It's okay to find another way Don't be lost when your music is about to
be lost.
Hello and welcome to this second show of the year. As usual, we put aside the
blah blah and we start very quickly with the gala of the month in live, the crazy group Meringa Alcohol and Us.
Basil has no friends. He's not interested in people. He stays with his
friends and he ends. He builds his life in a hole. Basil will not go out. He's locked in his room.
Tell me what it's all about while he stays in his gloom. Hey, boy, what is it you're looking for?
Tell me, boy, what are you doing? Hey, boy, what is that silence around you?
While outside it's so deafening, so deafening.
He's got so many boxes with mysterious things he done inside.
You may try him with coaxes. He won't reveal what they hide.
Once I got inside a long time ago, I was so excited. I got a glimpse of a little shadow.
Count up in the open cupboard. Hey, boy, what is it you're looking for?
Tell me, boy, what are you doing? Catching tiny creatures in darkness and mix them up
for your strange cooking, strange cooking.
Basil's disappeared. He's gone away. His mom only found his billboards when she came to his room yesterday.
No one saw him leave or saw the sand. No one took the time to kneel down and find the shaggy boy under the bed.
Hey, boy, what is it you're looking for? Tell me, boy, what are you doing?
Hey, boy, what are you looking for? Tell me, boy, what are you looking for? Tell me, boy, what are you looking for?
Tell me, boy, what are you looking for? Tell me, boy, what are you looking for? Tell me, boy, what are you looking for? Tell me, boy, what are you looking for? Tell me, boy, what are you looking for? Tell me, boy, what are you looking for? Tell me, boy, what are you looking for? Tell me, boy, what are you looking for? Tell me, boy, what are you looking for?
Thank you.
I know you're someone who's not the same as I am.
The star who counts, who counts, no, who counts, no.
Where does when I kneel to hear it, the sirens go off?
Walk the coin, you've been greatly to your exterior picture.
All the way down, I bring now, now, something I should be doing.
The matter says it's better when I am a burner, which works so well.
Am I not the same father, I'm the radio, and my father doesn't say what you mean.
I'm the radio, the sirens go louder, and louder, and louder.
There are many good things that should be skilled, there are many good things that should be skilled.
Cause I'm a trucker, and I'm a diver, and I'm the weather, cause I smell the wind.
I know you're sad, you know I'm sad, but when I'm sad, it's a problem.
Who counts, who counts, no, who counts, no.
Where does when I kneel to hear it, the sirens go off?
Walk the coin, you've been greatly to your exterior picture.
All the way down, I know there's something I should be doing.
The matter says it's better when I am a burner, which works so well.
Am I not the same father, I'm the radio, and my father doesn't say what you mean.
I'm the radio, the sirens go louder, and louder, and louder.
There are many good things that should be skilled, there are many good things that should be skilled.
Cause I'm a trucker, and I'm the weather, cause I smell the wind.
My friend is true, my friend is true.
I'm a French hero, I play the guitar, I sing.
I compose in the melodies, but it's just that I had nothing to do.
I came to take you to Lyon, and I had a guitar that was in my hand.
And I've always liked to make music since I was little.
So I make music anyway.
So I recorded all that, and finally the sound doesn't work too bad.
And I put it in a new apartment, there is a little box or a sound that reverberates the bass.
But yeah, I would have liked to have it as big as possible.
But it's just that it also works.
After the matos, when I was with the guys, it was great, but I wasn't very ready.
And when I was completely confident, I was just telling myself what I have to do, I don't know how to do it.
But it's true that I also tripped the production at the bottom.
I don't know how to play guitar anymore.
I'm also a drummer at the base, so I can't help it.
I haven't played a lot in France, let's say I played in France while I was in Germany, in the Netherlands, in the UK.
I haven't played in the UK for a long time, but I almost played in the US.
There are still cities where you say there are a lot of good bands, like Providence, Olympia.
There are cities where there are a lot of things.
It's a bit like Europe.
Basically, you always have the kind of Dutch side.
And finally, Glasgow and Manchester, it's much better.
I live in Berlin, but in the end, all the good bands come from the Netherlands.
Let's say that before, I was really into a music style, a bit of noise rock, a bit of weird stuff.
After that, I was more and more into the weird stuff, to be able to go almost to contemporary music.
And then, I let go of everything, I put everything, listen to everything.
It's like all the Americans who ask me why I sing in English.
And then, you know, I want to go back to the North, but fuck, the guys, you're hallucinating.
You know, I live in France.
In France, we are all American bands, we are not there, we are all singing French.
You know, the world is American, guys, wake up, you know.
Even if there is still a scene of French songs and all, that I find politically pretty cool,
even if there is a bit of frankness and a bit of pride to be French.
But I don't identify with this music, so I only listen to English bands when I'm listening to French.
There is not a lot of French bands that I like.
I listened to Fondance, I don't know if you listen to it, it's something from the 90s.
It's a group from Lyon too, but I was in Dijon at the time.
Maybe that's why I went to Lyon, because I was a big fan of this band.
I listen to a lot of friends, actually.
I can say there is Ned, new songs, they are great.
And there is Duracell too, he's the guy who is with the drums and everything.
But it's all local people who repeat it, so that's why we have to hear them.
And we say, it's cool what you did, it's cool, it's cool, it's cool.
And it's interesting.
Yeah, it's over.
Starsky is an electric project led by Matt Booker.
This English 30 years old is seen on the internet in 2007 and signed by the French label Eclair au Choc.
His first EP, My Way, will be released at the beginning of 2009.
To discover, here is the clip of the song My Way, made by the duet by the designer Franco Japanese, Kei Plusmi.
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
My Way
We have a scene of current music, what we call the SMACK.
It's part of the hundreds of SMACK in France.
It's also a rock band of 800 places.
It's more like a distribution.
Even if the Olympic activities don't stop only at the distribution,
even if it represents about 75% of the activities.
We also have a lot of accompaniment,
of work in the middle school,
so we do a lot of residence in the year.
And these residences often involve a work in the middle school.
So either the students come to the room to do things,
or discover things,
or simply do some more deep work,
or artists go to school or to school.
We were lucky to be one of the big cities in France,
especially for foreign tourists.
The more it goes, the more it reduces.
So tonight, for example, we have a new way.
A new way makes 5 dates in France,
visit the bigger cities in France.
So we're still lucky to be in the 6th city.
We have about 50% of foreign artists.
The choices are based on two criteria.
First, the most eclectic,
not to contain a style.
So we decide to go with rock,
electric, pop, reggae,
world, experimental music, metal,
try to be as wide as possible.
Even if we have specificities,
obviously, we're in a city with more pop and more electric,
so it's going to be the dominant part of the process,
and we're trying to be as wide as possible.
That's the first criteria.
And the second one is to try to discover things.
That is to say that we do shows here,
where we welcome 80 to 100 or 150 people.
So we have a small formula,
we'll do a small stage and all that.
And then the display heads,
knowing that the maximum capacity of the room is 800 seats.
So we don't have display heads.
So as you can see, it's going to be complete for a week,
or Madhu and Maria, my little interstics,
next week.
We were announced at the beginning of the city,
a move in 2004.
So we're in 2009, we're always there,
so we project after a lot of delay.
But there, it's not the end,
since the Appeldorf has been launched
by companies for a month.
So the beginning of the work should be done
before the summer holidays of 2009.
For a move that will be scheduled,
they are almost in the beginning of 2011,
because there is about half of the work.
So it's a project that was definitely voted
by the municipal council,
which is not the end,
because the Appeldorf has been launched,
it means that the project is really on the rails,
and it will be even more palpable
when the work will start,
and we'll see how it goes.
So we're going to change things,
yes, in fact, we'll see what's going on
quite frequently now in the new places,
that is, a room of 1,200.
We'll see that about 400, 450 seats
and 800 seats, and a 400 club.
So we're going to move to the top speed,
because we're going to move to about 150 dates a year,
so here we have a hundred,
because we have a lot of demand,
we're going to do a little more production ourselves,
especially more room locations.
On the 80 productions we do,
we have more than 50% of productions
that are under 400 people,
so the club will be very used.
It's no doubt that the big room will be used by us,
but it will certainly be more used
by private producers,
because we're going to really open up
things that we wouldn't produce,
like French songs, a little variety,
things that we don't want to produce,
and that we don't want to produce there either.
We want to stay in something a little more indie,
even if we make a few display heads,
and they can be put in public,
we're not going to produce variety.
No, no, we want to have a completely new place,
a new echo of Repartir à Zéro.
And it's efficient, Repartir à Zéro,
to forget all these bases,
but we also say that we, the club,
it's basically what matters the most
in this new place,
even if we're happy to have a big room,
or two or three hundred people,
but we also know that this room will also serve
to make the project we want to develop next to it.
Because more and more,
we know that the public subsidies are going to be reduced,
and that more and more,
our percentage of raw material,
we're going to say that without subsidies,
private funds are going to be more and more important,
we're going to ask ourselves to work practically at our own expense,
and the private contributions will soon take over
the public contributions,
and that's a joke, we're not going to do anything.
And this place, a little bigger,
will certainly allow, in any case,
we hope to bring it, too,
the economic functions that can make things
smaller and a little more pointed to the side.
In Muguay, last year,
it was the fourth time, I think,
that we did it.
And between the first time,
or at least, it was a well-known group
that made about 400, 450 people,
but even if it was complete,
and the hidden today,
it took 80% of the hidden.
So the public didn't take 80% of the volume.
Every year, we say that we have reached a threshold,
and the next year, we actually go through
an additional threshold.
I think that the hidden ones,
we have reached 50%.
Even in the very Indian things and all,
there are several explanations,
there is the plan of the disc,
indeed, artists who earn less money with the disc,
try to earn a little more with the live.
Unfortunately, it was also lost
with the augmentation that comes from the entry.
That is to say, we went through,
in 2000, just at the time of the euro,
a medium bill,
I think we were at 12 euros,
and seven or eight years later,
we went practically at 15 or 16 euros,
which is huge.
It's augmentation that goes beyond money,
the cost of life,
the normal augmentation of the cost of life.
So it's really disturbing.
And that's also why we know
that the private producers,
from the moment there is an artist who works,
more and more they want to produce,
it's very, very expensive.
And somewhere, we embark on a dangerous thing,
because it's the hidden insurance,
and the entry rates are very, very expensive.
And it's also up to us to find new ideas
to go and look for groups
who are not necessarily in a circle like that,
and to stay,
to have this club
that would work a little more in an artisanal way,
and to have this big room that would work
in a more private way,
and it's taken from head to head,
we leave them to the private producers.
Ticou Bray is a folk artist
signed on the label Les Disques Normales.
These composed songs,
then recorded in a few hours,
represent the clichés of a precise moment.
Between a classic instrument like the guitar
or the bass, Geoffrey Serré,
leader of the band,
likes to place fantastic instruments such as
toy pianos or a played drum.
The melancholy is well present in the disc,
and a feeling of improvisation
is drawn when listening to the 17 titles of the disc.
We will find it live next month,
and we leave you with the day of the concert.
Thank you.
Thank you.
Thank you.
