Louise Attaque obviously wants to enjoy the 25th celebrationAnd anniversary of the release of his first album, one of the best sellers in the history of French pop – almost three million copies! -, preceded only by a record by Cabrel and one by Bruel.
Last April the trio held six concerts in a single day at the Elysée de Montmartre, fully covering the album that bears their name and their hits. Your invite And I carry you with the wind. Offers today Landtitle that draws the thread from “Louise observes these humans we talk about with empathy, love and a certain tenderness”, specifies Arnaud Samuel.
Backtracking, from the first bars of the austere Uncommon, opening the album. The rock drums, the distinguished voice of the singer Gaëtan Roussel, the melodic rush of the violin. This violin, held in place by Arnaud Samuel, is the hallmark of Louise Attaque! A group that, like no other in the French music scene, has been able to combine singing, folk and rock.
“Someone influenced me in the beginning, says the violinist. When I was little, there was this album that was on tour at home, Expected by Bob Dylan, with Scarlet Rivera ”, the most rocker of American violinists, evident from the classic Hurricane, which opens the album. “Scarlet Rivera has been playing backing vocals throughout this album, and she actually gave me the opportunity to think alike. The interesting thing is that I thought about playing my violin against Gaëtan as well. My violin flows a lot around her voice, it’s not quite like a solo score, like an electric guitarist doing a solo, “she says, also citing the influence of the French 80s alternative rock band Passion. Fodder .
You guessed it, let’s hear about this Land as in our memories of the late 1990s, when Louise Attaque was one of the most exciting newcomers on the French-speaking scene, whose popularity had soon reached the shores of Quebec – yes, Louise Attaque will go on tour next year, “and yes , we hope to visit you again, we have kept fond memories of our concerts in Quebec ”, says Gaëtan Roussel smiling at the back of the camera, sitting with his Arnaud and Robin Feix.
brothers of music
Time passes, the sound of the trio remains, except for some details.
“During the recording of our second album [Comme on a dit, en l’an 2000], says Arnaud, we told ourselves that we would try to do something different, but respecting what constitutes our DNA: our acoustic instruments, Gaëtan’s voice, his way of writing and making French sound. This is our way of working, we will not do violence and we will eliminate them to make a change. On the other hand, the interest of an album is to take a polaroid of the group to see where it is made, but also to make a different album from the previous one. So that’s true, [Planète Terre] sounds more like our first one. “
“Another reporter used this formula: these two albums are brothers, continues Arnaud. After, you need to hear the details: a more panoramic sound, external contributors putting some bursts left and right where you wouldn’t have had the idea to put any – a piano solo on Uncommon, For instance. “
In terms of themes, Louise Attaque observes, sometimes with a worried look, our world and comments on it. This has also not changed. On the rhythm The monsterRoussel evokes the fear of commitment: “The fear of kissing you tonight / of not jumping in puddles, hope”. On the delicate don’t see us, it is individualism and a lack of empathy that are emphasized. More surprisingly, on the music that could have been recorded by the trio in 1997, My dear, today my dear dare to approach gender identity from a parent’s point of view.
Immediately following this series of concerts last April, the three musicians locked themselves in a studio every day for 25 days to see what would come of it. “We didn’t invent anything,” says Roussel. The constraint freezes or frees. And that released 11 fake songs. “We, it allowed us to find ourselves. I especially remember the human experience, “says the musician, who launched his fourth solo album last year, You know ?.
“Gaëtan writes immersing himself in what he saw while writing the song, adds Robin Feix. We arrive with small fragments of existing music and the songs take shape in our studious company. Roussel: “We form a group, and the beautiful thing is that no one will take the place of anyone and that everyone’s faults are integrated into the whole. It’s chemical and, in this context, you shouldn’t hold back, say to yourself: “Here, I found this, I’ll put it aside [pour mon projet solo]. ” The songs are born in a specific context, and you have to play the game, honestly, and that, I believe it. “