10 new names to follow on the French music scene
40 years and still avant-garde: a review of the finds of this years’ Printemps de Bourges.
For its 40th birthday, the Printemps de Bourges managed to keep its juvenile vitality by injecting new blood under its spotlights. First with its new director Boris Vedel who succeeded in carrying the torch, especially with his Inouïs from all over France and other eclectic discoveries: from folk to electro to raw rock and sunny pop. The Printemps de Bourges offers an extended (though not exhaustive) playlist of the French music scene in 2016, and of what it could be five years from now. We selected ten young artists who marked us.
Among the festival’s best, let’s mention first San Carol's krautrock. Adopting this German post-punk style with a clear will to draw the structures of pop hits, at the perfectly accepted risk of bordering on the mainstream, the band from Angers inspires a wild and disturbing energy with the tracks of “Humain trop humain”, their second album. A superman’s idea.
Théo Lawrence's soul, blues, and gospel mix not only wakes up the dead from the 1950s, it also sublimes the roots of American music with an incredible mastery of styles, and a voice with the maturity of a Hillbilly, at only 20.
June Bug's hybrid pop offers something fresh, innovative and with no complexity. That something? Acoustic songs or electronic surgeries are invited to their folk. Reminding of Soko or Cocorosie, the duet pushes the borders of musical creation while keeping pop composition, opposed to an inaudible experimental process.
Fishbach's synthwave is like a gloomy Niagara, and her voice, the one of a Catherine Ringer with a mortal quill. Playing with her timbre’s lights and shadows, madness is running under the expressions of the young woman from Charleville-Mézières. The dance of her hands charms and captivates, alone on stage with her hypnosis game and her powerful texts.
L’Impératrice's electronic funk feels like an acid rush under the benevolence of the neon lights and disco balls. The band formed by five musicians and a singer, known for her electro compositions, offers a festive, irresistible and heat-giving sound and light show.
Slender voices and delicately printable melodies, The Papooz's tropical pop makes you dream of vanilla ice cream on Californian beaches. Worthy successors of the Beach Boys or Belle et Sébastien, the retro-styled boys’ lightness is contagious: the summer will last an eternity.
Marvin Jouno has the French-style melancholy, the fake cynicism of the real romantic. A cross between Etienne Daho, whoseLe Grand Sommeil he covers, and Benjamin Biolay, this flesh-flaying artist with a thick skin and most of all authentic all along, from his powerful writing to the electronic orchestrations.
Sin Tiempo is the wonder child of the very young electro record Tolva Records. This artist from Lyon encodes an epic pop with heavy basses and light synthesizers. Narrating chimeric journeys, Sin Tiempo, plays with a sad and erotic voice over electronic bpm and dreamlike machines sheets.
The hipster look can be misleading: Louis Aguilar, long beard, flowered shirt, glasses and cap, is far from the 90s frenzy with his acoustic guitar and his musicians who distill a luminous folk, which is not free from a few rock detours. With a soul compass which throws the needle into turmoil at every crystal choir, it flows it your ear and smells like the wood of a shelter hidden between the high pine trees.
Teaching steeldrum, this bowl-shaped metallic percussion, at the conservatory, Clément Bazin has other nice lines in his résumé, notably the one of instrumentalist for Woodkid and half of the Hijacked duet. Genius electro creator, his universe sends all of us in cosmic journeys.