My whole life, I’ve marveled at the ease in which so-called charismatic leaders – political, educational, spiritual, therapeutic etc’ – have led their followers and others in their surrounding to total oblivion.
If there’s one and single insight that you are ought to fetch from my ruminations, it is this: THINK AND STAND FOR YOURSELF, DON’T LOCK YOURSELF IN A HELL THAT YOU AND/OR OTHERS CREATE FOR YOU.
In my perception, It’s always better to answer for your own actions, for better or for worse, than to act by proxy and hide behind bullies, real or imaginary. Such is the path of truly brave men and women.
So, are you truly brave or do you prefer to hide behind your chosen dogma and skydive unto an inescapable hell?
For its 26th release, Da ! Heard It Records invites you to come meet The Fat, with their first album: “Meat Me”.
The Fat, a band based in the north of Paris, consists of two pillars: Jacques de Candé and Thomas Suire. Louis Pontvianne and Romain Drogoul join the two comrades live. One year after their first stage performance at Instants Chavirés, aside pioneers of Russian industrial music Vetrophonia, their first album, Meat Me, comes out.
The band aims to let the synths speak. Their qualities, their flaws, the damage they’ve suffered overtime are as utilized in the conception of the pieces as are lengthy improvisation sessions.
A festival of Moog, DSI, Roland, Aelita, Jomox, Oberheim, Eowave… The use of exclusively analog machines kindles a usually cold sound into a latent dampness. The construction of the pieces from a bass line, blurry yet well-framed, thanks to a crispy solid rhythm reminiscent of Oto, accentuates our indecision between choppy gesticulations and petrified emotion.
At the beginning of the album, a languorous beat skews all pulse of excitement and favors a listening focused on all of the subtleties in the variations of sonorous matters. When the rhythm accelerates later on, a tribal dialog settles in, where the roundness of the exchanges between melodies and the rhythm box’s primary pulses tangle in despair, as if bliss only ever belonged to the past. A few infecticidian gimmicks erupt on certain tracks, and our bodies appropriate this music in a measured gestural.
Now, it is your turn to appreciate and have your emotions ascend. Shh!… Listen, there…
That little repetitive sound, in the background, in a psychotic spiral, where is it taking us to ? Are we not heading towards Forbidden Planet?
To create the visuals on the sleeve, the band called on Pia-Mélissa Laroche, a graphic illustrator that cherishes lead. Pia’s universe is a mixture of anatomical imagery and geometric volumes where spheres, cubes, and organic cells intertwine. We lose ourselves, like children, in this very personal interpretation of an infinitely small world.
01 – Imbruttisco tutto quello che tocco
02 – DELI-RAP (feat Mickey noise)
03 – FORMA SENZA SOSTANZA
04 – MIRAGGI (feat. Terroristi musicali)
05 – i ragazzetti finti alternativi
06 – La situazione (feat. Busatto)
07 – S.C.R.O.P.H.A.
08 – MORIRE( ma senza fretta)
09 – Te lo dico con dolore, te lo dico con gioia (feat. FabioD)
10 – bisbetico vs buonista
11 – Rapporti occasionali (feat. YAMIXEAST)
12 – La cicala e la formica (feat. Heather Parèsi)
Awkward Hugs is by C. Reider, a guest from Vuzh Music netlabel. “This is some work I did in 2007, directly after ending my work with the drone collective Drone Forest. I wanted to do some music that fell far outside of that group’s constraints (no beat, no melody). This music reflects an interest in minimal techno that I had at the time. The exploration of beat-oriented material during this time eventually led to the series of releases I called The Electret Quintet, which merged the accessible material presented here with a more experimental approach.”
Insula in albis
circumdederunt per glaciem maris,
infesta, in fine mundi.
Terra Australis, Terra Incognita.
Ventus magis placent.
Orate mare ut revertar in patriam.
(Island of while
surrounded by sea ice.
Hostile, at the end of the world.
Southern earth, unknown land.
Wind in favor.
We pray to the sea to return us home).
With these words pronounced in Latin(1) by our friend and colleague Frank Benkho “Insula in Remix” begins, a collection of remixes and versions of the pieces that gave form to our disc “Insula in albis” (Pueblo Nuevo/Eolo, 2013). In a way, it is the final link of a work that started nearly two years ago, when we traveled with the support of the Chilean Antarctic Institute (INACH) to a secluded place located on the borders of civilization: King George Island (South Shetlands, Antarctica). There we collected images and sounds, both natural and human in origin, in an environment in which the majestic landscapes contrast with the technology used to resist the onslaught of the elements. We met people of different nations and cultures, sharing together in this environment of water, stone, ice, and rusted metal.
We presented “Insula in albis” in the Teatro Municipal “José Bohr” in Punta Arenas in the Celebration of 50 years of the Chilean Antarctic Institute. At the beginning of 2014 we managed to return to King George Island and we presented the work before the personnel of the “Eduardo Frei” base, in what was our second recital in Antarctica. After having shown it in Buenos Aires and Santiago, we decided to invite other musicians to reinterpret our discoveries, to make them their own and give them new forms in their own style. We appreciate the time and effort each one invested in realizing their contributions. We hope that we manage to transmit once again to all those who follow our trajectory the excitement we feel when we put our feet on this island, where people live together in a way that the rest of the world should imitate. “Insula in Remix” is available here, to help you set forth on a sonic flight towards the Continent of Light.
(1) All Latin provided to us by online translation applications.
(Punta Arenas, Magallanes, Chile, September 2014)