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It was three years ago. I heard the beat of his first album.
I thought it was hell, I thought it was surprising.
Mathieu, compared to the people I knew, who I worked with,
like Gaspour, like Langol, Foucavi, Souverdegine,
what he could bring me was freshness.
At the time, what I used to do when I was playing the bass with the electric guitar,
everyone saw it as something funny, it was all by itself.
But no one would want to use this instrument.
Like Alterrego, at one point he didn't say no to two,
he even drank three with Céry afterwards.
So it was him who took this risk.
It's true that I'm a super recognizer.
There's a very...
You see?
It's the first albums, that's how it's always been.
It's like we've done nothing,
everything that comes from you is to learn.
I was very involved, I must say, in his first album.
I think there was a dynamic sense, it was very vitalizing at the same time.
And it was also very original.
I don't feel like I'm always dead in love.
I think that his theme, the main theme of his songs,
I really have the impression that each singer has a recurring theme,
at least it's like I was in a cookie and now I'm in it.
He grows too fast on this plastic planet where life seems practical.
Today I know my luck, you found yourself in your childhood.
I was also a bit busy on the machines,
and so he asked me to help him make the Magista D'Or.
The album was very very acoustic with real batteries and everything.
On this track, he wanted it to go with the song,
a bit of a naked box.
So we put the package on top of the box.
I'm very happy when a song can be marked,
it can be touched.
And it's true that to have a Magista D'Or,
I was quite proud that we can talk about this song,
completely invented.
Come on, we're going to beat him.
It's the one who forced him anyway.
Otherwise he would never have done it.
When he first talked about it,
Mathieu said,
if you want, you can try the choreography.
Cyril is very gymnastic, he boosted us.
He's a gymnastic.
I love it.
Magistador, Magistador, Magistador, Magistador, Magistador, Magistador.
One day I was at a concert with Mathieu,
and I saw all the people in the audience,
doing the choreography.
I realized that the song worked well.
I'm a missionary of the Drag de la Boue.
I know what it is.
Magistador.
We're not really strangers,
we're a sports background,
and we get up and dance quite a lot.
Magistador, Magistador, Magistador.
Magistador.
Will it work out for him?
Second album in charge
Regarding the first and second album,
Compared to his first and second albums, I think they have both good and bad sides,
both one and the other.
Personally, I don't think the second one is better than the first one.
I think he won some things, he lost others.
I think of Olivier Lude because he's the most present person in what I do
because he's as much in the studio as on stage, so he loses.
It's true that we lived 8 months together for the album GDM.
GDM is the one that lasts.
On the songs we record live, there's always a musician who will make a small mistake
and that in live, the object is to be kept and it mimics the songs.
I think of this studio that we built, of all these vintage machines
that serve to color our songs.
And at the same time, I think of this whole band,
this whole band that has been there since the beginning,
and it's really a lot of love, a lot of passion.
There are two songs that are more evident to me.
For me, these are lyrics from his grandmother and I think he understood them very well
and he made remarkable melodies.
He was going to call me one day and he told me,
listen, I'm working on a new album,
would you like to make one of the songs of the album?
He gave me the theme.
I said, I like GDM.
And I said, you try it, etc.
And I don't know.
It came to me at high speed.
It's quite imaginable that it could be a envelope
for a grandmother to make lyrics of her little son.
The writing is really something instinctive
and it's not a job, it's more a need,
a need to put words on the music,
to put sounds and at the same time senses.
Without knowing if I really had a talent for that
or if I really had a sense of all that,
but I started writing very instinctive lyrics
and as a need, as a really precise desire
to leave on paper ideas, words.
On a tappi-volant
On a tappi-volant-volant-volant-volant-volant-volant.
I like songs that are a bit surreal,
that are not too territorial,
like everyone can interpret in his own way
And Mathieu, it's good to do it.
I feel quite touched by what he does,
because I have the feeling that he works through the background, not through the form.
The form is in conclusion.
My voice is, I would say, a complex,
since it's a voice that is a bit egotistic,
a voice that at first is feminine,
that is a bit extroverted,
through a character that is much more introverted.
And so there was a contrast that was hard to manage and understand.
Doing the thing, we know that it's the worst,
if there is a small defect, we don't do it afterwards.
But it's as much as making it roll, I think.
In fact, he won in power,
also in confidence in the voice,
that is to say, he chews less,
he sings, but he has done a lot of concerts,
so in my opinion, it has fortified his voice.
Mathieu, I really wanted us to stay healthy in the arrangements,
in the production of the songs.
And indeed, what changes is that we don't have 24 tracks,
if we record a voice,
we keep it or we don't keep it.
I smile at the fatality
Mathieu likes the sound of rock,
in the 70s, rock, funk.
The snare is relaxed,
he likes to relax the snare,
and he wants the drummer who works with him
to play with this sound.
I adapt.
Mathieu, when you understand a snare,
it has to vibrate,
it has to, you see,
I was talking to Siri,
and no, it's always wrong,
with Mathieu's stuff.
But it's a musical thing, it's stupid,
I think I'm saying it right.
When we talk about guitars,
I think it's Jimi Hendrix who kills it,
because it's without him,
98% of electric guitars,
it's not a real guitar.
It's a real guitar.
It's a real guitar.
It's a real guitar.
It's a real guitar.
I was raised with guys like Frank Zappa,
who were good men,
who had a lot of talent,
who were musicians,
who were good at playing the drums,
or who were good at being in the scene,
or even doing the beating.
It's a real instinct,
he plays like that,
without asking himself questions,
he has a sense of what he needs,
when he needs it.
When he plays guitar,
that's when he has a big sound.
It's the guitar, it's better than everything, there's no music.
Groove, terrible.
He continues to put a few accents of Hendrix in his guitar.
What is quite strong with him is that he makes trust in the people he works with
and he leaves a great freedom of expression in what we do.
We're going to do three, we're really going to do that.
And we're also going to do...
It's all mixed up, it's like...
Something a little...
Yeah.
Yeah, it's great.
It's a little in the line of the Akariens.
It's very difficult when you do that.
We do it once, we do it once.
One, two, three, four.
It's great, it's great, he's going to take a dimension, he's going to force it.
Yeah, it's great.
But with the warak, it's the Leone girls.
Yeah, yeah, the Santa Claus.
Because we're at 100% ourselves in the repertoire.
All alone, right?
Yeah.
All alone.
It was nice, actually. Not all alone.
In the end, I had a strange feeling in my little soul, of my nature, of my life.
I was in our boat, climbing the boat.
We could do together, following the girl.
Bonobo, I had offered him, because I was very interested in our origins.
And I had written a letter, by the way, called Lucie.
The vertical woman, which is in our back, in the center.
And then I had learned that these Saint-Bonobos were extremely sweet saints,
who had made love to the war,
and who had been a little bit eliminated by, and by saints,
much more guerrilla, much more aggressive.
And little by little, well, it's the man who replaced everyone.
The man goes everywhere.
Bonobo, you're a little proud,
on top of the girl.
He is marked by the voice of the word M and N all the time.
And I think that's really what characterizes all the plants.
Being human is necessarily a little fragile, a little complicated.
I think that's why I'm still instinctive,
because I'm convinced that we have to escape.
Through the songs, I give an intimacy,
and at the same time, I put it in the scene and I romanticize it a little.
But I don't want to mix everything up, I would never talk about something extremely intimate.
I would imagine it in a way that would be a different meaning,
and that would be a more global meaning,
because what interests me is not to tell my life to myself,
but to tell the life of others.
It's true that with the clowns, I try to do what I can.
It's true that I try to help them, because it's really an incredible association.
They go to countries where it really doesn't work,
where it's rather war or things like that.
And all of a sudden, it becomes very, very essential,
because they try to heal people's mind.
I think it's a beautiful approach.
There was a kind of game between him, Mathieu, Thaï Humaine,
and this little Mathieu, a kind of Troubillon,
like that, that floats around him,
which I think corresponded quite well to what he could get out of the circle.
He has a little bit of the Peter Pan side, Mathieu,
but Mathieu, on the other hand, is a kind of child.
We simply put ourselves in his place
and organized the whole piece,
in which he repeats, more or less,
and he records his instruments for this album,
to be able to make this photo
that took 15 days of scotchage in all directions.
Philippe arrived at a really strategic moment,
where we had been working for seven or eight months,
and we were a little tired,
and he brought us a kind of incredible freshness.
Well, that was the good mix, we agreed.
Since, each time there is a mix to do,
there is music to do, he is there,
and he has great advice, because he has a great experience.
The work I've done is mostly a mix,
and there are small things behind the scenes.
I miss the studio when I'm on stage,
I miss it too, but if I had to choose,
if tomorrow I was told to choose between the same studio,
it's true that the scene
provides much more intense pleasure.
There are very beautiful environments at the concert,
we just reworked the show.
In addition, with Chalomb, who arrived in the team,
it takes an incredible dimension,
it brings sound quality.
I tried to bring sound or sound textures,
I really feel like an instrument,
it's not like scratch.
Fortunately, there are concerts to put things in their place,
because it's not promotion,
it's not a disc, despite everything,
that will bring all that,
it's really the concerts and this living side.
I try to live it as all the other dates,
and I don't know why,
and yet I didn't look for that,
but I lived something quite intense and magical.
M, I wrote a song for you.
I'm going to send it to you, it's called
Little Blue Heart, I hope you like it.
Gel, miroir, moçade,
he needs a chorist,
who doesn't have a great voice,
but who is super motivated.
What energy do you have for him?
His talent.
I find him deliciously beautiful,
I find him graceful,
I think it's the only guy who knows how to make
humor out of his egocentric,
he's very funny,
he's very good poet,
as much as he's the best.
We're going to create the Amazon here,
where we'll have capsules.
But, for that,
you have to be extremely quiet,
and just make the noise of the Amazon,
that is to say, with one finger and the hands,
it rains.
But, you don't have to laugh or talk,
you just have to make the noise of the flower.
That's it.
And in silence,
and when Cyril is going to jump,
you jump at the same time,
but without laughing,
and it's going to be great.
You tell me, Mama Sam,
I'm going to laugh.
It's a song that talks about
his heritage and his life,
Parisian in Africa.
Mama Sam, in fact, is the first name
of my first child,
his name is Samuel,
and as I say to his mother,
his name is Mama Sam.
And that's how it is for all African women,
and that they are proud to have
the first name of their first child.
As soon as I hear this song,
it makes me
a monstrous emotion, I love it.
Mama Sam, and she's here tonight!
She's the one wearing the t-shirt.
Can you imagine?
Come and see us.
When I see you again, Mama Sam,
I find true value,
such a great heart and such a beautiful soul
who never worries about them.
When I think she was like me,
out of this glacial country,
now she lives in Kenya,
she's African,
Western, no, I don't know
Africa, come on!
Hey, shine my skin color,
the life is an African machine,
where African women are not African,
let's go!
I prefer you in the small rooms,
but in the big rooms, it's not bad.
I hope that with Mathieu,
we won't have any enemies or enemies,
but rather three Olympic Games,
four Olympic Games.
The Amazon.
Oh, it's beautiful.
Is it in the 5th floor?
I don't know if it's in the 5th floor.
Is it in the 5th floor?
It's a disaster.
3,000 people.
It's a noise,
it's just a little jump.
I had the feeling that there were things in the air.
Camelon, in my opinion, was in great shape.
It was just as we thought it would be.
I don't know how to say it, but...
It's beautiful, it's big, fabulous.
But it's my friend!
You would have warned me, I would have said,
it's not very American,
you know, the Americans,
they don't say anything.
I have the complex of the complex,
a little bit, finally.
How are you?
I'm fine too.
There, we said to each other,
the Olympics, we were so relaxed,
it was really cool.
I don't know if we can call it a medical concert,
but it was really an exceptional concert.
We sat there and...
I was going to break my arm.
I knew the discography of the father,
and I would have to see what you are doing,
if it's not the father's son,
or something like that.
Always the father's side,
always the father's side.
I was completely lost.
I left in something,
and I saw something exceptional.
He was a very conscious person,
so he was going to lock himself up in a room,
he was going to play a little guitar,
write two or three words.
In general, he is always a little bit elsewhere.
For me, it's really a Martian,
he comes from Montenegro.
We don't have a track like the one we have before the Olympics,
where we have another kind of track.
But the track we have before the Olympics,
it's a track that is quite pleasant,
it's kind of an excitation, a concert.
You see a curve,
because there, there are too many people,
it keeps me a little bit.
But the thing that is annoying,
is that here, in fact,
it's no longer a track
to not be in its element.
I think it must have made him happy,
I had talked to him,
but it stopped there,
he said.
It seemed completely annoying to me,
I really had the feeling,
when I was on the spot,
to be in a...
or in a hidden camera,
or to be in a...
I don't know,
something completely abstract.
On the annoying side,
you say,
all this for me,
it wasn't necessary.
What's happening now,
it doesn't surprise me at all.
And I know he's not going to stay there,
he's only 28 years old,
so he's going to stay there,
and in my opinion,
it's going to end much bigger than that.
Except that it's not worth it.
Okay, I looked at myself,
for not a clue,
but I don't even know him.
He's real caca,
he's very chuchu.
He's real caca,
I'm the king of dicks.
I'm going to play the backline,
that is, the instruments of Mathieu.
It's a super pop-up,
it's a bit like a baby-sitter,
it's a bit like a baby-sitter.
It's true that we see people on stage,
musicians,
but there's also a whole team behind,
because at first,
I was really alone,
with the sound engineer,
Olivier Lude,
at the backline,
and little by little,
Vincent Segal,
who's really part of the very important people
on stage.
Then there's Cyril Atheff,
at the percussion battle,
it's true that today,
there's Shalom, who plays the cymbals,
and I don't know if,
every six months,
there's going to be more and more people,
but today,
we're rather quite complementary,
it can last like that for quite a long time.
The family language,
it matches this group well,
that's for sure.
If someone in this group,
he came,
I think,
a technician or a musician,
or anything,
and he didn't have that spirit,
he had another,
it's okay,
he could stay there for a long time.
Yeah,
there's really a spirit on stage,
it's incredible.
I remember,
when Mathieu arrives,
he gets to the bottom of the stage,
and I wait for him to pass
the backline,
and as soon as he turns his back,
and doesn't get lost,
and when I turned on the face,
people were like,
oh,
that was crazy,
that was a crazy thing.
It's really interesting,
working as a family,
you have the big brother,
who's the engine of everything,
and then,
we're all little brothers.
Yeah, that's it.
Yeah?
Yeah.
After the concert,
it's pretty nice,
because we're all together,
with the technical team,
and all that,
the directors,
downstairs in the living room,
small TV,
stereo,
we can drink some drinks.
There's a rather fabulous atmosphere,
what happens in the view,
is that it's a real pleasure,
to be with people like that.
Hello.
Hello, the coffee,
from La Rie Corée.
Hello.
I didn't sleep well,
but it's time to go.
I'm going to help my little friends.
But where is Lud?
He didn't sleep?
He didn't sleep.
What?
It's 9.30 in the morning,
we arrived in Goulême,
by bus,
so we slept all night in the bus.
Every two months,
even every month,
there's always an evolution.
Whether it's in the decor,
a musician more,
a person with the least light,
a second musician,
it's totally evolving,
all the time,
different decor.
There was his idea,
what had to be light,
he was more in a theater,
and street theater,
every little thing,
and it's true that it attracted me more
than having a light,
like someone who makes lights,
in a more mechanical way.
There's no rule,
there's no miracle recipe to make light.
There's total symmetry
and color,
a lot of color.
Avoid rock'n'roll or maximum,
rather than paintings.
Concentration,
sport,
non-exhaustion,
non-exhaustion.
Ah!
I really think
to have very good people
around me.
It's true that when I think
of all these people,
they're not interchangeable.
It's true that I often tell myself,
for example,
if one is not there at a date,
I prefer to cancel the date
anyway.
Shall we go, guys?
Yes.
It's Krishna,
Krishna is one of us.
The first one, yes.
It's really cheap,
if you're on a plane,
it's not bad.
It's cheap.
Let's see,
I can't hit you in the back.
I can't hit you in the back.
No, no.
No, no.
No, no.
No, no.
No, no.
No, no.
No, no.
No, no.
No, no.
No, no.
No, no.
No, no.
No, no.
No, no.
No, no.
No, no.
No, no.
No, no.
No, no.
No, no.
No, no.
No, no.
No, no.
