Hello! Can you introduce yourselves, who is behind the Cabaret Frappé in Grenoble? Is that a Starbucks drink?
Nope. It’s a pure European blended musical event organised by Grenoble city. The festival, 70% funded by the regional government, offers 3 stages and various activities during 6 days. More than half of the events remain free. Only some shows are paid, at a really affordable price.
How long has the Cabaret Frappé been going on for?
The Cabaret Frappé is already going to celebrate his 17th birthday. This year, beside the must-see festival in the garden, the festival also features brass band performances in the city train station, and will have a free concert on the Bastille, a fort on the top of a hill, offering a breath-taking view over the city. To finish, the Cabaret Frappé offers an after party in a legendary concert hall : Le Ciel.
Is the end of July a good time to visit Grenoble?
We can definitely say that the end of July is a good time to visit Grenoble, in order to enjoy the area, surrounded by three wonderful mountain ranges. The mountain is also an amazing natural place to visit outside the winter period. During July, it’s the perfect weather to go around for a walk, and cool down in the lakes and waterfalls of the area. Within Grenoble, you can visit the charming city centre streets and parks, and enjoy many entertainments as well.
What kind of artists will be performing?
Assuming the role of a pioneer, the Cabaret Frappé is behind many innovative musical discoveries. The festival supports musical creation, and ensures high quality programming. It promotes local and international artists within a large range of diverse music styles.
What’s the vibe like?
The festival mainly takes place in a nice park, in the heart of the city. It brings about 50,000 people during the week. Friends and family gather in this fresh oasis, under the shade of the trees, to enjoy a moment of relaxation ideally suited to discovery. Around the musical program, various activities are freely organized: readings in the Rose Garden, world games, screen printing or free childcare centre for young parents attending paid concerts.
What are you the most proud of about the CF?
We are really happy to give the opportunity to discover today tomorrow’s talent. The Cabaret Frappé attaches great importance to promote emerging artists and showcase their performance in front of a large public.
A spectacular June evening is descending along the banks of the Canal Saint Martin, Paris’s premiere place to sit and drink rosé for the apéro as the sun warms your shoulders at 7 pm. It is here, behind an ever-morphing tag and a pathway that we arrive at the Comptoir General, a mix of African influences, antiques, and Caribbean vibes. Three of four members of Dead Sea are waiting with me for pints at the bar.
Their friendliness is instantly apparent. Caro, the singer, was the first to meet me. Her English is great, she even tells me the other guys - Alex and Charles, the brothers who started Dead Sea - were worried about doing an interview in English. I reassure them. We step into the courtyard. The mic clicks on.
This interview was translated from French. Tony Hymes for Whyd in bold.
Dead Sea, the name, is that because you are Jordanian? Israeli? Is there a reason that you chose this name?
Charles: There is no particular sense, it’s just two words that we like, together.
Caro: There is also the idea of voyage too.
Charles: True, it evokes the idea of travel, the sea, death. We listen to a lot of psychedelic music, and Dead Sea sort of goes along with that. Plus the two words go along well together, doubling the “EA.”
Does the image of the Dead Sea as a place, is that something that you like too? Dryness?Low mountains in the distance? Salt?
Alex: Everyone floats.
Me: That’s the psychedelic side, everyone floating.
Charles: Never thought of it before!
Looking at Charles and Alex, both decked out in leather jackets.
And when did you guys buy your first leather jacket?
Charles: Maybe 5 years ago, before we did a lot more psychedelic rock. We had other clothes then, like when we were in a different group we had our name on the back of a jacket. The idea of the Dead Sea is to make rock with machines. It’s not to do electronic music, but to keep the rock spirit.
When did you meet Caro?
Alex: We met her a year ago at the Paris Psychfest. We had made a flyer looking for female singers, and we put them in all of the girls bathrooms, and then Caro sent us some samples and we really liked it.
Did you already have a project, Caro?
Caro: I had already been involved in a few other projects in the past. I attended a music school in England, and I had some folk groups. When I arrived in Paris I didn’t have a project, and I was looking for a group to find. And coincidentally I was at the Psychfest and saw their flyer, looking for a female singer. So it came along at the right time, and the style fit me really well.
You guys released an EP recently, two songs. Are you rather happy with the EP?
Charles: Yes we are happy. We based all of the communications for the group around the two songs and the video. We are at more than 20K listens on the EP, which is pretty good.
Alex: We also have had a lot of reviews on blogs.
What did the reviewers say?
Alex: Overall they were mostly positive.
Charles: In any case, the people who never responded probably didn’t like it.
That’s probable, there is also the side where everyone tries to be a friend to everyone: they do a review, you share it from your side too to help them reach a wider audience too. It’s always going to be positive with blogs of that size. So in that case, what is your biggest criticism of yourselves right now? What is the thing that you are most trying to improve?
Charles: Good question.
Caro: Maybe the scenography,
Charles: We are trying to work with a small company for the lighting, staging for performances, making a logo, we would like to work on the visual side. On the music side, we are just trying to make more songs so that we can have 10 by the end of the year and release an album.
Tell us Caro, what part do you play in the creation of Dead Sea’s music?
Caro: I was pretty happy from the beginning since there were a lot of singers that responded to their flyer, so there was a sort of contest. They sent us two demos, and they wanted me to write the lyrics and melody, which I did, and they liked it. Now I also have a synth so I can play around with that. But mostly it’s the lyrics and melody, which works out well since everyone has their own part.
When it comes to creating new songs, do that come from just jamming around or are there specific places where you find inspiration?
Alex: That could come from a specific place, lots of times it comes from listening to other groups. We spend a lot of time studying different lines and segments, sometimes Charles sends me a synth line, or a drum line.
Charles: Since we are making music electronically, we find a starting point and build from there.
Is it because you are brothers that you jam well together? Is there something in your DNA that links together vibrations?
Alex: I think so, yes, we grew up in the same place, listening to the same music.
Are you both happy, at the same time, with one song?
Alex: Sometimes there are disagreements.
Charles: And when we are all happy that’s when we know the song is done.
Alex: But we do have disagreements, that can last for weeks!
Charles: We have a set of songs that we all like, and it’s that set that we play live.
Imagine one year from now, what are your realistic expectations?
Caro: I think the most important part is to have a full album by the end of the year. We’ve been talking that having only two songs out there can limit us and what we can do in terms of audience. So an album will bring us to the next level. And in a year definitely to do festivals, even small ones.
Alex: And with the album to find a record label.
Caro: Find people that support us!
Are you going to be playing live soon?
Charles: Yes, June 23rd and 26th. The 23rd is at the Bababoum, and the 26th is in a small room called the Buzz, it’s the place that we met Caro!
Caro: Yes! We’ll celebrate my first year anniversary with the group!
We write and produce the music together at our flat in Manchester. We both play a bit of guitar and piano, but Tom primarily sings lead vocals.
How did you start playing music together? Did you have a clear vision of the sound that you wanted or is a compromise between your two different styles?
I found a song that Ben did online, he lived across the road and we decided to try and write something together.
I don’t think we had a clear vision, it came from a lot of experimentation and combination of our individual music tastes.
Where do you draw your inspiration from? Are there contemporary artists that you look up to?
We suppose we’re inspired by people like Mount Kimbie, The Weeknd, Bonobo, Fleet Foxes, Fink, Washed Out, Steely Dan and maybe even D’Angelo.
Can you tell us about your new EP? What can we expect?
This EP feels bigger than the other 2 EPs. The old EPs sort of shows our mellow side and this EP (although still holding emotion and thoughtfulness) feels as though it has more bursts of Energy. We almost see it as a stepping stone to our album.
You will be playing at Melt in Germany, are you doing any other festivals this summer, maybe in France?
We’re dead excited for Melt Festival. We’ve never been to Berlin before so it should be a good one. We’re playing a few festivals this summer but unfortunately for now we don’t have any dates booked in France (yet!) although will do very soon.
For our music lovers in Lille, you might remember when we interviewed Bâton Blanc on the occasion of their first techno party. For a smaller town like Lille, with a limited nightlife, a techno party was a big moment of celebration. Now, after planning and a lot of work, the team at Bâton Blanc has a new venue and partner in 3/3. A new party has been announced, this one happening on Thursday, April 30th at the Tchouka Club. You can find the details here.
As the headliner for this event, they are bringing in an up-and-coming Ukrainian producer. His name is SE62, and we had the pleasure of interviewing him:
Hello SE62! Can you introduce yourself? Where are you from originally?
Hi there, my name is Yura, I am 27 years old. I have been living all my life in Kiev, Ukraine.
How long have you been making music? How did you get started?
My music background started at 10-12 years old. My grandfather was a musician, he showed me a lot of folk instruments. I started producing my first music at university when i was a student. Somebody dropped me Ableton CD.
What’s the character of SE62 now? Who would like to listen to your music?
At the moment I’m listening to house music and a lot of instrumental hip hop from the golden era (early 90’s). Love that gritty stuff. And jazz & soul records. I am trying to make more clubby music. I am happy to see when people dancing and have fun!
What kind of things do you have planned for 2015 and beyond?
Travels, my first album, wedding, hope Magister Study and a lot of work with the music and design.
Looking forward to visit Lille. Henri (Inner Sense) made awesome gift for me. It’s a book about French cities, such a cool book ! I am so exited to come!
Hello Asagaya! Can you tell us how you arrived in France?
I was downloaded to France three years ago. It was one way of doing things, as good as any other at the time. My transfer went pretty well even if I would’ve preferred the premium USB key option, which is definitely more comfortable.
Does your Japanese heritage bring something to your music?
There isn’t any Japanese heritage because I am inspired by all types of music or almost all types of music. The music of the world is an inexhaustible source that rolls out across decades and I try not to get stuck in one style, one country, or one era. I have the feeling that one life will not be enough for everything there is to listen to.
How long have you been making beats? Where does your inspiration come from?
I’ve been making music for over 12 years, alone and with different groups, more or less underground. Rock, funk, dub, trip hop, hip hop, bizarre, etc. I have multiple influences, from Dr. John to Shawn Lee, passing by Frank Zappa, Philip Glass, Can, Moondog, Fela Kuti, the list is long.
Tell us about your album “Light of the Dawn,” that you just released this week. When did you start working on it?
It’s an introductory course composed of meetings and micro-histories where the main character toggles between different realities. When Guts discovered me in the abyss of the web, we started to put together some tracks for a potential album. Then, he found some really talented artists (Leron Thomas, Lorine Chia, Akua Naru, Afrodyete, and Jay Prince) to give another dimension to my work, without ever imposing anything.
Which song from “Light of the Dawn” is your favorite? Why?
The track that I am the most proud of, without any doubt, is “In the Mountain of Bliss.” Firstly, for Leron Thomas, his words, his creativity, and his talent on the trumpet. From thousands of kilometers away, he totally understood the concept and musicality of the track. Then because it’s the harbinger piece for the character and for the rest of the project…
When and where can your fans come to see you in live this year?
I’ve recently benefitted from the important backing of AFX Booking, who is already working on upcoming shows for the fall. Before that, I will be opening for Guts at La Cigale on April 16th, playing in Grenoble on April 30th, and then I open for Al’Tarba on June 13 at New Morning.
Hello Jabberwocky! You are originally from Poitiers, France. How long have you known each other and can you tell us how you started to create music together?
Hi everyone! Well we met each other at the university because we studied medicine for 6 years. We began to make music for chilling between classes and when we finished our first track “Photomaton,” one of our friends told us to share it on internet. Then the track was really appreciated by a lot of people and we started Jabberwocky for real, creating new sounds, playing live…
How does Lewis Carroll and his poem “Jabberwocky” inspire you today?
We like the concept of this poem, playing with the words, their meaning, their sound. The fantastic universe of Alice in Wonderland talks to us too. It’s full of mystery, dreamlike moods and unbelievable situations.
What’s it like to have a hit song like “Photomaton” that reached #2 on the French charts?
It’s very cool! Very surprising and unbelievable, especially when it’s the first track you’ve ever done ! We couldn’t thank enough all the people who support us, like, share our music, and come to see us play live.
Can you tell us how your music has evolved since you began up until today?
We have never created anything together before “Photomaton.” We have different influences, from French music to techno. When we started Jabberwocky, it was like discovering the job. So we had to get experience, learn fast, and create to find what kind of music we wanted to do. We released our first EP “Pola” last November, a really pop EP, and now we’re going to release our first album in May and there’s something new, something more electronic. We wanted to show this part of our music for a long time.
Who should listen to your music?
Everyone who likes music ! We really need to be curious and be interested in a lot of different things.
Where can people see you live this summer?
Mostly in France but we would like to play in other countries too, we’re organizing it. All the dates are on our Facebook page and our website. We start the tour with the Ricards SA Music Live Tour, first date at the Palais de Tokyo (Paris) on 03/31/2015.
Great news! In May we are going to interview the French born, international sensation Fakear! This is your chance to send us your questions, so we can ask him directly! Please send your questions to tony at whyd dot com, or respond directly here in the blog.
Très bonnes nouvelles! Ce mai on va faire un interview avec la sensation internationale, Fakear! C’est votre opportunité de nous envoyer vos questions, et on va les poser à lui directement. Envoyez vos questions à tony at whyd dot com, ou répondez ici sur notre blog.
In the lobby of Universal Music’s French Headquarters the music business minions trickle in to start the day. Big posters of bigger stars like Katy Perry adorn the walls while a TV cycles through highly-produced music videos.
We’re here to meet Charlotte OC, an up-and-coming singer from England who has a new EP dropping today. We climb up a series of staircases, passing awards, more posters, offices with executives pouring over their latest projects.
In an upper-level conference room Charlotte opens a bottle of water, the night before having been a bit crazy, she says. Appropriate coming from a singer whose lead single so far is called “Hangover.” But she’s all smiles for the first interview of the day. The mic clicks on.
I want to start off talking about your background because I think that you are technically one of the most diverse artists ethnically speaking. What is your background?
Charlotte: My mum is half-Malawian and half-Indian, but there is also some English in there somewhere. My Dad is Irish and his grandmother was Spanish.
So are you like what the human race will look like in a few centuries?
Charlotte: Probably, probably.
So tell me about your music. When did you start singing? What was the inspiration that first brought you in? Were you one of those girls at the school talent show that was always trying way harder than everyone else?
Charlotte: There was a priest that came to our school. We were recording this song for a charity competition to win this thing, and just the fact of having something on tape, just having that, was really excited to me. It was kind of like, thinking as a kid, “my voice is on there,” and it was mind-blowing to me.
It got me excited, and I remembered how I felt when I was doing it. It was a really bizarre feeling because I knew that I could do it, even though I didn’t know what the “what” was. I knew I could make a career out of it and I will follow it through. I just knew.
Did you develop that actively? By being in choirs?
Charlotte: Yeah. I was always in the choir and I started learning piano but it didn’t really sit well with me. When I was 15 my Dad gave me guitar lessons, and it was a masculine instrument. I think that’s because I went to an all-girls school and everyone was playing violins and pianos and it was just a different thing to do. But I think it was the best thing I’ve ever done.
I had my Dad’s old, old guitar, and it was the hardest thing to play and my fingers were killing me. Then I started to get the hang of it and I started to realize that I was going to be obsessed over this. And I think piano put me off as well, like if that’s not sitting well I wouldn’t be able to enjoy anything else. Once I started to get the rhythm of the guitar I started on melodies and writing lyrics.
Then Myspace arrived, and I started uploading tracks and my career started there. Managers got in touch, brands got in touch, and I started developing this project when I was 16, co-writing for the first time which is a very daunting experience. Still is, I think it is the scariest thing that I will ever do. It’s like a first date naked. Doing that when you’re meeting these people and you have to connect with them in the space of 3 hours or 4, you don’t know them. As a kid you’re like “this is crazy!” But then it’s done and then there’s this album.
Myspace always had these “top friends” lists, I was #1 for this guy and he was signed to Columbia and his A&R man saw it and I got signed through him.
Wow, so Myspace really came through for you!
Charlotte: Yeah! My early project. I made this album, and it’s an album that you’d make when you are 16, it’s very naive, happy, sweet, but I had no idea what I was doing.
How has your music changed since then? Is it less naive? Are you a pessimist now?
Charlotte: No, I’ve experienced things. When I was younger I hadn’t experienced things yet. I mean I had such a lovely childhood. As the youngest of 3, I was hidden away from a lot of things. But I had nothing to write about other than other people’s experiences and it didn’t really translate. You can hear that in the album.
What are some of these experiences? Aside from hangovers…
Charlotte: Well, Hangover is one of my tracks, and I wrote it when I felt one of my first monster hangovers. And heartbreak, you know, finding out that humans are weird people, and that in itself is inspiring. Death, I went through my first death a while ago and that’s just such a powerful, terrible, beautiful thing. One of those emotions that just hit hard, it’s probably when I write songs. I rarely watch +18 rated films, because I will be too affected by it. I will be scarred.
I can’t watch sad movies either. I just cry.
Charlotte: “American History X” would be like the worst thing for me, that would ruin like a year of my life. My music now is a lot darker because I realized that wow life’s hard, it’s difficult, and you can feel that in your music now.
Would you recommend that people listen to a few different songs, back to back, so people can see this transition?
Charlotte: Yeah. It’s what I did, and I’m proud of it. There are some good songs on there. I was really learning but what I’m doing now really represents me now, and my childhood, it pinpoints those influences that inspired me when I was younger.
So you say your childhood was protected, awesome, this little bubble of joy and smiles and long eyelashes. What were your influences at the time?
Charlotte: I was listening to a lot of Leonard Cohen. The first love of my life was Freddie Mercury. When I first heard “Bohemian Rhapsody” I thought, “this is the most incredible thing I’ve ever heard.” It’s like watching Michael Jackson for the first time. I’m watching Freddie Mercury, when you’re watching him it’s like watching a film.
Him, Tim Burton, those types of films that I really connected with, especially “Nightmare Before Christmas,” “Edward Scissorhands,” they make incredible sense to me. That’s what I wanted to do with my music, to have this darkness but also this pop art color and warmth that Tim Burton has.
Do you think you’ll ever do anything as epic as Bohemian Rhapsody?
Charlotte: Ha! I’d fucking love to! I think my music now is very dramatic, and there is a lot of performance in it.
Grow a little moustache, get it started now! What’s your plan for 2015? Do you see your trajectory continuing? Will you continue being more dramatic or will you find an equilibrium between your current style and your bright childhood?
Charlotte: I’m making the album at the moment. I’ve also been playing a lot of live shows, and learning a lot from that. You learn a lot about your work when you perform it. There’s a moment where I just play guitar and just sing a cover, and there is a real rawness that I’d like to carry through my album. I don’t want there to be too much production. More organic instruments, keeping it electronic but not too much. I don’t want it to hide behind anything.
And the team you have assembled, do they share your vision?
Charlotte: Me and Tim Anderson, who I wrote some songs with, was the first moment that I had a musical connection with somebody. It’s incredible when that happens. Like a romance, a connection with someone. I remember playing him a few songs when I first met him, and we sat down at the piano and instantly I had the melody on top of it and the song literally happened in a couple of hours. It was a very fluid thing.
There are still moments when I think, what am I doing? I’m still learning and it’s not easy but it’s getting there.
Who are some contemporary artists that you look up to? Or people that you look up to.
Charlotte: Little Dragon are amazing. I listen to a lot of them, their last album. and the album before. Caribou, their latest album might be the best album I’ve ever heard in my life. Every track is incredible. They all feel related to each other, like cousins. Fluid.
One more question, when you’re not making music what do you do besides drink a lot? Do you have hobbies?
Charlotte: I love music, I just love it, it’s what I do. Don’t really enjoy doing anything else. When you’re making a record it’s hard to expose yourself to other music. But it’s also good to watch something and be incredible inspired by it and it gives you a fire in your belly. I know that if I watch Hozier, another artist who is the real - fucking - deal, I’m inspired by that. There is a gospel element present in my music too, and when I hear that, I get it.
So yeah, I don’t really do much else, but I do love drinking though :)
March is a hot month for new music in Paris, with exciting acts understanding the mechanisms of launching new projects with the hopes of conquering their future fan bases around the world. It’s precisely this spirit, hope carbonated into a long neck bottle to be opened on a hot, dry day, that we encounter at Le Fée Verte, one of the most friendly Parisian bars nestled along the raucous Rue de la Roquette.
If this hopeful spirit has a color, it would be yellow: the color of the sun, the color of energy. In Spanish, it’s “Amarillo.” In Paris, it’s the band, releasing their first EP today entitled “Tomorrow We’ll Be Long Gone.” We’re joined by Noé, Amarillo’s sombrero y corazon, and Dylan, the lead guitarist for the 5-member group. Over coffees and Perrier, the mic clicks on.
The following is translated from French. Bold is Tony Hymes for Whyd.
How many are you guys in Amarillo?
Noé: We’re 5 musicians for the stage. Dylan is the lead guitarist while I do the rhythm guitar and the singing.
Who is responsible for the creation of music?
Noé: At the beginning I wrote everything in my room alone. Since I play a lot of instruments, not all very well, I recorded the songs and from there the tracks were able to grow. That gave me the desire to put the music on the stage, to call on friends that I’ve known for a long time.
Had you already played music together with the other member of Amarillo?
Noé: It’s been about a year that we’ve been playing together on the stage.
So you guys already have a vibe of what it’s like to work together? Your respective strengths and weaknesses?
Dylan: Before Amarillo we’ve already had other projects together. Like Caandides.
Noé: Yeah we know each other so the ideas come faster, we get mad at each other faster, and of course the problems are resolved faster.
It’s just like a family!
Noé: Yeah!
Your music has been described as psychedelic surf pop. I imagine you don’t do a lot of surfing in Paris. Does this mentality come from a particular geography? The idea of the coast?
Noé: I don’t know if surf music for French people is tied to actual surfing, it’s more of a sound. Or at least it’s become a sound, a guitar sound, very Tarantino-esque. And for me that’s sort of surf music. And it’s an influence.
Is that the center of your music? Or is your music more of a mix of a lot of different styles and that’s just what people tend to take from it?
Noé: When I write songs I never ask myself what the music is supposed to sound like. I like a lot of different music. I’ve played a lot of classical music and blues. I’m really a fan of pop music in general too, and so when other people listen to my music, they tell me other bands that they think it sounds like and so I say “cool!” It’s a good way to discover new music too!
And then afterwards when we are 5, everyone brings their own personal touches. That’s also part of the idea, for example, Dylan works his sound with the effects pedals, so I trust him a lot with the sonic texture, the timber of the music, things that I normally wouldn’t have thought of.
You mention blues, pop, are there other big styles for you on the level of your influences?
Noé: On a songwriting level I’m very into Americana, Neil Young, or Leonard Cohen. Pop songs, those are my biggest influences. Tom Waits too.
Tom Waits, Leonard Cohen are influences that often go together!
Noé: Oh merde!
No! It’s a good thing, because Leonard Cohen is a giant, he’s still producing music today! Either people tell me Leonard Cohen/Jeff Buckley, or Leonard Cohen/Tom Waits, and that gives me the immediate idea of the direction. That’s a public marker so people can understand.
And Dylan, as a guitarist, do you have major influences?
Dylan: I’ve never really been able to identify direct references between my personal style and the music that I listen to. But there are guitarists that I love for their textures.
The name, Amarillo. Texas?
Noé: Also.
Did you choose the name before or after you started making the music?
Noé: Well, I have Chilean origins through my mother. I speak Spanish at home, so it was all about the color. Afterwards I searched and I found out that it was a city in Texas, which doesn’t have a very easy history. That gives me more things to talk about but…
It’s more about the color.
Noé: Yeah, I like how the word sounds, there are a lot of vowels, and yellow for me is also hope, sunshine.
For this EP, there are 4 tracks. Do the tracks tell a story together, or did you just pick four really strong tracks to lead with?
Noé: The idea that I proposed to Antoine from our label Microqlima, was to have 4 strong tracks, and we chose the tracks together. Then afterwords we realized that with the track titles and the themes, that they could in fact be a story. Songs like “Tomorrow” and “Long Gone.” In the end it has a sense, adding to the feeling to voyage, the promise of the future, what’s going to happen soon.
Do you share this feeling of voyage Dylan?
Dylan: In fact very early on we got this idea from Noé, when he told us about the tracks and how he explained them to us. Also on a graphic level too. So as a good student I entered into his idea of voyage, and I feel like we approached the songs with respect to the idea of travel.
You can easily get that idea of voyage, but also on a temporal level.
Noé: It’s even more that. The idea of traveling is not always about the destination, but the voyage, and everything that is going to happen on the voyage. That’s really what we tried to develop with the themes, the graphics, the idea of “what we are going to do.” It’s not important where we are or what we’ve done. It’s hopeful, rejoining the theme of “amarillo.”
Who would you be proud to be classified with, in terms of similar styles of music?
Dylan: I love Sufjan Stevens, personally.
He definitely aligns with your style, his focus on geography, voyage.
Noé: I would add Mac Demarco too. I like how he write songs, very simple but great.
You can go see Amarillo perform around Paris over the next few weeks, and make sure that you attend their official launch party slated to coincide with the start of Spring, on March 21st at Le Perchoir.
Our first meeting was at a concert where we were playing with our own, different rap groups, each of us on the turntables. We started to exchange tips, scratch phases, our little ticks, and that was it!
At the beginning we would mess around and often our challenge was to choose a second-hand disc randomly, then we had to create a plan in 5 minutes. We laughed a lot! Then we passed through numerous different phases and musical aesthetics before arriving where we are today.
We also bought some materials, a loopstation, pads, and a few synths to evolve our music along the direction of our projects.
Who do you count among your influences?
Being first of all DJs, we have the habit of listening to a lot of different, varied musical styles. There are tons of cult albums that have changed our way of seeing things. In terms of electronic we can cite Modeselektor, Edit (GitchMob), Rustie, Lorn, Eprom, Slugabed, Salva, Ta-Ku, Machinedrum, Flying Lotus, Flako, Kaytranada, and also some of the artists from Soulection…
Where does the name of your group come from?
Turnsteak originally comes from “Turntable Speakers.” At the beginning it was 100% turn tables, the turntablism. The concept of “speaking with our hands” represented what we were doing at the time.
Then the name was shortened to Turnspeak, and it’s been changed from there, but I won’t say anything else :)
What is the genesis of your LP “Digital Pourpre” which comes out tomorrow? Does it tell a story or is each track independent from the others?
Having the habit of always working on short projects, even the concept of an album was already a lot of pressure. The idea wasn’t to do a series of tracks without coherence. We wanted to go farther. So we imposed certain directions, constraints, and limits on ourselves, to not fly off in every single direction.
At this level, our friend Olivier Vasseur who mixed the album, did a great job of artistic direction and he gave us a lot of advice around the conception of the album. We worked the sound and the textures with him and added an organic dimension to the tracks. That let us bring in other sensations, images, and have the listener dive deeper into the heart of our music.
The balance between the light synths and the deep bass let us bring energy and power. The voices are also key elements on the album. They bring a color and different environment to each track, like on “High Line” for example where the voices come from a Vietnamese comic theater!
Finally, getting back to your question about the genesis of the LP, the first brick was the title. For the anecdote, we were at a rest stop off the highway during a tour and we stumbled upon a description of a flower that was growing in a corner, the “digital pourpre.” We were looking at it saying to ourselves that would be an awesome name for an album. All of the universe connected to this flower immediately spoke to us: its history in relationship with white magic, its medicinal side and its pathological and cardiovascular benefits (which we immediately connected with the rhythm, dance) the connection to digital, to fingers, to scratch… a name that’s full of mystery and subtleties. It’s exactly what we wanted to bring with the first long format. That’s to say make an album that’s rich and subtle, without falling into easiness, and with the idea of a voyage.
Urielle, the artistic director at With Us Records agreed with us and oriented it the best possible way while staying within the scope of the project. We had also worked on a moodboard together that let us see everything more clearly, the progression of the tracks and the history of the album.