in charge of a band or a project – I think it really helped my writing and my getting through whatever I needed to get through.”
Richly illuminating and acutely sensitive to the pulses and currents of life, “Off Off On” shows This Is The Kit overflowing with ideas. In difficult times, it’s a record that feels like a lifeline, moving against the tide, standing against the storm. Keep going.

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From the forthcoming album ‘Off Off On’ which will be released by Rough Trade Records on October 23rd 2020. This is the fifth album by the band and is the follow up to 2017 critically acclaimed album ‘Moonshine Freeze’.
released June 30th, 2020
Rough Trade Records Ltd

Jehnny Beth was the formidable and mysterious leader of Savages’ flinty monochrome attack, remoulding stark post-punk into gender-fluid shapes. Retiring the band after two Mercury-nominated albums, and returning to France after more than a decade of self-discovery in London, this solo debut is the product of an intense period of self-reflection, softening the carapace of her English persona to ponder innocence and rustic roots.

Beth’s friend PJ Harvey laughingly dismissed her poetry as “terrible”, and even Cillian Murphy’s spoken-word turn can’t redeem some po-faced portentousness, or a chilly air of theory familiar from French erotic provocateurs such as Catherine Breillat. Mostly, though, Beth digs deeper, building an artistic identity capable of both transgressive rampages and introspective quiet.

Ambivalence is constant, as she plays with guilt and pines for innocence. “We Will Sin Together” suggests Jean Genet-like underworld adventures beyond good and evil, but allows for simple, lusty pleasure (“All I want is your sexy eyes/Your legs parting to the skies”). “Flower” is a breathily shivering ode to an LA stripper, delicate falling leaves of guitar adding grace to its electro glide. The thrusting cyber-swagger of “I’m the Man” dives deepest into Savages territory, only to make a startling feint into Seventies boudoir balladry, like Barry White gatecrashing The Prodigy. Even cocky humour slips in, when the elusive feminine Pimpernel of “Heroine” insists: “All I want is some good use of my great body.”

Beth’s rediscovery of her schoolgirl studies in jazz piano and literary bent both pay off in “The Rooms”, an enigmatic vignette of secret erotic exchanges with a heavy, languid atmosphere of French provincial shadows. “The French Countryside” is a limpid piano ballad, wide open to romantic ecstasy and the past. While retaining steely strength this is a fuller self-portrait, warmed by flesh and blood, remembered family and love.

‘Flower’ comes from Jehnny Beth’s debut solo album ‘To Love Is To Live.’
The album will be released June 12th

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A Beautiful Thing: IDLES Live at Le Bataclan is the brand new live album from IDLES, recorded at the famous venue Le Bataclan in Paris on 3rd December 2018, at the close of a 90 date world tour. The album celebrates the band’s success over the last two years, featuring songs from Brutalism and Joy as an Act of Resistance, and highlights their overall message of unity, and of healing through community.

“Our show at Bataclan was the end of a very long journey for us. On that tour we learnt so much about ourselves, each other and the audiences we have grown with over the past 10 years. That show was nothing short of catharsis and nothing more than love. We love what we do and the people who have carried us here, there was no hiding that at Bataclan and we are so very grateful that the moment was captured in all its glory, love and fatigue. Long live the open minded and long live the moment.”

out this Friday. IDLES ‘A Beautiful Thing: Live At Le Bataclan’. Available with 3 different sleeves and coloured vinyl combinations.

Television (Live at Le Bataclan) from the album ‘A Beautiful Thing: IDLES Live at Le Bataclan’ released on Partisan Records on 6th December 2019.

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From a commune in southeastern France, something weird, innovative, and probably somewhat illicit is going on. The region is ground zero for Dead Horse One, a band that formed in 2011 playing music that blended overdriven guitars with psychedelic overtones, quickly attracting the attention of some major players. Creation Records pioneer Joe Foster sang Dead Horse One’s praises after they released the first of three 2012 EPs. A couple of years later, Ride frontman Mark Gardener produced their wistful, imagistic debut full-length Without Love We Perish. The band’s followup, this year’s Season of Mist was produced by Fleeting Joys’ John Loring, and ups the ante with louder compositions, more radical sound excursions, and better vocal harmonies. Clearly influenced by My Bloody Valentine, Dead Horse One also inject elements of Swervedriver, and, of course, Ride into their swirly concoctions.

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Releases November 22, 2019

Ludovic Naud – Bass, Vocals
Olivier Debard – Guitar, Vocals
Antoine Pinet – Drums, Guitar
Ivan Tziboulsky – Guitar, Keyboards

John Loring – Additional Guitar
Rorika Loring – Vocals on Saudade

All songs written by Dead Horse One

L’ÉPÉE (EMMANUELLE SEIGNER, ANTON NEWCOMBE, THE LIMIÑANAS) •FAT WHITE FAMILY •  ICEAGE • THE WARLOCKS • NIGHT BEATS • BLACK MIDI • MYSTIC BRAVES • LE VILLEJUIF UNDERGROUND • THE PSYCHOTIC MONKS • FRANKIE AND THE WITCH FINGERS • NEW CANDYS • TVAMNew additions FRUSTRATION •  KING KHAN’S LOUDER THAN DEATH • MATTIEL • VANISHING TWIN • DERYA YILDIRIM & GRUP ŞIMŞEK • FRANCE • JUMAÏ and MIËT have been announced, topping off the confirmations already released:

Two Day Passes are on sale now, Single Day Tickets are coming soon.

The city of Angers, and the Le Quai theatre are an incredible setting and we can’t wait to go back. Join us for year 7 in France!

Anyone who is a fan of the Uncle Meat period of Frank Zappa and The Mothers Of Invention will get a kick out of this one. It explains, in a little over 50 minutes why Zappa was so influential among the fledgling Progressive Rock community. Frank really never made music to dance to, even though some could argue that parts of Freak Out and Cruisin’ With Ruben And The Jets were finger-poppers, and the first number on this tape is a jumping improv, he mostly appealed directly to an audience who liked their music brainy and challenging. He was responsible for freeing up much of Rock’s inherent restrictions, and in doing so forged a new direction during a period of time where musicians and listeners were looking for a bit more substance and meaning.

And even though it became a very public joke that none of Frank’s music would ever make it on Top-40 radio, he achieved worldwide recognition without it. Popular Music was exploding in directions that hadn’t happened before the 1960s. By 1968 the revolution was in full bloom.

And when you consider this concert from Paris, five months after the great French Strike of May and the monumental changes that occurred during that time, it’s only fitting and natural that Frank Zappa and The Mothers Of Invention play to a sold out and enthusiastic audience at the Olympia.

Fortunately, this concert sounds great and completely belies its age (almost 50 years ago . . .seriously?). Further evidence that history doesn’t need to sound dim and distant in order to be profound. Unfortunately, it’s just the first half of the concert.

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The Mothers Of Invention: 
Frank Zappa—guitar and vocals
Don Preston—keyboards
Ian Underwood—keyboards and woodwinds
Bunk Gardner—woodwinds
Motorhead—baritone sax
Roy Estrada—bass and vocals
Jimmy Carl Black—drums and vocals
Art Tripp—drums and percussion

Recorded 26th October 1968, Olympia, Paris, France

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Forget the Eiffel Tower, the Louvre, fondues, soufflés, and bonbons. If you’re planning to go to France, go for its burgeoning music scene, particularly in the psychedelic spheres. One band at the forefront of the country’s musical renaissance is Bootchy Temple, who in the autumn released their new album, Glimpses, is on Howlin’ Banana Records.

They are the descendants of fellow French psych-rock duo The Limiñanas with splashes of Wooden Shjips and The Brian Jonestown Massacre. In other words, they are crafting songs that are immensely hazy and delirious, such as on “Lady Sunshine” and “Nail’s Ward”.  Martinez, Paul, Sam, Luc, Lucas, and Greg are also heavily influenced by The Doors, where they can make psychedelic sound like a romantic breeze, as revealed on “The Man With The Cane”. Pretty soon, they won’t be imitating anyone, but rather others will be trying to replicate their groovy and trippy sound.

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Band Members
Martinez : Chant, guitare.
Paul : Guitare, chant.
Sam : Guitare, chant, claviers.
Luc : basse.
Lucas : batterie.
Greg : batterie.
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Active since 2013, France’s Rose Mercie are finally releasing their first album in 2018, and it’s definitely been worth the wait!

Rose Mercie is, above all, the coming-together of Charlène, Inès, Louann and Michèle. The chemistry between these four musicians is incredible, and propels each song in a swarm of imagery whose
sweet bitterness infuses body and soul.  Melancholic and moving, percussive and vocal, and shooting glances in the direction of an elsewhere which has never felt so close; a somewhere where Electrelane are dancing to the Shangri-Las and maybe the Raincoats.

One will find the taste for the tangents of La Ligne Claire (former group of Charlène and Inès who had a record on Bruit direct disques) mixed with a real song-writing talent and a particular care given to the voice. Indeed voices are the main instruments of this brilliant first record. 

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After a participation to the great motion picture “Avant la fin de l’été” (Before Summer Ends) of Maryam Goormaghtigh last year, Rose Mercie is now fully committed to defend its first album on stage in Europe as well as in North America, while keeping exciting side projects rolling (Belmont Witch, Charlene Darling, etc.). It’s the time of their lives, don’t miss it! 

Released March 2, 2018
The Band are:
Rose Mercie : Charlotte Kouklia, Inès Di Folco, Michèle Albertini, Louanne Djian 
Once the intro to opener “Human” gives way to its fully-realized sonic purpose, it’s obvious that Harlan T. Bobo’s fourth proper album, A History of Violence, is quite different from his previous body of work. The classic historical emotional heft of a songwriter trying to make sense of life’s chaos, think mid-70s Lou Reed, especially Coney Island Baby, is a thread that can be heard running through the album’s mid-tempo tracks like “Human” and the miniature literary tragedy that is “Nadine”. The punchier tracks on the album, like “Spiders”, might conjure very early Green On Red, what X’s mid-80s output could have been, or even the roots-rock tendencies of overlooked genius.

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Though this is the first proper full-length by Harlan since 2010’s Sucker, the last eight years have in no way framed a musical hiatus of any sort. Bobo contributed to The Memphis Symphony Orchestra’s conductor-less “Opus One” project for the 2010 and 2011 seasons, in which his original songs were classically arranged by participating MSO players and performed as chamber pieces for non-traditional audiences at rock clubs. Also in 2011, Harlan, and fellow Memphis music notables Jack Oblivian and Shawn Cripps (Limes) successfully Kickstarter-funded a 40-show “Memphis Revue” style tour through Europe. Already splitting his time between Europe and the States as this decade opened, Bobo continued to perform solo and tour Europe as such while also forming a Memphis super-group of sorts known as The Fuzz in 2013, which included former members of 90’s scuzz-punks Action Family and Thomas Jefferson Slave Apartments. Playing 2013’s Goner-Fest 10 and subsequently releasing a self-titled album of garage-ragers on Italy’s Munster Records later that year, The Fuzz (not to be confused with Ty Segall’s band of the same name) expanded Harlan T. Bobo’s musical frame of reference nicely. 

Bobo established his base of operations as Perpignan, France, in 2014, the hometown of his then-wife and where Harlan has also been busy raising their son. 2014 also saw the re-release of Bobo’s much-heralded 2006 album, Too Much Love, via both Goner Records stateside and France’s Beast Records.

By 2014, Harlan T. Bobo had amassed two album’s worth of solo material for the planned follow-up to Sucker. However, as they say, life has a way of intervening in dramatic and not entirely positive ways. If the new album’s candid gloom is any indication, the last few years in Europe raising a son and trying (unsuccessfully) to keep a marriage together has been difficult, to say the least.

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A History of Violence still highlights Bobo’s whiskey-and-cigarette-informed vocal style, and on the more intimate tracks, it’s a distorted ear candy that warbles into increasingly sunken, uncomfortable places, like that of the songwriter with which comparisons have followed Bobo throughout his career: there is a richer canvas on which to work this time out, not to mention a decidedly heavier and darker one. The album was recorded in Memphis with Doug Easley, who has previously worked with Cat Power, Pavement, Wilco, Sonic Youth, Jon Spencer, and Jeff Buckley. Bobo also brought in Steve Selvidge (The Hold Steady, Bash & Pop) on bass and Jeff “Bunny” Dutton (Action Family) on guitar, along with regular contributors Jeff Bouck (Polyphonic Spree) and Brendan Spangler (Viva l’American Death Ray). The result is a naturally dynamic album that seems equally at home with howling guitars and heavy bass lines as it does with haunting piano and humble pleas. A History of Violence is Bobo’s most complex — and complete — album to date.

Released June 22nd, 2018

Recording in Memphis, TN by Doug Easley
Harlan T. Bobo – vocals, guitar
Steve Selvidge – bass
Jeff “Bunny” Dutton – guitar