by Euradio

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Écrit par sur 4 septembre 2018

Chaque mois, Euradionantes vous présente un label européen à l’antenne et sur le site internet. Gagnez des disques du label du mois de Septembre 2018 en envoyant un mail à musique(at) en indiquant “ROUGH TRADE”.


Interview with Jeanette Lee head manager from Rough Trade Records :


Rough Trade Records is a legendary independent record label and a benchmark and inspiration to many in the field. Rough Trade was at the epicentre of the punk explosion right at the start and since then has gone on to release a catalogue that almost defines the genre of independent music itself. Seminal releases litter the back catalogue, from early punk classics to era defining releases by The Smiths and The Strokes. Over the years Rough Trade Records has released an undeniable stream of quality releases by some of the most talented, gifted and unique musicians of our generation.

The label grew out of the Rough Trade Record Shop which opened in February 1976 in Ladbroke Grove, which was inspired by the City Lights Bookstore in San Francisco, where visitors were encouraged to hang out in the store as much as buy books. Within a year the Rough Trade Shop had become a hub for the burgeoning DIY and punk culture and was the point of contact for a whole host of groups and labels. Releases by The Fall, Scritti Politti, Robert Wyatt, Aztec Camera, Augustus Pablo, early electronic music pioneers such as Cabaret Voltaire as well as The Raincoats, Swell Maps, Go Betweens and The Smiths, amongst many many more followed. In fact, the past 38 years has seen Rough Trade Records become synonymous with high quality, imaginative, musically diverse and innovative independent music.

In 1999, a few years after the collapse of an ambitious Rough Trade distribution arm, Geoff Travis resurrected the label in partnership with Jeannette Lee with whom he’d worked since 1987. Seminal releases by The Strokes, The Libertines, Sufjan Stevens, Antony & The Johnsons, The Hold Steady, Arcade Fire, The Decemberists and British Sea Power to name but a few quickly followed.

Still based in the Ladbroke Grove area of West London where it all started, Rough Trade Records now has offices in London and New York and Geoff and Jeannette continue to work towards helping the music they love get the exposure they think it deserves and to facilitate the artists’ growth. With releases by Alabama Shakes, Anohni, Warpaint, Goat Girl, Josienne Clarke & Ben Walker, Sleaford Mods, Parquet Courts, Emiliana Torrini, and Dean Blunt either out now or on the near horizon, the future continues to look exciting, and to push musical boundaries at Rough Trade.



Dear Someone, Happy Something’ is the debut album by London based sisters Rowan, Robin and Sylvie. The three sisters from Honor Oak Park in South London, with an average age of only 13 and a ½ years old, write songs that reflect a disarmingly frank child’s-eye view of the world.

Honey Hahs have been championed by, and played shows with, Goat Girl, Fat White Family, Insecure Men, Shame, Micachu and The Moonlandingz amongst others.

‘Dear Someone, Happy Something’ was recorded in London with Steve Mackey. Rowan plays guitar and piano, Robin plays bass and Sylvie plays drums, and they all sing and harmonise.

More infos :


“I’d made a note of the name after driving past a sign when I was on tour in 2014. Cut to a few years later and the studio where I recorded the album was being knocked down just a week after I finished to make way for a ‘luxury’ apartment development. I was looking for a name that evoked the Tower of Babel – people building towers to reach an idea of heaven (but maybe creating a kind of hell – I’m an atheist by the way!) In any case I had written Babelsberg down and when I listened to the songs together, it finally made sense why I’d done that.”
Babelsberg is the fifth album by Gruff Rhys, his first record for Rough Trade since 2007’s classic Candylion.
The album’s ten tracks were initially recorded in early 2016 in a whirlwind three day session that took place before producer Ali Chant’s studio was demolished. The band he gathered for the record were his regular drummer Kliph Scurlock (ex-Flaming Lips) and multi-instrumentalists Stephen Black (Sweet Baboo) and Osian Gwynedd. The ten tracks then hibernated for eighteen months, awaiting orchestral scores by Swansea based composer Stephen McNeff and the incredible work of the 72 piece BBC National Orchestra of Wales.
The result is Gruff’s best record to date – a ten song gazetteer of modern times, each track set to timeless, indelible melody. Amazingly, for a collection of songs written over two years ago, each one seems to pull very sharp focus on the times we’re living in.
Over the course of Babelsberg’s forty something minutes, Gruff manages to perfectly document our troubled and troubling times with humour, grace and always addictive melody. In a career that’s spanned three decades, two languages, multiple bands, offshoots, collaborations and one boundless imagination, Babelsberg is arguably Gruff’s finest set of songs to date. And we’re willing to have that argument.
Where – or what – is Babelsberg?



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Parquets Courts’ fifth album Wide Awake! is a groundbreaking work, an album about independence and individuality but also about collectivity and communitarianism. The songs, written by Andrew Savage and Austin Brown but elevated to even greater heights by the dynamic rhythmic propulsion of Max Savage (drums) and Sean Yeaton (bass), are filled with their traditional punk rock passion, as well as a lyrical tenderness. The record reflects a burgeoning confidence in the band’s exploration of new ideas in a hi-fi context.

Parquet Courts ont sorti leur cinquième album ‘Wide Awake!’ via Rough Trade Records. ‘Wide Awake!’ est une œuvre novatrice qui parle d’indépendance et d’individualité comme de collectivité et de communautarisme, avec toujours l’amour en son centre. On y trouve aussi une sorte de fraîcheur, l’idée de conquête de nouveaux territoires créatifs qui témoigne de l’esprit en constante ébullition du groupe.

On peut attribuer cette atmosphère au travail de Brian Burton aka. Danger Mouse qui a produit l’album, mais c’est aussi simplement une prouesse d’écriture. “The ethos behind every Parquet Courts record is that there needs to be change for the better, and the best way to tackle that is to step out of one’s comfort zone,” explique le chanteur/guitariste Andrew Savage, “I personally liked the fact that I was writing a record that indebted to punk and funk, and Brian’s a pop producer who’s made some very polished records. I liked that it didn’t make sense. » C’est Danger Mouse lui-même, admirateur de Parquet Courts, qui les a approchés avec l’opportunité qu’ils espéraient pour se diversifier.

Les treize titres, écrits par Savage et Austin Brown et magnifiés par la propulsion rythmique de Max Savage (batterie) et Sean Yeaton (basse), sont empreints de la passion punk rock qu’on leur connait mais aussi d’une certaine tendresse dans les textes. Le disque reflète une confiance bourgeonnante dans la capacité du groupe à explorer de nouvelles idées avec plus de moyens :

« I needed an outlet for the side of me that feels emotions like joy, rage, silliness and anger, » – A Savage

Ils ont ainsi cherché à jouer sur le rapport dialectique entre la rage et l’allégresse, s’inspirant de groupes comme Youth of Today, Gorilla Biscuit ou Black Flag. « All those bands make me want to dance and that’s what I want people to do when they hear our record. » Brown, lui, cite la mort et l’amour comme ses deux plus grandes sources d’inspiration. Brown n’a jamais été aussi vulnérable dans l’écriture que sur cet album, et le groupe, dans toute sa férocité, n’a jamais joué de manière aussi poignante :

“writing songs I’ve been wanting to write but never had the courage.” Austin Brown.

Pour ses deux compositeurs principaux, ‘Wide Awake!’ symbolise la dualité entre la confrontation et l’acceptation : “In such a hateful era of culture, we stand in opposition to that — and to the nihilism used to cope with that — with ideas of passion and love, » explique Brown. Pour Savage, le coeur de cet album est l’objectif trompeusement complexe de vouloir faire danser les gens, d’armer les corps pour la résistance à coups de groove, de joie et d’indignation : “expressing anger constructively but without trying to accommodate anyone.”

More infos :


Across 19 tracks in just 40 minutes, Goat Girl’s self-titled debut creates a half-fantasy world out of a very dirty, ugly city reality. In the group’s words: “Simply put, it’s an album that comes from growing up in London and the first hand experience of our city’s devolution.We wanted to think of it as this place seen not necessarily just through our eyes, but someone who can’t get past the abnormalities and strange happenings that exist in our city.”

It’s a very English album (produced by Dan Carey: The Kills, Bat For Lashes, Franz Ferdinand) — full of sharp-eyed observations like The Kinks, louche rage like The Slits — but also swampy, swaggering guitars and singer Lottie’s filthy drawl. “It wasn’t exactly intentional to have this warped country sound, but I think that was initially what we were all drawn to and inspired by, bands that existed in a lo-fi , dissonant, scratchy context.”

The result succeeds in conjuring a complete world all unto itself, and is arranged in segments — divided by improvised interludes — that offer glimpses of an even stranger parallel universe. With each song acting as its own story of sorts that features different settings and characters, listeners are transported there within. It’s dark yet cheeky, varied yet cohesive, and striking in its vision; this world is populated by creeps and liars, lovers, dreamers, and wonderful lunatics.

Goat Girl is altogether an album crafted with intention, and invites imaginations to run wild. It draws listeners in to its half-fantasy world; from the slow fade, eerie instrumental intro “Salty Sounds,” to the gorgeous, unsettling closer “Tomorrow” — a rendition of the song featured in Bugsy Malone — which ends with dawn-chorus birds and the feeling of new possibilities after a long and messy night.

L’album ‘Goat Girl’ a été produit par Dan Carey (Kate Tempest / Franz Ferdinand) dans son studio du sud de Londres à l’automne 2017. Il est disponible en CD, LP et digital, édition limitée vinyle violet ainsi que dans un coffret spécial avec vinyle violet et un livret de paroles signé par le groupe.

En 19 titres et 40 minutes, le premier album éponyme de Goat Girl façonne un univers presque merveilleux à partir de la sale réalité de leur ville : “Simply put, it’s an album that comes from growing up in London and the first-hand experience of our city’s devolution. We wanted to think of it as this place seen not necessarily just through our eyes, but someone who can’t get past the abnormalities and strange happenings that exist in our city. We think this gives the freedom lyrically and musically to explore unspoken truths and emotions that we all as humans feel”. – Goat Girl

Ce monde, c’est celui des sales types, des menteurs, des amoureux, des rêveurs et des fous. C’est un album très british – des observations incisives qui rappellent The Kinks, une même colère dissolue que celle de The Slits… Mais le disque fait aussi la part belle aux guitares bravaches et bourbeuses et à la voix traînante, volontairement crasseuse de Lottie. “It wasn’t exactly intentional to have this warped country sound, but I think that was initially what we were all drawn to and inspired by, bands that existed in a lo-fi, dissonant, scratchy context.”

Goat Girl (Clottie Cream, Rosy Bones, Naima Jelly and L.E.D) s’est formé il y a quelques années. Goat Girl s’impose petit à petit comme la figure de proue d’un petit nombre de jeunes groupes émergents du Sud de Londres inspirés par l’intensité d’une scène locale en plein essor dans cette région. Basée autour du quartier de Windmill à Brixton, cette effervescence inclut Shame, Good Bad Happy Sad, Warmducher, Horsey, Sorry et d’autres.

Le groupe tire son nom du sketch douteux de Bill Hicks intitulé ‘Goat Boy’, Lottie explique : “It’s disgusting. But I like his social commentary, and the satirical element to what he did.”

Leur son furieux et leurs morceaux déchaînés représentent la façon de vivre dans le climat actuel, selon Ellie : “There’s teenage angst in them. But I think that was inevitable, growing up in London over the last ten years.” Les quatre membres de Goat Girl viennent tout juste de fêter leurs 20 ans mais leur jeunesse n’est pas la seule chose remarquable chez elles. Elles convainquent par la manière dont elles s’inspirent des manques de la soi-disant culture millenial, et la façon dont les médias et les gouvernements se jouent des opinions et des perspectives d’avenir de toute une génération.


More infos :


Princess Nokia – aka New York rapper Destiny Frasqueri – has been releasing music via Youtube and Soundcloud since she was in High School and catapulted herself to the next level with last year’s critically acclaimed rap opus 1992 Deluxe — selling out venues across the globe and steadily gaining tens of millions of streams.

Now, this shapeshifting emcee returns with a brand new collection of songs titled A Girl Cried Red, a self-described “emo mixtape” which will undoubtedly cement her place in the Alternative underground as well as the Hip-Hop world.

“Black people created punk — the band Death was way before The Ramones,” she stated in a recent interview, “If you think about it, the wool has been pulled over our eyes. This is our shit. Very naturally, that’s why we return to it.” Drawing on influences as varied as the introverted acoustic sounds of Elliott Smith to the bombastic pop-punk energy of Paramore – A Girl Cried Red showcases another fully formed side of Destiny that still taps into the uncompromising feminist ideology of Princess Nokia.

Princess Nokia, c’est le projet de la New-Yorkaise Destiny Frasqueri. Elle rappe et partage sa musique sur Youtube et Soundcloud depuis le lycée sous le nom de Wavy Spice. Elle a pris le pseudonyme de Princess Nokia en 2013 et a sorti les albums ‘Metallic Butterfly’‘Honey Suckle’ et ‘1992’ dans les années qui ont suivi. Elle a ainsi rassemblé une importante communauté de fans ces dernières années, ses vidéos et ses albums faisant des millions de streams et de vues.

Aujourd’hui, la jeune rappeuse  sort son nouvel album ‘1992 Deluxe’. Il s’agit d’une ré-édition de sa mixtape à succès ‘1992’ augmentée de huit nouveaux titres, le tout complètement remasterisé. Les nouveaux titres sont marqués d’un signe * dans le tracklisting ci-dessous.

Princess Nokia partage aussi un clip pour le titre ‘Flava’ (produit par Kadi Haze) réalisé par Destiny elle-même avec sa collaboratrice de longue date Milah Libin. C’est le 15ème clip musical que Princess Nokia co-réalise depuis 2014, le 7ème depuis la sortie de ‘1992’ en 2016.


More infos :


Sleaford Mods are pleased to announce their self-titled new EP “Sleaford Mods” which is released via Rough Trade Records on September 14th 2018.
This is the band’s first new music since last year’s “English Tapas”. The EP was recorded in Spring 2018 in Nottingham, and features five new tracks including lead track “Stick in a Five & Go”.
Jason Williamson says about the new songs “The lead tracks are mostly full of violent tendencies that only transpire through imagination. People are powerless under the political monster and the intense anger and frustration morphs into illusions of attacking each other through the bravado of social media, depression and paranoia.”

More infos :


What do you get when you combine elements of the Cramps, the Yeah Yeah Yeahs, Alice Cooper, Ozzy Osbourne and The Runaways? You get STARCRAWLER.

STARCRAWLER are a Los Angeles rock band who formed in 2015 when 18-year- old lead vocalist Arrow de Wilde first met guitarist Henri Cash at their Echo Park high school. Shortly thereafter they were joined by the rhythm section of Austin Smith (drums) and Tim Franco (bass).

The foursome play with squalling riffs and thundering beats, and their incendiary live shows, fronted by de Wilde’s otherworldly magnetism, are truly captivating. Geoff Travis, founder of Rough Trade, explains the label’s love for the band: “If you thought rock and roll was moribund, had lost its sense of fun and performance and primal power – it just means you haven’t seen Starcrawler yet.”

Sorti le 19 janvier 2018,  c’est le premier album de Starcrawler : enregistrés par Ryan Adams dans son studio Pax-Am, les 10 titres de cet album prouvent  que Starcrawler est bien en train d’insuffler une seconde jeunesse au Rock’n’Roll comme l’assure le producteur à grand renfort de Tweets depuis le début de l’enregistrement : “This Starcrawler record is gonna peel the paint off your brain!” ou encore “Starcrawler are so fucking insanely good. Soon they will rule this galaxy.”

Le second extrait de l’album, ‘I Love LA’ est accompagné d’un clip réalisé par Autumn de Wilde, hommage drôle et fougueux à la Cité des Anges. Dans un diner à l’américaine, le clip s’ouvre sur la monotonie du gagne-pain des membres de Starcrawler avant de les révéler sur Hollywood Boulevard comme les personnages glam-rock captivants qu’il sont au sein du groupe.

Starcrawler est un quatuor mené par Arrow de Wilde, fille de l’illustre photographe et réalisatrice américaine Autumn de Wilde (Beck, Shakes, White Stripes, Jenny Lewis, Ryan Adams, Sonic Youth, Decemberists and many, many more) et Aaron de Beachwood Sparks (batteur de Father John Misty, Tobias Jesso Jr et Ariel Pink entre autres). Originaire de Los Angeles, Starcrawler s’est formé il y a un an quand la chanteuse Arrow de Wilde a rencontréHenri Cash au lycée. Peu après, les rues d’Hollywood leur ont amené la section rythmique parfaite avec Austin Smith à la batterie et Tim Franco à la basse. Ils jouent des riffs tapageurs et des rythmes tonitruants lors de performances incendiaires menées par le magnétisme surnaturel d’Arrow. Ça rappelle rien de moins qu’un mélange des Cramps, des Yeah Yeah Yeahs, d’Alice Cooper et des New York Dolls plein de jeunesse. Le magazine britanniqueGigwise les a récemment décrits comme “the most exciting – and best – band Rough Trade have signed in years. »

Fraîchement signés sur Rough Trade plus tôt cette année, Starcrawler ont rapidement dévoilé leur premier titre ‘Ants’, capturant l’attention d’Elton John qui a joué le titre dans son émission sur la radio Beats 1. Peu après, le journal LA Weekly a fait de ces enfants du pays sa couverture, titrant « With Fake Blood and Frenetic Songs, Starcrawler male rock feel dangerous again” Arrow y expliquait dans une interview que les groupes actuels sont ennuyeux, qu’ils manquent de mystère : on comprend mieux pourquoi ses performances live semblent venir d’un autre monde !

Starcrawler ont également été invités à se produire au festival CalJam programmé par Dave Grohl. Starcrawler était le premier groupe auquel il ait fait appel pour cette édition et il a depuis publiquement chanté leurs louanges. Gerard Way est également un fan assumé qui les décrit comme un mélange de la performance théâtrale typique des années 70 et du génie électrique des Stooges.


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Lankum are a Dublin four-piece who combine distinctive four-part vocal harmonies with arrangements of uilleann pipes, concertina, accordion, fiddle and guitar. Their repertoire spans humorous Dublin music-hall ditties and street-songs, classic ballads from the Traveller tradition, traditional Irish and American dance tunes, and their own original material. The band comprises of brothers Ian and Daragh Lynch along with Cormac MacDiarmada and Radie Peat. When not on tour Ian lectures in Irish Folklore and musical traditions in University College Dublin, while Cormac and Radie grew up as champion traditional players, on the fiddle and concertina, respectively. Yet Lankum are not purely trad themselves, in the same way The Pogues were more urban music. Rough-hewn and raw, they’re the edgiest thing in Dublin right now.

Avec un nom emprunté au personnage meurtrier d’une ballade classique, Lankum est un groupe de folk traditionnel de Dublin dont la musique mêle les harmonies vocales de ses 4 membres avec des arrangements de cornemuse irlandaise, concertina, accordéon, violon et guitare. Leur vaste répertoire comprend des chansonnettes traditionnelles humoristiques, les ballades classiques des Travellers d’Irlande, des airs dansants issus des traditions américaine et irlandaise et leurs propres compositions originales.


More infos :


Moonshine Freeze is This Is The Kit’s Rough Trade debut, and their most sonically accomplished and compelling album to date. For their fourth LP, Kate Stables (songwriter and vocalist) wanted her band – Rozi Plain, Jamie Whitby-Coles, and Neil Smith – involved from the start. “They’re three of my favourite musicians, and what they do with their separate projects and what they bring to the band is brilliant.”

Stables once again enlisted John Parish (PJ Harvey, M. Ward, Perfume Genius) to produce; they had previously worked together on the band’s 2008 debut. Parish’s known brilliance for capturing a close-mic’ed vocal is felt here: Stables’ uniquely-textured voice is brought to the fore, and – following the tradition of exquisitely strange troubadors like Karen Dalton, Will Oldham, or Robert Wyatt – is simply arresting.

“I’ve been thinking a lot about truth and storytelling and the way that stories and truth change over time according to who’s telling them or who’s listening to them,” explained Stables.

This Is The Kit, c’est le projet de la talentueuse songwriter Kate Stables récemment signée chez Rough TradeOriginaire de Bristol et installée à Paris depuis plusieurs années, la demoiselle a gagné l’admiration de ses pairs dont Guy GarveyThe National ou encore Sharon van Etten.

‘Moonshine Freeze’ est le premier à paraître chez Rough Trade. Il est sans aucun doute le plus captivant et le plus abouti. Produit par l’illustre John Parish (PJ Harvey, M Ward, Perfume Genius), l’album est né dans la droite lignée de son prédécesseur ‘Bashed Out’ quand Kate Stables et son groupe (Rozi Plain, Jamie Whitby-Coles, Neil Smith and Jesse D Vernon) sont retournés en studio à Bristol après leur tournée. Aaron Dessner, guitariste de The National et producteur de ce dernier album, apparaît également sur six morceaux de Moonshine Freeze. 

C’est en studio que les titres ont pris forme entre les mains du groupe et de John Parish : “I’m not yet someone who says ‘I want this album to sound like an 80’s French nightclub’. All I can do is write the songs and then step back from them and see what themes or patterns there are, then bring those patterns out so it’s a coherent piece of work, sonically and in terms of feeling.” Moonshine Freeze’ est un délicieux mélange d’une grande sophistication musicale et d’une douceur instrumentale enchanteresse. La voix de Kate Stables est remarquable avec une étrangeté exquise qui rappelle Will OldhamMagnolia Electric CoRobert WyattKaren Dalton. Un doux parfum d’été !


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On May 11, 2018, Mark Kozelek will release his self titled album, Mark Kozelek, on Caldo Verde/Rough Trade. The 88 minute, double CD was recorded in San Francisco hotels and studios between May 2017 and January 2018. Mark has also completed work on a new Sun Kil Moon album to be released this November. All of the songs were written during Sun Kil Moon’s European tour of Europe this past November, 2017. Some of the songs were recorded in Europe during that time, and some were recorded in December of 2017 in San Francisco.

Mark recently contributed music to the James Franco directed movie The Pretenders, to be released this summer, and also acted in the independent film Passing Through, written and directed by Jason Massot. Passing Through was shot in Butte, Montana, February of 2016.

Mark Kozelek, aussi connu sous le nom de Sun Kil Moon, annonce la sortie de son projet solo éponyme Mark Kozelek le 11 mai, via Rough Trade Records.

Autrefois tête pensante des Red House Painters puis en solo sous le nom de Sun Kil Moon, Mark Kozelek, figure marquante de la scène rock américaine, continue de sortir de nouveaux albums passionnants à un rythme soutenu. A peine plus d’un an après la sortie de Benji en 2014, il revenait dès le printemps 2015 avec Universal Themes chez Rough Trade. Puis il sortait un album impressionnant cette fois associé à Justin Broadrick aka Jesu, l’Anglais inclassable aux multiples formations (Godflesh, God, Techno Animal, Fall of Because, Napalm Death…) et à la discographie colossale depuis plus de trente ans. C’est maintenant sous son vrai nom qu’il évolue donc, avec ce nouvel opus.

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The Decemberists  explore a new sound with a new producer on their inspired eighth studio album   I’ll Be Your Girl. The acclaimed Portland, Oregon-based band worked with producer John Congleton  and embraced influences such as Roxy Music and New Order to spark a new creative path.

Le fameux groupe de Portland, Oregon a travaillé pour la première fois avec le producteur John Congleton (St Vincent, Lana Del Rey…) et révèle un style empreint de nouvelles influences comme Roxy Music ou New Order, empruntant une nouvelle voie créative comme on peut l’entendre sur le premier extrait ‘Severed’ et son abondance de synthés.

“When you’ve been a band for 17 years, inevitably there are habits you fall into,” affirme Colin Meloy“So our ambition this time was really just to get out of our comfort zone. That’s what prompted working with a different producer and using a different studio. We wanted to free ourselves from old patterns and give ourselves permission to try something different.”

Avec ce nouvel album, The Decemberists (aka. le chanteur et guitariste Meloy, le guitaristeChris Funk, la claviériste Jenny Conlee, le bassiste Nate Query et le batteur John Moen) ont exploré de nouvelles manières de composer et de nouveaux horizons sonores.

’I’ll Be Your Girl’ prend la suite de ‘What a Terrible World, What a Beautiful World’, qui s’était hissé dans le top 10 aux Etats-Uni en 2015. Entre temps, The Decemberists ne se sont pas vraiment arrêtés : ils ont sorti l’EP ‘Florasongs’, un coffret édition limitée anniversaire pour les 10 ans de leur album ‘The Crane Wife’ en 2016, leur propre jeu de société en faisant appel au financement participatif, ‘The Queen Of Hearts’, collaboration avec Olivia Chaney nominée aux Grammys, le titre ‘Ben Franklin’s Song’ pour la comédie musicale Hamilton et ont enfin lancé le Traveler’s Rest, un festival annuel de deux jours dans le Montana dont ils assurent la programmation.

Bien que très occupé, le groupe a ressenti le besoin de bousculer un peu les choses : « On the last record,” affirme Meloy“there were moments when I thought I was making familiar choices. I tried to be mindful in the songwriting process of challenging myself and being a little more critical. The idea was, how can we make unfamiliar choices, turn off the light a little and grope around in the dark a bit?”

Les disques précédents du groupe comme ‘The Hazards Of Love’ ou ‘The Crane Wife’ étaient structurés autour de thématiques ou de concepts musicaux définis, bien que selon Meloy, ce qui les rassemble, c’est avant-tout l’état d’esprit du groupe.

« This time », il explique, « the songs share a mood that’s steeped in our current times and condition—“exuberant nihilism, an apocalyptic dance party was what we envisioned. We were talking about music and our references. It kept coming back to Roxy Music and early glam, and we dove in with that in mind. The Decemberists are a record-collectors’ band, we’re all fans and scholars of music, so there a lot of touch points that we all get, but they don’t always come through. So we were trying to embrace that Bryan Ferry aspect, that kind of set the tone.”

Cette nouvelle approche inaugurée sur ‘I’ll Be Your Girl’ a aussi permis la naissance d’un sens de la contribution et de l’engagement nouveau pour tous les membres du groupe :

“Since we were going to mix it up, everybody felt like they had more of a voice,” explique Meloy, qui souligne l’apport substantiel de Chris Funk et Jenny Conlee sur l’album et définit le single‘Severed’ comme un véritable travail d’équipe :
“That was written as a punk song, but wasn’t really working, Jenny set this arpeggio throughout it, and it became like an early New Order song. And I had forgotten that when we made the demo, I also started a file to turn it into more of a Depeche Mode song—I actually wanted it to be a synth song all along.”

‘I’ll Be Your Girl’, c’est le son d’un groupe vétéran qui a trouvé de nouvelles sources d’inspiration, un groupe qui n’a pas peur de se remettre en question pour renouer avec sa créativité.

“Making music is an infinite choose-your-own-adventure, and when you go down one path, the other paths get sealed off. So every time we could, we said, ‘If this is what our impulses would tell us to do, let’s try to imagine it in a different way.’” – Colin Meloy

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