Recife

En "off" du FAM 2005, Deadbees Records et Another Record vous présentent :






PEDRO THE LION ( pop, Jade tree, usa )
En concert le vendredi 16 septembre au FAIRFIELD CAFE
110 Av. Jules Julien, TOULOUSE.

Avec
THE AMAZING PILOTS ( pop, usa ),
JULLIAN ANGEL ( pop acoustique, Metz, Another Record, )
RECIFE ( pop rock, Deadbees, Toulouse ).

START : 21 h 00.
PAF : 6 euros.

Contact : tomloup1@yahoo.fr, josselin.tallec@wanadoo.fr

PEDRO THE LION ( http://www.pedrothelion.com/ ) :
"Though songwriter Dave Bazan fronts the enigmatic rock band Pedro the Lion, his emotionally charged narratives, eye for telling detail, and mournful voice have more in common with J.D. Salinger's "Nine Stories" or Flannery O'Connor's "Wise Blood" than with the usual lyrical slant of popular music. Bazan is a gifted storyteller, weaving parables of spiritual conflict, suburban ennui, and personal surrender into magnetic, well-crafted songs.
In 1998 Pedro the Lion released their first full-length record, the intimate, charming "It's Hard to Find a Friend." For this, their homemade debut, Bazan arranged songs about draft dodgers, leg hair phobics, trans ams, and cheating lovers into a deeply moving album, which one critic praised as "expressing the tension between the sacred and secular unlike any record since Al Green's 'Call Me'."
After months of touring, Pedro The Lion went back into the studio to produce the considerably darker "The Only Reason I Feel Secure (is that I am validated by my peers)." The EP revealed a brooding, self-conscious depth akin to future writers Dave Eggers and Charlie Kaufman. Bazan further honed his craft on the politically prophetic concept album "Winners Never Quit" (2000) and "Control" (2002), a morbid study of the relationship between infidelity and corporate culture, fueled by bombastic drum hooks and claustrophobic electric guitars.
With Achilles Heel, Pedro The Lion have created their most multifaceted, mature work yet. Lyrically, dry wit and melancholy are marbled together, creating relaxed narratives with subtle and often profound depth. ‘Transcontinental' describes a man having a moment of clarity, as his newly amputated legs twitch before him, ‘Arizona' finds a drunken, devastated New Mexico throwing fists at California for the love of the land mass between them, and ‘the fleecing' attempts to explain to strangers some things that strangers aren't equipped to understand.
Musically "Pedro the Lion's Achilles Heel" is both stark and lush, economical arrangements of simple, beautiful compositions, which came together at organic recording sessions in the band's home studio in Washington state. Alongside Bazan in the driver's seat was longtime collaborator turned full-time member TW Walsh. The friends spent a solid month working on the album, and thanks to the close proximity and free availability of their gear, the home recording enthusiasts were able to create a record that feels both crafted and off-the-cuff.
"[The process] was just way less obsessive," said Bazan. "We tracked most of the record live and I spent less time nitpicking guitar tones. It felt more loose and we were definitely much more confident this time around."
That confidence is immediately evident in the epic, dreamy, kaleidoscopic churn of album opener "Bands with Managers," which is followed by the unshakably perfect pop song "Foregone Conclusions." The band's conviction is also clear in its willingness to take chances, as shown by the tipsy groove and offbeat harmonies of "Keep Swinging," and album closer "The Poison," which the two recorded at the tail end of a late-night session. With drummer James McAlister (Ester Drang), four microphones, and several bottles of wine, they captured the take that went on the album with no overdubs.
"Pedro the Lion's Achilles Heel" is emotionally complex yet immediately accessible, a striking and literate letter from that place between hope and sadness. "

THE AMAZING PILOTS ( http://www.theamazingpilots.com/ ):
"Do you remember that kid with the bowl cut ... you know, the fishing trip from that
cine-film summer back when. Somehow, no fish were caught and his radio ended
up in the canal ... yeah, it'll come back to you ... !
When music is truly special, it shakes out old memories and make the worst days
feel like stepping stones. You'll wanna have a little bit of happiness with your sadness
and maybe even the other way ‘round.
The Amazing Pilots are two brothers, Paul and Phil Wilkinson, who started playing
music just after tea most nights. They hatched a plan to travel from their small
town in Ireland and record music somewhere up ahead.
Forming a band, they traveled to the sunny and jaded south coast of England where they holed up in a big house quite near the beach. The guitars started ringing, and the journey seemed to play along.
A few months later, with a self-financed EP ("Graduate Blood") under their belt, the band began playing wherever they were wanted, and some others venues as well! The NME got a demo from somewhere, presumed it was a single and reviewed it as such. They said it was "deserving of no small amount of awe"!
It wasn't long before the Pilots signed a recording deal with London based Easy!Tiger Records (Calexico, Wheat) and set about demoin over 30 songs for possible inclusion on their debut album.
The band were then invited to record a track for City Slang's Lee Hazlewood tribute album. And so their first commercial release saw them sit alongside the likes of Evan Dando, Lambchop and Jarvis Cocker- the boys were invited to open up for Lee in Dublin's Olympia Theatre. A publishing contract with Chrysalis Music followed in 2002 and all looked rosy for the band.
It's a heartbreaker for any young band to find out that their record company has to fold, just two weeks before the release of their first single. The Pilots, however, muttered something about journeys and went off to record their own debut single gaining Single of the Week in London's The Independent with significant regional and national airplay.
It was soon after this that the brothers heard about a strange studio in a small Midwest town a few hours from Chicago ... from a friend of a friend, naturally! A plan was hatched, and they traveled to meet many strange characters, play many strange old instruments and return with knowing grins and strange jackets.
The album was mixed by Mercury-nominated producer David Odlum whose credits include The Frames, Josh Ritter and Gemma Hayes (who also guested some vocals on the record). It was started in Dublin and completed in Black Box Studios in the Loire Valley, France. It's the songs, melodies and irresistible hooks that the Pilots have made their own, now matched with the weight and darkedged beauty of a truly stunning debut album. Hello my Captor was snapped up by Undertow Records (US and Canada) and Decor records (UK and Europe) with releases scheduled for Spring 2005.
Things come around and journeys turn out to be destinations and it's always hard to find a small radio in a canal.
Toodle Pip!"
JULLIAN ANGEL ( http://www.jullian-angel.tk/ ) :
"Jullian Angel appartient à cette nouvelle race de songwriter aidé par la technique pour rendre leur musique pop complexe, tout en leur permettant de travailler seul. Jullian Angel se souvient sans doute que les cordes de Strawberry fields forever n'étaient en fait que du mellotron, celles de son Farewell melody ne sont que samples. Mais l'esprit des Beatles est bel et bien là. On peut appeler la musique de Jullian Angel "electro-pop" mais cette terminaison fait référence aux moyens techniques employés et non au genre musical en soi. Il ne faut pas s'y méprendre (à ce compte-là, on pourra employer le terme d'"électronique" pour Lara Fabian parce qu'elle enregistre en digital !!!). Jullian Angel fait de la pop éclairée par l'esprit luxuriant des années 60-70 (Shine), comme la face diurne de Syd Matters. Ecouté et approuvé par La Magicbox (en attendant les Inrocks ?)."

Denis Z. La Magic Box .

RECIFE http://recife.music.free.fr
"On pense à Pink Floyd et plus près de nous, Archive et The Cooper Temple Clause quand on écoute ces jeunes Toulousains. Tout d'abord, le chant, calme et androgyne, esquive l'écueil lyrique et ne chevauche qu'occasionnellement ces neuf morceaux. Car ici c'est surtout la matière sonore qui parle. Il y a quelque chose de lumineux en elle, d'apaisant, comme un "supplément d'âme" qui transparaît dans l'ingéniosité des instrumentations. Le quartet n'hésite pas à s'affranchir du format couplet / refrain, à installer doucement ses climats, en empruntant des voies planantes avant de fondre vers des reliefs plus abrupts. Comme dans "The name" qui grouille de "blips" à la Notwist et finit par mordre avec sa basse new-wave et ses riffs en escaliers. Après ces voyages soniques, les retours au rock n'en sont que plus beaux." Sylvain Fresson
LONGUEUR D'ONDES.

http://www.another-record.com/
http://www.deadbees.com/
http://www.cnltouring.co.uk