If we need to introduce you to the Pixies, it’s because you probably weren’t a teenager in the 90s. The band, which first formed between 1986 and 1993, had a major impact on the American independent scene in the 90s. Kurt Cobain, among others, has never hidden the fact that he was heavily influenced by this Boston-based quartet. Led by Black Francis (or Franck Black, depending on the incarnation of Charles Thomson), they blend the energy of punk with melodies inspired by the surf music of the ’60s, which are designed to be sung along to. Given the small number of studio albums they’ve released, they’ve churned out a mind-boggling number of pop-rock anthems with sometimes abstruse lyrics. On this compilation of their John Peel appearances, we find most of the band’s bravura songs, often in a faster version and with a little more aggression in the vocals, which doesn’t spoil anything. Although live, the recording without an audience brings the sound closer to that of a studio album, and there is some repetition of certain tracks, but what a madeleine for people of my generation. The rest of us will also appreciate the tangy flavour of these must-have tracks!
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.
