Posts Tagged ‘France’

Image may contain: one or more people, people playing musical instruments and guitar

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.

http://

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.

http://

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

Image may contain: 5 people, people smiling, people sitting and indoor

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.

http://

Band Members
Martinez : Chant, guitare.
Paul : Guitare, chant.
Sam : Guitare, chant, claviers.
Luc : basse.
Lucas : batterie.
Greg : batterie.
Image may contain: 4 people, people smiling, people sitting, shoes and outdoor
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. 

http://

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.

http://

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.

http://

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

The 6th edition of LEVITATION FRANCE will take place on 21st & 22nd September 2018 at the Théâtre Le Quai in downtown Angers, France.

Thanks to its location in the city center of Angers, Le Quai allows the festival LEVITATION to settle on the edge of Maine and facing the castle. Angers is located about 300 kilometers southwest of Paris on the banks of the Maine. Its universities, museums and cultural activity make it an important cultural center.

This capital of Anjou has a rich history including many historic buildings such as the castle of the Dukes of Anjou (which houses the wall hanging of the Apocalypse) or the magnificent Saint-Maurice cathedral overlooking the city. Angers is also famous for its gastronomy with many local specialties and of course for its wine, the city being located in the heart of the wine region of Anjou.

You can easily move around the city which is very welcoming. Renowned for its mild climate, the sun is often present in September. The festival starts every day at the end of the afternoon, which gives the festivalgoers time to discover the city.
The festival is part of the twinning exchanges between Angers and Austin.

For the event the Quai will be transformed with a scene installed in the Forum. The projections will dress this large space during the concerts. Next door, outside the building, there will be a first bar and restaurant area. Another outdoor area with bars and foodtrucks is planned closer to the small stage, installed in the T400.

LEVITATION FRANCE  concerts will start in the afternoon and end each evening around 2am. We will announce the schedules day by day before the festival.

 

As we know, first times are always the most powerful: the shattering rush of revelation can only be experienced once. After that it’s all an inevitable, exhausting quest for repetition, a feverish search for the original shock, and pointless reiteration and accumulation poisoned by consciousness, analysis and age: and such a sensation keeps fading as we experience it. 2018’s garage band #1001 will look and sound the same as the preceding one, and leave you wondering -half-sorry, half-dismayed- how on earth listening to the Sonics and the Standells could electrify you back in the days. Likewise, you can count on the fingers of one hand the bands you’ve loved up until their 5th album like J.C. Satàn – almost ten years after falling in love. We all already know dudes who have “seen them too much”, heard them too much and stopped expecting anything from them anymore. Except that those folks are in for a big-time surprise, as the Satàn crew did not deliver a 5th album just for the hell of it, just to justify their next tour: they got together to seek the rare fuel, the miraculous current able to galvanize our sleeping senses, the electroshock forcing us to revive the urgent impression of being alive. ‘Centaur Desire’ has something of a new first-time record.

http://

The Limiñanas
The French duo the Liminanas, a dream object that has become a reality for passionate fans of a purist rock that does not stop a pinch of second degree, continues its well-marked path. While waiting for the album to be released in January, discover “Shadow People”, a tasteful taste of their new vintage.

“Doing something new with the old”, such would be the credo of Lionel Limiñana , head of the monomaniac duo of Perpignan whose aura continues to grow. And if it was more the opposite, make old with new? Basically, what does it matter, since the result is the same, the group now proudly heading for its aesthetic line dictated by an immoderate love for the dark underground rock of the Velvet’s or the garage primitive sound of the Standells combined with the most cheerful songs of yéyé and Italian sixties pop. A fine rigor that once made happiness, in their genres, Cramps or Jesus & Mary Chain and, today, at random, Moon Duo. With the Limiñanas a Frenchy touch that makes the difference, this zest of glamor and romance distanced that reinforces their singularity.

Shadow People , is a new album to be released on January 19th, mainly recorded in Berlin in studio apartment of the fan of choice Anton Newcombe, brings some small changes in the continuity. Some variations sound, reinforced by a small skewer of guests, as  Emmanuelle Seigner, Betrand Belin or Peter Hook (definitely addicted to the duo and so back), and, novelty, a common thread – the term concept album would make them an insult: the record unfolds vaguely songs the journey of a young man (Lionel) grown in the 80s to his groups on the margins that have shaped his taste and his style forever. Suffice to say that the Limiñanas persist and sign, concocting with as much flavor, hardly retouching the recipe, this good old dish which we definitely do not get tired. For proof, in scout of the album, the clip of Shadow People, shot at home, in Cabestany, in front of the discotheque Ikea furnished with the couple, with guest encrusted star Emmanuelle Seigner.

Liminanas-Anton-Newcombe-mai-2017-7-retouche

French duo The Limiñanas are putting the finishing touches to their new album”Malamore” which will be out early 2018 but in the meantime have a new EP titled Istanbul is Sleepy, due out November 17th via Because Music. The title track is a collaboration with Anton Newcombe of Brian Jonestown Massacre, with whom The Limiñanas first worked on a Kinks cover for MOJO magazine. Anton takes lead vocals — “He was inspired, in particular, by The Cult during their ‘Rain’ period,” says Lionel Limiñana — which takes the otherwise very Limiñanas-y (groovy motorik psych-garage) track into new, cool territory. Newcombe’s “Rain” inspiration enters into the video, too, which premieres in this post.

The Liminanas have a few U.K tour dates coming up, including their first ever London show.