Archive for August 2nd, 2007

The Clientele

Thursday, August 2nd, 2007

God Save The Clientele
VÖ: 14.09.2007
Label: Track And Field Organisation
Vertrieb: Rough Trade

The Clientele are a four piece who formed in Hampshire in 1997, with a sound combining the melody of 60s pop-psych heroes The Monkees, Love and The West Coast Pop Art Experimental Band and the later, magical strangeness of Felt, Television and Galaxie 500. They immediately set about releasing 7-inch singles through different labels in the UK, Spain, Japan and USA, compiling these to produce the cinematic, soft-focus beauty of their debut album “Suburban Light”, released in 2000. The NME was quick to say that “those who like their art-pop
espresso laced with gentle Surrealism will swoon to the sounds of the Clientele”. But who cares what the NME thinks? This release saw them sign a deal with Merge Records in the USA, where they quickly gained a cult following.

The follow up, “The Violet Hour” was released two years later to rave reviews, described by Uncut Magazine as “one of the most magical pop albums of 2003″. But the latest album “Strange Geometry” was their breakthrough in the USA and Europe, produced by Brian O’Shaughnessy (My Bloody Valentine, Primal Scream), and with string arrangements by
the legendary El records artiste Louis Philippe. At this point Hollywood began to take notice, and one of the loveliest songs from the record scores the opening scenes of the recent Keanu Reeves / Sandra Bullock weepie “The Lake House”

Sold out tours of the USA and Europe followed, along with UK support slots with Lambchop and the Brian Jonestown Massacre. The new album, “God Save the Clientele” will be released in Europe through the Track & Field organisation. Recorded in Nasshville, Tennessee with producer Mark Nevers (Candi Statton, Lambchop, Bonnie Prince Billy), it promises to be their biggest and best yet.

Don Nino

Thursday, August 2nd, 2007

Mentors Menteurs!
VÖ: 21.09.2007
Label: Prohibited Records
Vertrieb: Cargo

One knows it since always, songs tell stories – and they very often end up telling a history. Mentors, Menteurs! , the cover album (less one) delivered today by Don Nino, alias Nicolas Laureau, is a manner of recalling the course of a musician. Nicolas´ most tender childhood in the United States, where he was raised by parents music lovers with the sounds of Leonard Cohen or The Beatles. A musician who thereafter bloomed within his successive groups – Prohibition formerly, the NLF3 trio today -, with the listening of wide variety of music (from rock to Brazilian music, from free jazz to Folk) and by multiplying the experiments – the last to date, being the practice of live soundtracks with NLF 3.
For this third album, escaping from the facility and from the style exercise, Nicolas Laureau chose to limit himself to “pieces which (he) discovered between the age of 7 and 17″, this period, includes the blessed age of listenings and as well the hour, less carefree, of the first choices. And to thwart any calculation, he decided to act in the urgency. Recorded only in a month, sometimes with the assistance of Shane Aspegren (Berg Sans Nipple, Bright Eyes) and Erik Minkinnen (Sister Iodine), then mixed and produced by F.lor (also producer for Dirty Three, Yann Tiersen”¦) collaborating with Dominique Petitgand, these eleven songs (signed Leonard Cohen, The Cure, The Beatles, Sonic Youth, Caetano Veloso or Prince) form a collection of electric and charming, eclectic and coherent moments, translating the set of mirrors generated by this type of exercises.
The issue, here is to pay homage and to address winks, to affirm a point of view as well as trying out new colors. Colors which, in fact, and for the first time, are revealed by the language. This variety – French of Gainsbourg, Spanish, Portuguese (in duo with Helena Noguerra) ““ gave Don Nino a way to enrich his sound pallet. But this disc, where it is a question, in hollow, of the interiority and of the external envelope, the ambiguous distance which separates sincerity and superficiality, is also for his author the means of translating his “search of musician and its experiment of the music business”. To question himself, while transforming Madonna´s « Like a virgin » for example into a weird folk waltz, on “these people who are ready to handle an image and a way of life so that one are interested in their creation” – and on those which, contrary, “do not lie”, even if it means to remain a little in the shade. To reaffirm a true ethics – these convictions which had governed the creation, ten years ago, of Prohibited Records, label which did not have of cease to defend, in France and beyond, a certain idea of independency. Thus this “ludic” project it had for its author an “liberator” effect. Thus « Mentors Menteurs ! » condensed stenght appears in the one piece which gives its title to the album – the only original composition: it makes follow a familiar and a new environment, and by doing this, it sounds in a timeless way, imposes the whole album as the logical continuation of « Real Seasons Make Reasons » and « On The Bright Scale », its two predecessors. These recoveries come to clarify the steps of a musician who, even in his patronym, sought to make cohabit the patriarch and the child, and recall that youth is less one question of age than a question of freshness.
David Sanson
Recorded January 2006 by Ben Rault at Microbe Studios et au Salon de Muiques, February 2006 by Don Nino. Mixed and produced by F.lor and Dominique Petitgand, February 2006 at studios Microbe.
With Shane Aspegren on drums, Frédéric Simon on Tuba and Cornet, Erik Minkkinen on prepared guitars and Helena Noguerra on Veloso´s cover.


Thursday, August 2nd, 2007

Music For Que Viva Mexico
VÖ: 14.09.2007
Label: Prohibited Records
Vertrieb: Cargo

NLF3 is settled in Paris, and is:
Nicolas LAUREAU : Guitars, Fender Rhodes, Synths, Theremin
Fabrice LAUREAU : Basse, Claviers, Beatbox, Percussions
Jean Michel PIRES : Drums , Chaos Pad

Biographie NLF3
NLF3 was born in 1999 in Paris. The Instrumental group was created by brothers Nicolas and Fabrice Laureau right after they stopped the adventurous rock group Prohibition (they released five albums and played more than 400 concerts in Europe and in the USA).
In 2000, nlf3 (trio)’s debut album Part one & Part two revealed a great instrumental freedom and a singular eclecticism of sound textures and instruments. Viva!, their second album was released in 2003. It is an enthusiastic album, and was very well acclaimed by the press. As a matter of fact, The Wire and Les Inrockuptibles found in this material one of best album of the year.
In 2004, the Fondation Cartier pour l’art contemporain commissioned NLF3 for a musical creation on a silent movie. The group chose its favorite film, Que Viva Mexico! by S. M. Eisenstein. They applied their meticulous sens of composition to create a new soundtrack on this beautiful and ignored masterpiece from the pre-WWII cinema. The live soundtrack performances which result from this work, had a great success in terms of public and press, and took the group in many cities and festivals; it was presented among others at La Fondation Cartier and Cit de la Musique in Paris, Scopitone and Artrock festivals, in London, Moscow…, at the Cervantino festival (Mexico).
In September 2005, NLF3 produced its third album, based on the compositions created for Eisenstein’s movie. Digging the energy of the live performances and still very cleverly arranged and produced, Music for Que Viva Mexico ! takes a new dimension while being detached from the film. It lets one imagine that S. M. Eisenstein, as an invisible conductor, made them transcend their own music. In fifteen titles and fifty minutes, Music for Que Viva Mexico! reveals the originality of the group’s universe and testifies of its maturity.
The band has recently composed new live soundtracks on « Die Abenteuer des Prinzen Achmed » by Lotte Reiniger (1926) and japanese expermiental-erotic fim « Ai » (1962) by Iimura.
« The French NLF3 (trio) have been together for a decade. Between them Nicolas Laureau, Ludovic Morillon and Fabrice Laureau share a pool of keyboards, guitars, bass and drums. They also run their own Prohibited label. Although he had doubtless prefer to be credited as sound recordist, producer Laureau has previously been noted for his work with Yann Tiersen and Dirty Three. The NLF espouse brevity as an art form, presnting a spangled sequence of continualy shifting miniatures. Detail is a virtue, the trio’s personal toyscape infatuated with blips and blops, all things that chime, burble or ping, with pourring analogue textures running across what amounts to a conventional instrumental core.
Like a kitch This Heat, they merge grooves and improvisatory trimmings, making a playful exploration of junked instruments, or a least faking such activities with samplers. The mix of live and looped elements spreads and shunts sounds across an extreme stereo field, the tiny details of peripherical chatter often just as interesting as the central chatter. “Orfeu” might begin as an Afro-froth pulse, but it is abruptly derailed by a fally-disc scramble, then switches to a castrato sex funk loop. On “My Horses Never Run”, it could be Chris Cutler or Jaki Liebezeit drumming. Again, in a moment of potential commerciality, “John C & JLG on a Boat” has a worringly serrated guitar solo, while just about everything on “An The Chalk Breaks” is distorted in the extreme. Despite revealing several layers of prime influence, the NLF3 (trio) manage to filter these into a unique sound of their own, a higly sensitive approach of the very essence of tone, texture and rythm. Few groups are so consistently interesting.” »
Article in THE WIRE, 2003.