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Matmos / Villeneuve / Class of 69 - Tatouages menthol​é​s et cartouches d'Aube

by Villeneuve

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1.
Dernière minute électrifiée 01:29
2.
La rue est un rêve 02:06
3.
Kali Yug Express 01:18
4.
Infra noir 02:50
5.
Trains de nuit 01:56
6.
Coca néon arc-en-ciel Polaroïd 08:28
7.
Jukeboxes 13:00
8.
Pommes bleues électriques 09:40

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Art by HOTU
You can buy this lovely double cassette here : scumyrearth.bandcamp.com/album/matmos-villeneuve-class-of-69-tatouages-menthol-s-et-cartouches-daube

Michel's words : We all gathered that day to Benoît's lovely house. Benoît’s penne a l'arrabiata is an invitation that you really can’t say ‘no’ to. It was the aftermath of Trump’s election. Martin and Drew had been abroad the whole time, you can guess what the discussion center was. Minimal impact though: the perfect antidote was found in the form of delicious food and wine. As the lunch was coming to an end, we noticed something strange. An annoying noise was disturbing the Joanna Brouk piano piece. Benoît stressed to check there was nothing wrong with his five-star hi-fi. That’s when we realized. The house was surrounded by Trump zombies, reciting their four-word zombie mantra over and over. They must have been attracted to the so-called “greatness” that was supposed to happen during the Skype interview. I know it sounds strange, but none of us really is an expert on how Trump zombies think… Assuming they do think, research on the subject have been fruitless so far.
They weren’t aggressive or anything, but they were there, massed against the windows. Credit should be given: they really know how to ruin the mood.
We retreated downstairs to Benoît’s studio. Even there, we could faintly hear their fucking zombies mumbling, so we plugged all the instruments and started to play. That wouldn’t shut their decayed zombie mouth, but at least we wouldn’t be hearing them for a while.
It turned out to be a very cathartic session. Martin hit the drumkit as if DT’s fake smiling face was printed on every tom, unstoppable synths were analyzed, sweet memories of the Juno 60 were shared, harpsichord proved to be funky and, at the end of the afternoon, our ears were finally buzzing with positive frequencies.
At some point, we had a rest, all the zombies had vanished. Everyone felt relieved and positively exhausted.
And then someone said, “what’s the plan for dinner?”.

credits

released November 24, 2017

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Villeneuve Paris, France

French composer and producer, Benoît de Villeneuve sits outside genre, scene or group. Fusing electronics with acoustics, from meditative to intense sensibilities, his musical practice is rooted in the experimentation, looking for what would translate the language of the soul into sounds. ... more

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