The beginnings of this French band date back to the 90s. Its members went through all the clichés of the independent band of that era, from gigs at youth clubs to self-produced cassettes. Over the years, the group’s line-up has changed dramatically, with some members leaving and others joining from a variety of backgrounds. A rare group, with only four studio albums in their almost thirty-year career, their style can be defined as a blend of electronic music and world music, particularly oriental, without this ever being a straitjacket for them. The almost tribal percussion can give way to the singer’s voice and the violin, enchanting us in a quiet moment. The electronics are far from taking over from the acoustic instruments. They themselves are treated very equitably, and their variety throughout the album is a delight. They all play in concert to enhance the superb voice of the singer, who handles several languages and traditions with ease. A record that is both modern and timeless.
Camae Ayewa is a poet, activist and musician. She is a member of several bands with whom she has recorded several albums, and began her solo recording career in 2016. Today, she is releasing her ninth album under the name Moor Mother, for which she has chosen to explore the theme of slavery and, in particular, the failings of the law abolishing it in 1833. To say that her music is close to free jazz would be reductive and, above all, would not prepare you for what you are about to hear on this record. Many artists are at the crossroads of styles. But here we are beyond that. There’s the very Soul opening track, the very present Spoken World, Africa and the occasional Jazz or electro sound. But what characterises the tension of this record is the impression of rediscovering the primordial aspect of music, when singing was an incantation to communicate with our ancestors and the forces of nature. A radical record that’s not for everyone, but for all curious ears.
The French rock scene is astonishingly dynamic, with so many quality bands that there’s almost a representative for every sub-genre. This trio from Saintes is one such talented representative. They are releasing their third album under their own name after a collaboration with François Atlas and a four-year wait that was well worth it. While their pop experience has left its mark, the band are still close to the hardcore of their early days. Although some passages are more melodious and an electro track stands out, the comparison is with Favez’s ‘Gentlemen Start your Engines’ or even more with At The Drive In’s ‘Relationship On Command’, with its clear English vocals and energy to spare. Although the inspiration comes from the Dischord label, the sound is nowhere near as radical. When saturation isn’t dominating the soundstage, it gives way to syncopated drums, bouncy bass and even acoustic guitar chords. But rest assured, it’s all in preparation for the next sonic explosion.
A classically trained drummer and percussionist, Lucie Antunes studied at the Lyon Conservatoire. She developed a passion for contemporary music, particularly the minimalism of Steve Reich, but also for dance and trance. As soon as she finished her studies, she took a pop turn by accompanying leading groups on the electro-pop scene. As you will have gathered, Lucie Antunes’ music blurs the boundaries between genres. Some tracks speak to the body and are made for clubs, while others are more cerebral, reminiscent of Aphex Twin. The mishmash that can emerge is largely counterbalanced by the interest generated by the artist’s sonic explorations. The expanded version of her second album is in line with her previous work. If your system is a little dynamic, if your speakers are low enough or if you have a subtle subwoofer, you’ll enjoy listening to this album.
Of French and Dominican origin, singer Cyrille Aimée grew up in Django Reinhardt’s village, where music is very important. It was there that she was introduced to gypsy jazz and, of course, vocal jazz, with the likes of Ella Fitzgerald and Nancy Wilson in her sights. After making a name for herself in various competitions and releasing a number of albums, she went into exile in New York, New Orleans and finally Costa Rica, where she lives when she’s not travelling the world giving concerts. Her latest album is her most personal, as she wrote the lyrics and composed the music for most of the tracks, with the help of Jake Sherman. Sung for the most part in Spanish or English, she serves up a cool jazz sound in which everything seems easy and deceptively simple. The production gives an impression of electro-tropicalism reminiscent of Bebel Gilberto. What emerges is a great subtlety and lightness at every moment. The perfect soundtrack for a quiet evening in front of your stereo.
