The weird beauty of automatically translated interviews on
google (this one with the charming Marie Benoit, lead singer
for retro caribs Jim Murple Memorial)
Q: There is no more place with the counters this evening, you always fill your rooms?
A: Yes, since two or three years, that occurs very well. Well on there are always places or dates which are not favourable but it goes well. ...One was shifted so much of all that was made that people were lost. They spent an insane time to return in our music. They had hardly time to dance.
"It is necessary to create the event by the music"
Q: Let us speak about the last album in date: "Let' S spend some coils"...
A: One had to sell 12 or 13000 of them, about as much as the preceding albums. In this moment, it is very difficult. Our licence is at Patate Records and the distribution was ensured by Tripsichord. Tripsichord broke the mouth. The last album is at Pias. In fact, one of the musicians is deceased before even as the album did not leave, one thus decided to put all that one had done with him. It fell sick during the meetings from recording.
Q: How would you describe your music?
A: You have a choice of formation at the base: 2 guitars, 1 double bass, 1 battery, 1 section coppers and 1 singer. To use a double bass, for a dance band, gives already a color. Thanks to Fabrice who had an enormous musical culture, one tried to integrate the double bass in musics of dance where it did not take place to be like the soul, the rocksteady... Fabrice realized that the only guy who had done that it was Lloyd Brevett, from where the Skatalites influence with a jazz spirit while being popular.
Q: The double bass inevitably brings you closer the jazz...
A: Yes but only in the color. It is true that with the solos, one is in the spirit but the jazz, it is vast. Between Duke Ellington and Miles Davis at the end of its life, there are galaxies.
Q: How did you come into contact with the music jamaïcaine?
In 1987, I attended the medium ' alterno-squat '. I met the Monkeys Hurleurs, a group with in particular Thibaut (Tibaldus) with low. I took a snap and I integrated the group. The public immediately hung but the group left in testicle in particular because of the bass player who did not picolait badly. The beater it was Denis who created Murple. It took some musicians (of which I did not form part besides) Monkeys Hurleurs and A creates a new group. I re-examined it three or four years later whereas I had married with Nanou, I had had children... It wanted to go up a trick. It had already found 1 double bass player, 1 guitarist (Ptit Louis) and Marco our first sax. As of the first répèt' there was the sound! For there, it was necessary to learn the trade. One had to make 350 or 400 concerts.
Q: The group evolved/moved much with the years...
A: One passed by many galères. There were periods of perpetual changes of formation. The arrived last it is the beater. It was made that only one concert with him, it is super! What one needs, it is to have of humility enough to comply with the rules that people defined who created the group. The musicians who integrate Murple must include/understand the gasoline of this approach of the sound, the scene and the spectacle. One should not take the things with the light one. To propose this sound today is a fight. One makes music for the music. The instrumentalists are very individual people and it is difficult to render comprehensible to them that they return in a project which they must include/understand to take part. The concept is there and there is a recognition today. There is only Pierre at Patate which believed in us. It is a beautiful history but terrible moments ago...
Q: How do you compose? The musics which you do play are very coded, your room for manoeuvre is not too restricted?
A: It is a work more or less of group. Some bring back ideas that one develops all together to try to find something which groove. One does not make only a jamaïcain, one also makes of New Orleans, other tricks enough rock'n'roll. I think that the room for manoeuvre is rather broad. When you listenings the albums you realize that you master keys in review of the completely different styles. The discussion thread, it is the sound.
Q: You with rudimentary material to find this sound 60' S, wouldn't you like like to work to record on one 32 tracks? ... just to see what that would give?
A: Ca would give... another sound. But what is necessary to see they is that one 32 tracks thus multiplies the parameters of production, has direction only when it is used by a large-Master. Large Masters, personally I do not know any. But a producer must be an artist above all. And thus one 32 tracks can to sometimes harm you. You will believe that the machine will give you the idea, in final, it removes it to you. Us, one records with four tracks, one is thus obliged to record all the rhythmic unit almost, and this, in a place which has already its own acoustics. It is necessary to manage the micro catches initially and after ' it is necessary... to play together. One plays with resonances, everyone must listen oneself for that. The grain of the sound of our albums comes from there. The fact of using a rudimentary material wants to as say as when you have an idea of what you want to do, do not have you 30 000 things to make! You turn 4 buttons and, finished here!
Q: Do you think of finding the public of the reggae to your concerts?
A: Not But positive it is that one left the diagrams of musical styles. When I had 20 measuring rods, all was sectarian, people who had a broad musical culture were very rare. According to the style, they got dressed with a certain way, to be locked up with their buddies, it was primary education sectarianism. Today, the young people pass from one style to the other and since that the key, they adhere.
Q: On your last album, one finds a resumption of Aznavour...
A: With this recovery, one bluffé everyone. People believed that it was an old song of over there. One always had fun with that. One never put photographs of us on the discs, that belonged to the concept. One is satisfied to transmit a heritage and to render comprehensible that this musical tradition is alive. At the beginning one is Purists. One wanted to make a group of recoveries to pay homage to unknown pieces. One had put side our ambitions artistic, one wanted to make scene with energy. Ca started in 1995 and very quickly, it was necessary to create music to claim to go up on a scene without being the substitutes of thing. But at the beginning, it is music of an incredible simplicity. You take any piece of the group and make it play musicians who do not groovent, it is shit!
"For me the music is something which makes it possible to escape.
Art, it is not of the policy "
Q: When I intend to you to speak I think that you would have full with good things to say via Jim Murple...
A: For me the music is something which makes it possible to escape. For me, art, it is not of the policy. It is something of abstract, it is happiness. Ca reloads you. A beautiful spectacle, it is not somebody who will explain me something that I did not include/understand or who will make démago.. Today all even the speech is demagogic which I am holding. There are as well parameters as, though you say you make démago. One is in the on-mediatization and there remains still art to be filled with wonder, for happiness. Without relationship with this reality which mines us. Art it is my way of leaving reality.
Q: Instead of "Too pretty" you could have made a song against the System: "Too rotted"...
A: "Too pretty" it is a very beautiful song which is very well written. In any event Nanou, it is not its personality cynicism. This song speaks about something of very singular which arrives at everyone. You cross a too beautiful girl and you oses not to even go to speak to him. You idealize it. Here about what one speaks, of feelings. The policy it is the policy. I read the newspaper, I know in which world I live. You connect me political, one makes a press review together, you will hallucinate! One is in a mode where more that will go, less people like me, you, will have their place, because are not to you in the mould. There will be always artists. What is sad they is people who exploit misery. But misery and happiness are not inevitably what one believes. I am conscious that what one saw with Jim Murple today, it is super. One believed there and today one lives some, that makes me hot in the heart. I thank the public above all and I really try to give best myself. It is an open door towards happiness.
― Squirrel_Police (Squirrel_Police), Tuesday, 11 April 2006 18:38 (twenty years ago)
four months pass...
Well, in the spirit to make the “defending” part here, I think that I must select on a group of things, because I feel as much about you speaks in a really metropolitan way, one which does not have to make much with many the places that these things are really established. I want to say, perhaps these houses must tighten their fates in suburbs of city, but they are not incredibly bad about it in the majority of the places that I saw them -- word, Bloomington, IT. They do not have necessarily a “plating of the privilege and missing right in firmly suburban housing of class means,” because in a good number of spots they left is firmly suburban housing of class means; perhaps superior-means, end, but in small houses of a city in this model can be accessible to a family two-income to bring for example $100k between the two of them. And yes, their fates could probably adapt to two smaller houses for younger families, but in the abundance of the places they are established, there are not any force really ordering for space: when there are just wood or meadow without end all around you, there is no true push to preserve the ground. It creates the given up position, yes it, but the secrecy salts here is that a good number of means-Americans people want these position abandoned and outdistances, in a manner of post-pioneer or a manner of good-barrier-good-neighbors. The houses are right a symptom of that -- débarasser of them will not fix the psychology which supports them. And as I said, like separated question, it is difficult to find a force who can stop this, independently of the pure conscience of the Americans deciding that they are sick of abandoned position and want to live narrowly together still and in way or other forcing their cities to transmit the easy development -- what economically seems not very probable, particularly when you appear these people who paper themselves with the landscape of abandoned position of large-box have just to run up to now at the cities when young people. I want to be to say, yes, have this terror which we wasted most of the landscape at the point where we will obtain really bad we divide between a rich urban elite and each one cast iron of another outside to live horrible not extending anything, although I hope that a result of that would be a real market of the cities trying to conceive itself in tighter pedestrian models, trying to attract in love ones failed -- but that requires a whole group of economic revision, with regard to where work are, and really the principal smell in which the cities can seize any ordering of this is when it comes to accessible housing, because they do not have the admission of the funds of third to interfere the development of large-males too much. I think that the thing will be to see the destiny of the pre-planned businesses like what Denver making with the old airport, making a pedestrian-friendly campus-type whole development; I have my doubts about the things as that which comes outside right and which ages well, but if they, they could arrive a rather good traction to continue people to fight their manner in cities right of avoiding strip-malled continental masses.
-- nabisco (--...), Yesterday 7:58 PM. (nabisco) (later) (link)
― Marmot (marmotwolof), Thursday, 7 September 2006 05:02 (nineteen years ago)