|
THE FRENCH INDIE SCENE (Lecture pour tous)
I Useless introduction - skip
Talking about the French scene...uh... First a few warnings. If France
has ever had a real musical identity, then it has been in the post-WWII
period. Popular monuments such as Piaf, Brel or Brassens had different
styles, but shared the same roots, and the result was a sort of soul
'� la fran�aise'. But nowadays there is no particular French sound
(no nostalgia here); in fact, every local band has anglo-saxon influences
(varying from 25 to 100 %) and what I'm trying to explain is that I'm
going to talk about French groups, and not French style, as a majority
of them don't really differ from their US/UK equivalents.
So anyone who expects to see a bunch of guys with berets playing accordion
whilst in the background a row of girls are dancing French Cancan might be
somewhat disappointed.
II The top of the stack
This inventory should have begun with the best French group of 80's (imho),
i.e. BERURIER NOIR, but unfortunately they have splitted last year. Along
with OBERKAMPF (also R.I.P. - named after a Parisian subway station), LA
SOURIS DEGLINGUEE (declining now) and a few others, they really kicked off
the Parisian alternative movement. Although being the most radical ones in
their music and their social positions, B�rurier Noir were the most popular
of the afore-mentioned groups and even got some of their records in our
infamous Top 50. But facing the traditional dilemma 'Grow or Die', they
chose the second solution.
In fact, first "alternative" band to really achieve chart success was RITA
MITSOUKO, a duet also from Paris, whose psychedelic-latino-minimal stuff
took the country by surprise two or three years ago, helped in that by
great videos shot by France's top specialists of the art, Gauthier and
Mondino. They are more discreet now, their 3rd LP having - relatively -
flopped.
Lots of other groups have followed that way :
NOIR DESIR, from Bordeaux, had a brilliant first album (with obvious Gun
Club influences) and signed to major record company Barclay. On their 2nd
Lp they adopted a more personal style and reached the charts. I think they
might get very huge someday, although their neighbours GAMINE, after a
similar rising and two luminous albums, have now sunk without a trace.
Some others have lost what made their interest when they signed on a major;
for example LES PORTE-MENTAUX, who turned from a vitaminized version of the
Clash to a cross between Bon Jovi and The Cure (the result is rather
anectodal). Same sentence for LES INNOCENTS (again from Paris) or LES
ABLETTES (from Toulouse). They are very clean now, and imo not so
interesting. Besides you now have to pay top prices to see them live (well,
not as much as for Phil Collins), so make up your mind.
Another band to avoid live are LES NEGRESSES VERTES. (Trustworthy) musical
press and audiences are unanimous in saying they are crap on stage, and
some backbiters add it's the same on vinyl. I think they are average ('Voil�
l'�t�' is a good song indeed), but they don't deserve to be praised like NME
ethnologists - in search of world music or another f***ing stupid reason
like that - did last year. Musically, I could describe them (without
committing myself) as a French version of the Pogues.
No no no, the band to see now is LA MANO NEGRA. Their first LP on Indie
label Boucherie Productions, entitled 'Patchanka', is a classic. They come
from the suburbs of Paris, but half of the band have Spanish origins, so
many tracks are in Spanish, others are in French or in English. Their second
LP, released at the end of 1989 on Virgin, is called 'Puta's Fever'. And
it's brilliant all the same.
But they give the best of themselves on stage. I saw them last year in
Lyon and it was great. Recently they toured Pigalle (a famous and .. ahem ..
hot district of Paris, that every tourist knows about). They played every-
where they could there, from large venues (Elys�e Montmartre, Locomotive)
to smaller clubs (New Moon) and even other places (Erotika) usually not
used for gigs. However I didn't attend any of these concerts 'cause I'm
kind of slow, and at the time I started to worry about getting tickets,
everything was sold out a long time ago. Anyway my conclusion is you
shouldn't miss them. No hay mejor que bailar la patchanka con la mano negra.
III The outsiders
One of the biggest French indie label (along with Boucherie, Closer and
New Rose) is Bondage Records (and imo has to be the best one). It is (was)
B�rurier Noir's label, and shelters lots of other excellent bands.
LUDWIG VON 88 are the most delirious. They got famous in 1987 with
their first single entitled 'Houlala' (off the 'Houlala' LP). It was
simplified and overspeeded thrash with these memorable lyrics :
'Houla houla houlala Houla houla houlala Houla houla houlala J'ai mal'
Sheer genius. Next year saw the release of the 2nd LP 'Houlala II : la
mission' including 'Louison Bobet' (a famous French bike champion in the
50's), another single that marked an epoch in music history.
They sound a bit like the Stupids, and I would call their style as 'funny
hardcore'. If you like that kind of music, I also recommend you FLITOX,
great great great, and PARKINSON SQUARE, who are rather new on the scene
but already excccellent. No doubt they soon will be huge and make everybody
forget the Beatles (and I must add that they come from Lyon, just like I
do.) I'll close this hardcore chapter with two groups, HAINE ET LES
HERITIERS ENERVES and PUNK REBELLE ET LES SKATES TO HELL, which don't
seem to step over the first single, but have great names indeed, and thus
have to be mentioned.
But let's come back to Bondage Records with THE WASHINGTON DEAD CATS.
From the capital again, they play a sort of psychobilly, and are the only
group over here who could open a Cramps concert without being ridiculous.
They have released three albums yet, the first one 'Go Vegetables Go'
(oh yeah warning : when performing live, they throw vegetables and flour
at the audience; don't come with your Sunday clothes) being a masterpiece
(some of their songs like 'Pizza Attack' or 'Ghosts Can't Talk' are real
killers). Their influences range from Star Trek to Hollywood's most
forgettable B movies of the 50/60's ('The Return Of The Giant Tomatoes' and
the likes.) As I am here to give reference marks, I would say that they
remind me (apart from the Cramps) of this great group from Edinburgh called
the Revillos that were around at the turning of the Eighties (what are they
doing now Guru ?).
But it is a well known fact that with the best comes along the rest.
Here the rest is all those groups who play rockabilly the way it was
played in the Fifties, and God knows they are numerous. I don't like them,
but some people really appreciate groups like LES WAMPAS or HAPPY DRIVERS
(both on Boucherie I think) so I mention them in case I'm wrong (maybe)
and they are in fact really good (unlikely).
LES SATELLITES (still on Bondage Records) play what I would call a
psychedelic beatnik pop. They have many common musical influences with the
Washington Dead Cats (end of the Sixties), but sound differently (can you
remember the original theme from TV serie The Saint ? Mix it with 1977
punk sound, and you get The Satellites). I've been told they were highly
recommendable live. Of course they have the adequate look (cf. the cover
of their 2nd LP 'Riches et C�l�bres'), somewhat kitsch.
In fact, I should say that more kitsch-er than them is hardly imaginable.
But MIKADO, a Parisian duet managed to achieve it : their videos look like
Egyptian scopitones from the Fifties and the songs are in conformity with
it, like their biggest hit (that means about 300 copies sold) : 'Je Suis La
Fille Du Soleil' (I am the daughter of the sun). I don't think they still
exist, I'm not sure they have ever played live once, but I couldn't help
myself mentioning them.
NUCLEAR DEVICE come from Le Mans and sound like The Clash in their
'Sandinista' period. I don't know much about them (only one good single),
so I'd rather talk about THE BATMEN, whose first single 'Get On Your Knees'
is a classic to me (there are now two LPs available that could be compared
to early That Petrol Emotion). I never had the opportunity to see them
live, but a friend of mine who was student in Grenoble (where the Batmen
come from) was sort-of crazy about them and belonged to their "cult
followers" (yes they have some).
However, they are less popular over here than LES THUGS, from Angers. Three
albums (Electric Troubles, Radical Hystery, Still Hungry) and not a single
mistake. They were recently touring the United States, supporting various
Sub Pop groups. They don't have yet a worldwide reputation of course, but
have the international dimension indeed. Besides, lots of new groups
emerge in their wake, like THOMSON ROLLETS, DIRTY HANDS, SHAKING DOLLS, and
(last but not least) MAD MONSTER PARTY. I discovered this new Angoul�me-
based band via a compilation LP, and they already are on a level with UK
groups like Mega City Four or the Senseless Things.
I also shall not forget PARABELLUM and OTH. These are rather old bands
(OTH were formed in Montpellier in 77 or so) and champions of what is
called street credibility. They are not bad at all; Parabellum's lyrics
have a social content and are really witty. They once made a memorable
version of Jacques Brel's 'Amsterdam' (with their own lyrics, of course).
Punk's not dead either with LES CAFARDS (The Cockroachs). I know only one
song from them and it is excellent.
Let's close this chapter with one the most famous group (still) on the
French Indie scene, LES GARCONS BOUCHERS. Members of the band set up the
seminal label Boucherie Productions a few years ago, and have signed a
couple of good bands like La Mano Negra (see above). The sound of Les
Gar�ons Bouchers is very raw, and their songs deal with various subjects
such as beer, meat, beer, and sometimes wine. In fact, they built this
"rabelaisienne" reputation with three singles, 'La Bi�re', 'Carnivore' and
'Du Beaujolais' which is in fact a cover of the old hit 'No Milk Today'.
They are wild on stage (and so is their audience...if you see dozens of
police-vans parked in front of a club, the group might be Les Gar�ons
Bouchers). Their singer is a sort of fat skinhead and also plays with LOS
CARAYOS and PIGALLE. Los Carayos, along with other groups like CHIHUAHUA,
sound a bit like La Mano Negra (hispanic influences) but stay pretty
inferior (well at least that's what I think).
IV Rock'n'roll comme papa
Thanks to the few brave(s) who have read all this through. Unfortunately,
it's not over yet. I have not mentioned the Rock/R'n'B groups, and there
are many in our lovely country.
I already said what I thought about KID PHARAON & THE MERCENARIES in this
conference (note 20.269); well, I think the same about groups like THE
SHIFTERS ('Working Too Hard' - a good video for a disastrous song), THE
ROADRUNNERS, or THE STEPPING STONES : all as dull as their names.
Oops, and there are also individuals like DOMINIC SONIC (made the 378th
song ever with the line 'Tears run cold' in it - cheers) or JOHAN ASHERTON
(zzzzzzzzz). Don't like them so let's change the subject.
V Goth's not dead
In the beginning of the Eighties there was this group called MARQUIS DE
SADE that made two brilliant albums ('Dantzig Twist' and 'Rue De Siam').
They were a bit like Joy Division - well, different but as fascinating.
They splitted long ago, but their singer didn't commit suicide. In fact,
he set up a new group named MARC SEBERG, about which I have a sort of
mitigated opinion. They have good moments, but what used to be cleverness
with Marquis de Sade has now often become pompousness with Marc Seberg.
I have never attended one their concerts, in fear of boring myself to death
(maybe that's not justified). On the other hand, I'm categorical about
PASSION FODDER, another semi "oldie". I've never heard anything good from
them. They were very proud of having this deal with UK label Situation Two,
(or was it Beggars Banquet ?) and they were like 'You can find our records
in England, you know!' Well I suppose he was talking about second-hand
record shops.
Follow my advice, there are two excellent groups these days : first,
THE POLLEN, a French group (�a tombe bien) with a lovely Welsh singer
whose latest LP, 'Colours And Make Believe' recalls me (much to my aural
pleasure) the Cocteau Twins and All About Eve (should I have mentioned
AAE - I wonder). The other is THE SHREDDED ERMINES from Nevers. I heard
tracks of their first 'Lonely Journey' LP last week on the radio and I
think I like it. Both these groups tour the country next month, and I'll
try not to miss them.
We also have in stock KAT ONOMA from Nancy (Eastern parts of France -
what I heard from them was maybe a bit too cold for a chilly person like
me - although authorized sources say they are good), LITTLE NEMO (don't
appeal much to me), DATA BANK A (much better imo) and JAD WIO. Four years
ago, I would have said that Jad Wio was one of the greatest thing
happening in this country - and it really was. Line-up was a singer, a
guitar player and a tape recorder. They had a couple of fast-tempo songs
like 'Cellar Dance'or 'Walk In The Sky With Diamonds', that were brilliant
but really danceable, minimal but completely hypnotic. Unfortunately, I'm
afraid they have been caught by a sort of musical menopause, and what
I've heard of their recent stuff makes me think that they have lost what
used to be so thrilling about them.
VI The last heirs of the great French tradition.
I hope that's not the kind of title that makes you run away. Although LES
V.R.P. (i.e. the commercial travellers) could easily win the "ugliest
people pictured on a record cover" contest if there had been any. They wear
these large ties and worn-out costumes that you can imagine covered with
spit after a hard day of door-to-door selling. Their lyrics carry realism
to extremes, talking about old couples that have been married for 20 years
and cannot stand each other, or the frustration of the average man watching
all these gorgeous girls on TV he knows he'll never meet. I have to admit
they are talented, but their pessimistic mood is communicative, and they
depress me.
LES LOUPS are much more trifling and spontaneous. They perpetuate this
style of street singers that were popular in the Forties and Fifties on
the slopes of Montmartre (with an updated sound though). I know just a few
about them, but they are refreshing.
Why do I talk about LES TETES RAIDES (the stiff heads) in this chapter ?
Maybe because they are also Parisian to the bone. Their first LP 'Not Dead
But Bien Raides' is good and these days they do lots of gigs in small clubs
in and around Paris.
VII Conclusion
Here I should conclude (cf title). But as I haven't got a slightest idea
about what to put in a conclusion, I'm gonna talk about a few groups I
have omitted. I don't want to make this note exhaustive (it is not), but
I'd be really considered as an amateur if I had not mentioned, well at
least MARC MINELLI. He belongs to the Le Havre connection; Le Havre is
an industrial harbour of the Channel from where emerged lots of groups in
the beginning of the decade and home of the - nationally - famous label
Closer. Marc Minelli had a very good single last year entitled 'Love
Atomic', in the Lightning Seeds style, that unfortunately did not sell
much. Marc goes on however, plays many concerts. I saw him in Lyon in 1988
and had a really good time.
LES CORONADOS are the kind of group that may never win recognition although
being much ahead of the rest. Not complaisant enough, too tongue-in-cheek.
They have released two LPs in five years that included some real gems.
LES SOUCOUPES VIOLENTES (excellent name - a play on words) started in 1984
or so. After a sort of "crossing of the desert", they are back with a LP
(never heard) and a single ('Et Pour Un Oui, Et Pour Un Non') that these
days gets heavy rotation on Ou� FM (best radio station in Paris - le son
qui a du sens) and deserves it.
And as I'm getting tired, I'll stop with OUI OUI. They got their name from
Enid Blyton's character Noddy, whose French translation is Oui Oui (admire
my literary knowledge). Along with other groups like THE GAME ('Walk Away',
great single in 1988), they play a clean and restful pop that's very
pleasant to hear, miles away from the troubles of this world.
Thanks for your attention.
Christophe.
|