Emission radio. Live les Dimanches de 20h à 22h sur le 95 fm (RQC- radio locale Mouscron-Kortrijk- Lille Métropole).

En écoute ici en streaming.

Pataugeage dans toutes les mares ! (Rock, Electro, Jazz, Hip-Hop, leurs dérivés connus, inconnus ou oubliés)

Tous les Canards vont à la Mare est une réalisation produite par Animation Média Picardie.

co : touslescanards@gmail.com

dimanche 21 octobre 2012

Archive de la Semaine - Interpol - Turn on the bright lights (2002)

2002. Le rock mondial se cherche et bien souvent clashe avec L’Electro minimaliste sautillante, à la recherche d’une certaine inspiration. Au choix, on durcit les guitares, toujours plus pour appuyer des mélodies grasses ou on redécouvre les feux de camps et ce sont les balades scouts qui prennent le dessus.  La course à l’après-grunge bat son plein dans le chef des rédacs de tous les papiers inspirés (sic) du monde entier. 50 Cents est dans la place ( !), Soulfly aussi le temps d’un 3iè album fade, et Jared Leto nous fait tout un cinéma le temps d’un premier album boursoufflé !
On leur avait dit, le temps est sombre.

Une fois de plus, c’est à New-York que semble se dessiner la réponse.  Dans le quartier de East Village pour être plus précis, une triplette gagnante voit le jour avec les sorties respectives des Yeah Yeah Yeahs, The Strokes (vite dégonflé) et Interpol donc.  Le groupe démarre en 1998 et très vite opte pour une présence scénique habillés (quelqu’un a dit Reservoir Dogs ?). Sans doute,  influencés par le bassiste Carlos D, le grand bonhomme de la formation.
Carlos Dengler est un DJ prisé à New-York et un historien de formation qui se dirigeait d’ailleurs vers une carrière académique. Son jeu de basse simple est fortement inspiré du son anglais du début des 80’s et immanquablement, on pense à Joy Division et The Cure à l’écoute de ce premier opus.  La voix caractéristique de Paul Banks ne fait que renforcer l’impression à propos de Joy Division. Le groupe se défendra (à cause perdue) de cette grande ombre tutélaire. Banks ne jurant que par Public Enemy ( !) à longueurs d’interviews.

Turn on the bright lights est un album solide, cohérent et marquant pour une première sortie. L’esthétique toute lynchienne bien sûr, ensuite ce son qui a fait frissonner l’échine de tous les trentenaires.  Bien sûr la voix assurée, habitée de Banks, les tricotis de Kessler et cette basse groovy  et froide.
Au final, cet album est un must du genre, acclamé par les rock-critics de tous horizons et un public enthousiaste qui va suivre.
10 ans plus tard, l’album est réédité, ce n’est pas le plus important. 10 ans plus tard, cet album est juste un classique du genre.


Tracklist : Untitled – Obstacle 1 – NYC – PDA – Say Hello to the Angels – Hands Away – Obstacles 2 – Stella was a diver and she was always down – Roland – The New – Leif Erickson.

Album de la Semaine : Moon Duo - Circles

Moon Duo - Circles

Interview de Moon Duo, par Charlotte Simons de Positive Destruction

Charlotte Simons: So you guys are stationed in Colorado and no longer San Francisco. How did that come about?
Ripley Johnson: We couldn’t afford to live in San Francisco any more. It’s kind of sad but we decided to do Moon Duo full time and we wanted to go on tour and just go for it so we had to move to make that work. Sanae quit her job and I had been laid off already. The place we live now is called Blue River. It’s in the mountains near Breckenridge.
Charlotte: What were your San Francisco day jobs?
Ripley: I was a systems administrator for an Internet company.
Sanae Yamada: I taught middle school English.
Charlotte: Oh wow. I’m always interested in how bands travel and make rent and in what they do when they’re not practicing or playing shows.
Ripley: I’m always interested as well, like how do people make it work? We don’t really talk to other bands about this but it is always a big problem because someone will be like, “Oh come play this festival in Scandinavia! We’ll pay you $500!” Are we’re like, we can’t do that, there’s no way even if it covers the cost of getting there and back it doesn’t pay your rent. So yeah, how do you keep a job and how do you keep an apartment and tour? It’s interesting how people make it work.
Charlotte: Was it always this way? Do you think it was this difficult 30 years ago to do art and live?
Ripley: I don’t know. I mean I think so. I mean because for example if you’re a painter, you work a shit job, you’re not going anywhere and there’s no travel expenses and you’re not gone so you can work some day job and come home and paint all night. You’re not touring with your paintings so there’s not that extra burden for most other kinds of artists.
Sanae: I think actually for musicians it’s a special problem in the United States because in Europe it’s a lot easier to get funding or federal funding for playing music or for putting on a festival or doing something that’s not necessarily classical music, opera or ballet which is what seems to get the bulk of federal funding in the States. Also in a lot of European countries, the state covers your health care and any education that you or family might want. So all these pressing concerns in the Sates create a unique situation for people who want to make art full time.
Charlotte: How has Moogfest been for you guys?
Sanae: Really great, really fun.
Ripley: Yeah we’ve been chilling out a little bit, we haven’t seen that much music.
Sanae: We wen’t to the movies yesterday.
Charlotte: Oh yeah, what did you see?
Ripley: Contagion
Charlotte: I was in that scene downtown where people are fighting for a vaccine in the convenient store off of Clay Street. You know the scene? Like people are dog piling and Jude Law is prevailing? They never paid me. I stood around doing that for like 9 hours.
Ripley: Ohhhhhhh yeah. Yeah that scene. Can you see yourself in it?
Charlotte: I don’t know I never saw it. Another day job… this one was unpaid though.
Ripley: Yeah well we never get to go to the movie theatre because we travel so we took a chance, or we took the opportunity rather, to see something.
Sanae: Whenever we have the day off we always sort of see if going to the movies is a possibility.
Charlotte: Why movie theaters?
Ripely: We just love film. And also in Colorado there’s a theatre half an hour from our place and that’s it and they just play four or five movies at a time and it’s what’s ever the big movies are so any chance we get to see something that’s not Disney or something we try to take the opportunity.
Charlotte: So your set was at the same time as Suicide’s set this evening but you still got a really great urn out. At the end of your set I talked to those guys who were right up front watching you and I asked them why they were interested in your music. They were from here (Asheville, North Carolina) and they said that they felt really comfortable and safe doing acid listening to Moon Duo. I feel like there’s this gentle drug sound you have. It’s not so direct and it’s not overtly psychedelic or overwhelming or over the top. So what he said could make sense for a lot of people in terms of how they experience Moon Duo. How do you feel about that comment?
Ripely: I mean I think it’s great, I mean I’m glad people feel safe you know like that they’re not playing music that’s going to freak them out. We don’t really think about it too much you know but you always want someone to like your music, you play a show and you know it’d be great if everyone came and liked your music but when you’re making the music initially and you’re creating the song and the ideas for your music you don’t think about that kind of stuff. It isn’t until after that you think, “I hope someone likes this.” While you’re doing it you’re not thinking, “Oh well what about someone in Asheville that’s going to be on acid, will they be able to deal with this?” It’s never part of your thought process so anything that someone says is interesting, it’s always good if it’s positive but it’s always fascinating to hear what people say after a show.
Sanae: You make the music and the primary concern is, “Does this sound right to us? Do we like it, is this what we want to do?” But then with any other art form you put it out into the world and then what comes back at you is always kind of fascinating because like Ripley was saying, it’s stuff that you never would have thought to consider. But I think that’s one of the great things about music. A piece of music can mean so many things to different people or it can work or not work for different people for an infinite number of reasons. The interpretive aspect is I think one of the most interesting things about it, about the experience.
Charlotte: You said that it could work or not work. Sometimes when it’s not working it’s working. Right?
Sanae: Yeah definitely. Any reaction is a positive thing I think. If someone feels something whether it’s revulsion or ecstasy it’s worth something.
Charlotte: Despite talking about music tonight as something that is intuitive and something that is so much so a part of what is considered to be spontaneous I want to breach that a little bit and talk about the composition and the structure of Moon Duo songs. I feel that if I had to describe the bulk of what you guys do I would say that there are these prolonged, consistent drum sequences and then an explosive guitar solo that comes about and is kind of supported by these loud organ sounds. Then you listen to {Mazes} or {Killing Time} all the way through and learn that that’s not necessarily always so. I feel that you push length in terms of song duration and I think that you’re doing something different.
Ripley: I mean for us it’s easy, we could go for 20 minutes. It’s not that hard for us to go long. I think though that a good way to think about it is how rock ‘n’ roll… well we consider ourselves a rock ‘n’ roll band and from a rock ‘n’ roll perspective the whole idea of dance music is sort of lost on rock ‘n’ roll. It’s not considered a dance form anymore or a dance genre. In fact dance music is a genre right? Although there are all these subgenres of dance, rock ‘n’ roll is not one of them. Rock ‘n’ roll is a separate thing and where as rock ‘n’ roll started out as a dance music, we are interested in rock ‘n’ roll as a dance music. It’s interesting because in every interview, nearly every interview, people will talk about the repetition of the drums or the length of the songs or how they go on and on and on and how it doesn’t change. But that’s something that’s so common, especially at Moogfest and it’s great that we’re here and in seeing bands tonight all of them are like, “Boom chhh- Boom chhh- Boom chhh-,” it’s the same beat over and over again and a lot of the songs are really long but no one would ever ask a techno artist, “Why is the beat the same for ten minutes,” or “You play these long songs that are very repetitive, what is up with that?” That’s because that’s accepted in that genre but in our genre, rock ‘n’ roll, people don’t expect that. It’s considered unusual which is pretty fascinating because in the ’50′s at dances and stuff people would play repetitive groves and longer songs. Maybe not longer but an important part of the music was the rhythmic aspect. This is something we think about and are interested in and that’s why we do that.
Sanae: I think because early rock ‘n’ roll was so focused on dancing that dancing was an integral part of the emergence of rock ‘n’ roll so the establishment of a primal, repetitive grove was really an essential thing. The essential question in early rock was, can you dance to it? And I think that repetitive beat is obviously really great for dancing and that’s what sets it in motion.
Charlotte: Since we’re at Moogfest I feel like it’s okay if we nerd out on some of the equipment you guys are using.
Ripely: I’m running my guitar through an MXR Distortion Plus, it’s like an early ’80′s late ’70′s distortion pedal. There’s an MXR Phase 100, a Geoffrey Tease Real McCoy wah pedal and this Big Muff, I forget what it’s called.
Charlotte: It’s huge!
Ripely: Yeah it’s like a double Big Muff, it’s like two, it’s really strange, it’s like one side is regular Big Muff and the other side is over drive so it’s like a double pedal. Then there’s a looper pedal which is a Boss something or other. There’s also a Memory Man.
Charlotte: In terms of what you start and end your chain with is there an effects loop that you set up, does it matter which pedal you place in front of the other?
Ripely: Yeah but it’s not an effect loop in the sense that there’s a dry signal as well, the guitar is just run through all of them. But the order matters, people suggest different things but it’s sort of trial and error. And that’s one of the problems with this Big Muff, this Big Muff is an amazing pedal because you’ve got your boost and your distortion so it’s sort of like this great all in one pedal but the problem is that if you use something like a phaser or something that modulates or something like flanger you want put your distortion before that because you want your distortion to feed into that and really give a full whooshing sound. But you don’t want your boost pedal or over drive for leads. It has to be something that’s sort of at the end of the chain.
Charlotte: Because it will sound muddy?
Ripely: If you put the phaser before it just won’t sound as powerful, it will just sound kind of weak and you want your wah before your distortion.
Charlotte: Do any over your pedals ever give out live?
Ripely: Sometimes they just stop working. I don’t use batteries anymore but if you use batteries then yeah. That’s another thing about that Big Muff pedal that’s interesting because it’s got a voltage knob on it so you can simulate low voltage so with some pedals if the battery starts dying it can sound really interesting and it’ll sound really fucked up because it’s not getting enough power. It can sound very fuzzy and weird.
Sanae: I play a Nord Electro 3 which has some really great organ settings. I play a lot of simulated B3 sounds. The Electro 3 has a lot of great tremelo effects and phasers and a ring modulator. There is also sort of a rotary simulation so I use a bunch of the effects within the keyboard. And then from that I go into a Fulltone OCD which is essentially a drive pedal for guitar but it has the effect of a distortion pedal for the keyboard. It kind of makes things sound raw and on the fritz and kind of fuzzy. From that I go into a Sansamp compressor so that I can regulate the levels myself. That also has a drive so sometimes the drive on the Sansamp combined with the OCD pedal creates a really interesting effect. I like it anyway, it’s a good level of distortion. From that I go to a Boss looper and into my amp.
Charlotte: And programming drums?
Ripely: We use a sampler. A lot of it is sampled live drums. We also have an old Rhythm Ace from the ’60′s.
Charlotte: Holy shit your visuals tonight were spooky.
Sanae: Well the visuals tonight were a bit unique. We just played this movie called Begotten  it’s kind of this crazy ass cult horror flick. It’s really, really weird- it’s so fucked up. Usually we always try and corporate visuals. I like to do video collages. We bring a projector on tour. We try to take the projector far back into the room so that it covers the entire stage and it becomes like an immersive atmospheric aquarium element to our show.
Charlotte: I’m feeling homesick enough this weekend to ask you what you miss about San Francisco.
Sanae: Taquerias.
Ripely: I was going to say that ha ha.
Ripely: It’s the whole vibe of San Francisco that I miss. I lived there for 15 years and whenever I would travel I would back and I would feel safe again. There’s something about the United States where outside of San Francisco I feel a little on edge. You feel like no one is going to fuck with you in San Francisco. The cops aren’t aggressive and stuff. It’s just when I’m back there I feel at home again. I feel safe. It’s a weird thing because there’s no reason you shouldn’t feel safe in the rest of America but I don’t. I don’t feel relaxed. There are aggressive people and a weird vibe that I just don’t pick up on in San Francisco. Even though there are aggressive people in San Francisco they are just kind of whack you know? You’re just kind of like, “Oh that guy is off his rocker,” and it’s an exception. It’s not like he’s a type of guy that I have to worry about.
Sanae: I miss my friends. I feel like I have really good friends in San Francisco. Being on the road in some respects is amazing because you go so many different places but at the same time you meet different people every day and that’s amazing in it’s own right but your interactions with these people are always sort of on the surface. I miss having that more in depth experience and spending time with friends that I know really well.
Sanae: I miss the light in San Francisco. I think the light there is special. I mean it’s not just that’s it’s sunny it’s that the light has this incredibly specific character that I’ve never seen anywhere else. Especially in the afternoons when the sun is starting to go down, the way the light hits the buildings and the colors are so uniquely beautiful. It’s something I’ve always loved about San Francisco.

Label :
Sacred Bones
Line Up :
Sanae Yamada
Erik "Ripley" Johnson
Tracklist :
01 – Sleepwalker
02 – I Can See
03 – Circles
04 – I Been Gone
05 – Sparks
06 – Dance Pt. 3
07 – Free Action
08 – Trails
09 – Rolling Out

samedi 6 octobre 2012

Archive de la Semaine: Front 242 - Geography (1982)

Amis du Didgeridoo, des cavalcades de manches (de guitares), des voix fortes et suraiguës  des icônes (e-connes) possédées, cet album représente plus ou moins tout ce qui peut vous faire peur ou vomir puisque vous êtes fragiles des intestins.  Trop de sucreries, tue le transit, c’est bien connu.

Geography sort en 1982, nous sommes en pleine période froide, la pop mondiale est traumatisée par la noirceur de Pornography, les sons abrupts d’A Broken Frame et la belle concentration apportée par New Gold Dream. Les anglais tiennent le haut du pavé depuis 20 ans (Love me do, m’voyez…). Et ce premier jet proposé par les belges est tout bonnement aussi ultime qu’inattendu. Non que Geography soit le meilleur album du groupe… encore qu’il figure dans le top 3 de la plupart des suiveurs, mais les compositions proposées marquent le coup, durablement.

30 ans plus tard, nous sommes toujours interpellés par cette précision clinique qui fera la marque de fabrique du groupe. Le soin apporté aux rythmiques est chirurgical et le bistouri n’en finit pas de triturer les sons. À l’explosivité d’un Einstürzende Neubauten, les belges choisissent une certaine concision, tout dans ce disque est découpé-recoupé, ce traitement particulier est dû à l’utilisation de machines plutôt rudimentaire, de collages malins des bandes audio. Ils n’ont peut-être pas les moyens de leurs envies de l’époque, ils ont mieux, la créativité.
Au programme de ces presque 45 minutes de musique, des rythmes hachés, des voix déshumanisés, des synthés qui brûlent, surtout pas de guitares (jamais) et des percussions sur +/- tout ce qui peux faire office de support. Le disque est forcément minimaliste sans être miséreux. L’inventivité au pouvoir, toujours.

Dans les titres remarquables, « Operating tracks », qui ouvre l’album, contient un sample du film THX 1138 de Stanley Kubrick (1971) de même que dans le titre « GVDT ». « Kampfbereit » est un titre emblématique dans une droite de ligne de ce que pouvait produire un groupe comme Joy Division. « U-Men » est un classique du groupe.  Et que dire de la trilogie finale « Ethics », « Principles » et «Body to Body ». Geography ouvre une voie vers l’utilisation de l’échantillonnage et la répétition des rythmes que l’on retrouvera plus tard dans la musique électronique ou le hip-hop.

réédition 2004 (Alfa-Matrix) 

Le groupe va très vite construire un monde à l’image des idées qu’ils développent dans leurs morceaux. Rien n’est laissé au hasard, très vite un soin particulier est apporté aux pochettes d’albums, à leur communication et leur présence sur scène s’accompagne très vite d’une vraie organisation entre décor et lights show. Il suffit d’aller faire un tour sur leur site, pour s’en rendre compte.
Plus de trente ans après ses débuts, le groupe d’Aarschot compte toujours durablement (l’influence de l’influence !). De nombreuses formations de Ministry à Prodigy en passant par The Young Gods, Derrick May, Faithless, Nine Inch Nails, Billy Corgan (sic), Saul Williams ou Death Grips  témoignent de l’héritage de la musique de Front 242 dans les musiques actuelles.

Tracklist: Operating tracks - With your cries - Art + Stratégy - Geography II - U-Men - Dialogues - Least Inkling - GVDT - Geography I - Black White Blue - Kinetics - Kampfbereit - Ethics- Principles- Body to Body

Album de la Semaine : Rival Sons - Head Down

Rival Sons - Head Down

Interview des Rival Sons, par B-Max de The Rocker's Place

Bonjour Rival Sons et merci d'accepter cette interview avec moi. Pour commencer, pourquoi ne pas tout simplement présenter le groupe ?

Miley: Hey tout l'monde ! Nous sommes les Rival Sons. Jay au chant, Scott à la guitare, Robin à la basse, et Miley à la batterie.

Votre tout dernier album est sorti en Juin dernier. Que peux-tu nous dire à propos de cet enregistrement?

Miley: Pressure & Time est notre troisième sortie après Before the Fire et l'EP Rival Sons. On a écrit, enregistré, mixé et remanié cet album en 20 jours. C'était plutôt excitant. Nous sommes allés au studio de notre producteur [Dave Cobb] "1974" à Silver Lake au Canada sans la moindre idée de chanson. C'était cru et viscéral. Instinctif. Totalement le pied levé. Mais c'est comme ça qu'on aime ça. C'est comme ça qu'on joue en live aussi. Viscéral, le pied levé, et inattendu.

Et si tu devais comparer cet album avec votre premier, nommé "Before The Fire" ?

Miley: Premièrement, on a fait Pressure & Time de la même manière que Before the Fire: écriture dans le studio; une chanson par jour; viscéral; live dans le studio; jouer tous ensemble; listening; etc. Même producteur. On s'est dit « si ça ne casse pas, ne répare rien ». C'est sûrement comme ça que nous ferons aussi notre prochain album.

Y a-t-il une chanson dont tu es plus fier que les autres sur ce nouvel album ?

Miley: Et bien, pour moi, en tant que batteur, Pressure and Time déchire tout. Du son bien lourd de batterie. Face of Light est je crois, en tant que chanson, du début à la fin, la meilleure.
White Noise est ceci dit ma vraie favorite.

Vous allez tourner avec Judas Priest en Angleterre. A quoi vous attendez-vous pour cette tournée ?

Miley: Voler tous leurs fans ! LOL ! Je suis impatient. Ce sont des légendes. Nous allons joués dans une paire de putains de salles en Angleterre. Ca ressemble à un timing parfait; ça colle bien.

Vous avez joué dans pas mal de festivals européens cet été. Comment c'était ?

Miley: Tous les musiciens américains rêvent de jouer dans les Festivals européens. Ils sont célèbres. J'étais vraiment excité ! Je n'étais jamais allé en Europe. J'étais supposé y aller à l'occasion d'un voyage au collège, mais j'ai fini en tournée avec The Dead [Furthur Festival] cet été là.

Que dirais-tu aux personnes qui lisent cette interview pour les faire se bouger à l'un de vos shows ?

Miley: Venez. Tentez l'expérience. Même si vous n'aimez pas notre type de Rock N Roll particulier, vous serez tout au moins vraiment divertis; probablement votre moment le plus divertissant de la journée ! On se donne à fond. On transpire. On partage. Et on s'amuse !!

Dernière question: qu'écoutes le groupe actuellement ? C'est toujours bon à savoir !

Miley: OH j'ai cru que tu ne le demanderais jamais ! Nous écoutons un pannel très vaste de styles et genres. Ca dépend aussi de qui conduit. Si Scott est au volant, vous pourriez entendre un mix de Bob Dylan, Small Faces, et the Animals. Pour Jay, Otis Redding, un peu de Appalachian A Capella, et Frankie Miller. Robin mettrait un peu de Tower of Power, Miles Davis, et James Brown. Moi, ça serait sûrement du nouveau Black Keys, Elmore James, ou du Lady Gaga des débuts.

Et bien, merci à toi d'avoir pris le temps de répondre à mes questions. Maintenant que l'interview est terminée, je te laisse le mot de la fin !

Miley: On est vraiment chanceux de faire ce que nous faisons, autrement dit jouer ce que nous ressentons vraiment, et voyager à travers le monde tout en le faisant. Merci à tous, on se voit bientôt !!

Line Up :
Jay Buchanan
Scott Holiday
Robin Everhart
Mike Miley

Label :
Earache Records

Tracklist :
01 – Keep On Swinging
02 – Wild Animal
03 – You Want To
04 – Until The Sun Comes
05 – Run From Revelation
06 – Jordan
07 – All The Way
08 – The Heist
09 – Three Fingers
10 – Nava
11 – Manifest Destiny Pt.1
12 – Manifest Destiny Pt.2
13 – True