The many albums that changed my life (or at least tried to): Twelfth Night, “Art & Illusion”

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The Many Albums That Changed My Life (Or At Least Tried To)

Every now and then, I write a few words about some albums that had some impact on the music I delightfully create since the holy high school years. Blame it on those records! Today, let’s jump into…

Artist: Twelfth Night | Album: Art & Illusion | Year of release: 1984

Twelfth Night, "Art & Illusion" (1984)

Before becoming a bag of outdated elitist or geek clichés, prog-rock started as a big mix of influences, an idea of a real evolution in music. It is always linked to the 70’s, which sadly puts a veil on some 80’s treasures like this Art & Illusion from Reading band Twelfth Night. This short album conforted me in the evolution of so-called progressive rock, here turning neo-prog.

It features a splendid collection of theatrical rock with (at the time) modern synthesizers, electronic drums and in-your-face almost funky bass guitar. The guitars are not that far from mid-80’s Andy Summers or Trevor Rabin and the songwriting is solid.

The closing song, the drum machine-driven “First New Day”, is a pure gem that surely influenced me to the point that my one of my 1989 songs owed it something. Up to you to find which one.

Listen on Spotify

 

 

Whiskers, whiskers…

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So from now on, the Night Cats Lounge becomes The Many Whiskers Of The Snowcat. I should be honest by admitting that I owe this title to an observation from my good friend mandolinist Bill Bayer, who was commenting about something that I did. What was it I don’t remember, but I always thought I’d have to use that line. There we are.

The Many Whiskers Of The Snowcat

So why that change of title? Well I don’t know, I just felt it would be a good opener for my The Many Albums That Changed My Life (Or At Least Tried To) series of reviews.

I stole the idea (again!) from a famous keyboardist who wrote about 5 lp’s that changed his life. I thought it was a cool thing to do and tried to find 10 records that did the same to me, and ended up with slightly more than that. So I decided to go up to 20, then 30, then 50, then I thought I would just write until I run out of inspiration (which might be sooner than you think).

Basically, you might ask me what’s the real purpose of such posts, to which I’d reply that I don’t know either. Maybe I just want to talk about myself, as any rock musician likes to do, or draw attention to wonderful pieces of music that fans of my albums would like to discover ? Or most likely to attract fans of these records to my own stuff? It doesn’t matter, anyway. These are albums that had a huge influence on my own music, records with a before and an after, songs that I’m grateful to have discovered, whatever you can do with it. Records that I’d recommend you to listen more than mine. Well, almost.

I won’t write detailed reviews, just a few sentences, and I won’t follow any order other than a random inspiration. So don’t expect any alphabetical suite, nor a raking by any criteria. I’ll mention those albums as they come to my memory, nothing else. Feel free to listen to them on Spotify, buy the vinyl version in some flea market or a CD remaster if you’re (un)lucky to find one.

How frequently will I post is unknown to me. Every now and then is the most accurate answer I can give you.

OK, let’s begin with some British theatre, some art and a bit of illusion

 

In a heartbeat

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Ah the trendy cardiac coherence technique! More and more ink is used to boast its benefits and equally comment on its controversies. Scientific facts or snake oil? Yours truly didn’t only use this exciting buzz to jump on the bandwagon, but to lead the convoy. Meet « Cardiac Coherence In C Minor » by Nekokawa Hypnosis.

How to use it? After the bell has done its cute 5-seconds countdown, you start to breathe-in with ascending notes, and breathe-out following descending ones. All that during 5 minutes, and then you feel good. Why? Because.

Now however cool that sounds and feels, if you have a history of cardiovascular troubles, you’d better pay a visit to your cardiologist, ask him if it’s OK for you to enjoy Meet « Cardiac Coherence In C Minor » by Nekokawa Hypnosis. And if he doesn’t get it, send him to where to get his own copy of it: https://gillessnowcat.bandcamp.com/album/cardiac-coherence-in-c-minor

Cheers
G.S.

More about Nekokawa Hypnosis: http://www.nekokawahypnosis.com

And Nekokawa Massage: http://www.nekokawamassage.com

Ska time… to the bones.

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Is Brick Bosso new hype of 2020’s Californian underground? With its song-based psychedelic, adventurously raucous rock, bringing melodies back in a world where it now only belongs to some sophisticated acts, this mysterious project suddenly reveals a new side of its talent, adding to that a connection with the raising glories of West Coast ska: Ska’N’Bones.

If Ska was popularised in the late 70’s, early 80’s, thanks to the boldness of the well-named band Madness, the origins of this genre date long before that. It was, in a nutshell, the 1950’s precursor of reggae, which whom it shares rhythmic similarities. Some say ska is reggae on vitamins (or any upper substance), while it would be more logical to see reggae as ska on weed.

Here comes Mr Ska Time, real tapes and real ska.

From the first notes of “Leaky Connections”, you know it’s Brick Bosso. And you know it’s ska. The good news is that Brick Bosso doesn’t pastiche ska; he lives it. To the bones. (pun intended)

You distinguish the unmistakeable trademark of Bosso, that almost Lennonesque acid in the voice and guitars, the sometimes surprising chords change (“All Of These Dreams”) that remind us that there’s a very competent musician behind the project.

Brick Bosso going ska isn’t a surprise when you dig deeper in his blurred identity: it happens that the common ground with Ska’N’Bones is hard to deny.

It may take a private detective to dig under Brick Bosso’s mystery, yet the man himself wasn’t too reluctant to answer our almost innocent questions.

You joined Ska’N’Bones sometimes after you had already launched your Brick Bosso career. Would have “Ska Time” have existed without becoming part of Ska’N’Bones? Or was a ska album already a plan of yours anyway?
Brick Bosso: I had created two Brick Bosso [https://brickbosso.bandcamp.com/] albums before Ska ‘N’ Bones assembled, which, when we finally released Smally Fingers then played live, inspired me to write songs in the Ska style for a third album. All the fun of reuniting with old friends plus the energetic mania of Ska music motivated me to create Ska Time as a spin-off of Ska ‘N’ Bones.

How different is your writing approach of ska with the two projects?
Brick Bosso: Having the parameters of a Ska beat just made it easier to formulate the tunes. I had already conceived of “Leaky Connections” as a kind of manic new wave song, so when I was finishing it to present to Mike and Jon, I added the Ska beat which motivated and propelled me. A good beat always helps, and this period of writing for Ska Time was lots of fun because I had been re-infected with the Ska bug.

Will the “Ska Time” album bring live material for Ska’n’Bones?
Brick Bosso: We’ve already performed “Leaky Connections” live and I hope that there will be others.

With “Housing Crisis”, you blur the boundaries between ska and reggae. How would you really differentiate the two styles?
Brick Bosso: As I understand it, Ska was created first in Jamaica of the 50’s, then was adapted to become reggae at a slower tempo to make it cooler for the dancers in crowded clubs. This story could be totally apocryphal however. The best of both genres are concerned with issues of social justice, though there are obviously examples of cool love songs in both.

For sure, “Housing Crisis” is the gem of the album, with its reggae-infused skank and intriguing synthesized brass. It also brings a more socially assertive lyrics on the table.

Brick Bosso: I’m aware that as a white man my reggae creds require of the listener a bit of suspension of disbelief, but the issue-the high cost of housing, which is a literally life-threatening reality all around me in California–seemed like a natural topic for a reggae tune. And the melody as I was writing it fit the slower tempo, so I went with it. Reggae did catch my ear as a child, but when the second wave of Ska arrived around 1979 –The Specials, Madness, The English Beat and Selecter — my head exploded. The combination of social justice issues, romantic discontent, and fun upbeat mania was the perfect mix. It was off the charts fun and still affects me in a ways no other genre of music does. And yes, I think that having Reggae as a vehicle almost cries out for social content. When writing housing crisis I very intentionally created it almost as homage to those great reggae artists from Jamaica I first heard in the 70s. I think it shows most in the synth brass arrangement and the drum sounds. Social content is not necessary but Ska and Reggae do beg for it.

Another tune is called “(I Wanna Be) Legitimate” and despite its title, doesn’t raise any question: it only confirms that Brick Bosso is legitimate in the ska world. To the point of leaving Ska’N’Bones behind, as just a stepping stone? The closer “Bye Bye Bones” may make us wonder. Still, Bosso corrects that ““Bye Bye Bones” was written in an extended period of inactivity between the first Ska ‘N’ Bones single and the recording of four additional songs for our first EP. My imagination went wild, as it often does, and the resulting song is a speculative, humorous look at my concerns about not hearing anything from my pals in the band, because they were all very busy with other gigs. Funny fact: the sound bites at the beginning and end are excerpts from recordings Mike, Jon and I made as promos for Ska Parade on Dirty Radio… I’m not going solo–Brick Bosso is a separate project but is not exclusive.”

40 years after the early 80’s ska boom, Bosso and Ska’N’Bones might be the twins that will renew the genre.

Brick Bosso, “Ska Time”, available on Amazon, CD Baby, Apple Music, Bandcamp and Google Music.

 

Juliet Novak works it out, no regrets nor apologies

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In a few musical events where I’m sometimes testing a live version of a few of my new love songs after dark, I had the pleasure to meet Juliett Novak, who was performing for a very similar reason.

In a world where humility is overrated, overused and as fake as it can be, musicians tend to become over cautious and afraid of any hint of ambition. Therefore it’s quite refreshing to discover someone like Juliett Novak, actually a Slovakian singer-songwriter now based in Belgium. Juliett makes no excuse for being there and her mindset is rather uplifting for whoever listens to her music.

From top-notch production to soulful songwriting, the songs she provides are showing her strong, ambitious and shining nature with no apologies.

Her single “Work It Out” is available via her website. It’s a captivating piece, haunting with a melodic hook that stays in your head. The site allows you to listen to other of her pieces, and although an album would be a better way to get into her universe, they’re all worth your time.

Juliett’s site: https://www.juliettnovak.com

An article about Juliett: https://www.tunedloud.com/2018/07/11/juliett-novak-pap-pa-rap-confirms-her-growing-status-as-a-songwriting-and-performing-artist/

 

Nekokawa Hypnosis & some limoncello

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Dear all’n’all

with the utmost logic, the massage music from Nekokawa Massage led to explore deeper in the altered states of mind and there we go, Nekokawa Hypnosis was born.

You’re into self-hypnosis? Don’t search any further, Nekokawa Hypnosis offers you two audio that do wonders for the saturation of your auditory senses during Betty Erickson-like inductions. More explaination on the site, this goes without saying!

Oh you’re not into hypnosis? You might want something different, like a new song? Got one for you. It’s fresh and live, played at the Super Direct radio show last January. It’s here: https://gillessnowcat.bandcamp.com/track/youve-been-drinking-my-limoncello-live

Yeah, there’s limoncello and some after dark lullabies around. Just in case…

G.S.

 

 

“This Mouth” 10th anniversary remaster: if you just love clean acts, don’t bother buying.

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Music wasn’t that bad in 2008. I mean commercial music. You could turn on the radio or TV and listen to some good things, Timbaland, Kanye West, Nelly Furtado, Lily Allen, Maroon 5, Justin Timberlake, that was fresh air compared to the boring 90’s. Hey, even Oasis started to release something that sounded meaningful in 2008…

And “This Mouth (Nhạc Cho Em Mèo)” from yours truly. Gosh, it’s been 10 years. So the high-powers decided to give it a remaster test. Pass? Fail? Let’s dig deeper.

How does the remaster of “This Mouth (Nhạc Cho Em Mèo)” stand out, compared with the original version?
It’s like listening with HQ loudspeakers after 10 years of earphones, to give you a metaphor. It’s the same album, same sound, but different, enhanced. Like a gramophone with a new stylus.

Why did you choose to remaster “This Mouth (Nhạc Cho Em Mèo)” instead of any other of your records?
I found I still had the original masters, that were actually cruelly lacking mastering, also it’s its 10th anniversary today, and despite its lo-fi sound, it’s a fans’ favourite, so why not cleaning it a little?

Did you remix the songs as well?
Not a slice. The multi tracks have been long deleted and there’s no way to remix the songs, even if my life depended on it. Which is good, since I don’t want to fuck up with history anyway.

Are there any bonus tracks from the “This Mouth (Nhạc Cho Em Mèo)” sessions? Any demo?
No. And no. There’s the original bonus track that you get if you’re a good girl (or good boy) and download the album instead of lazily streaming it. There’s a demo or two somewhere, they might appear someday in a “Rare Grooves” collection album, or not, I don’t know.

What makes “This Mouth (Nhạc Cho Em Mèo)” so special?
There are some powerful energies involved in its making, back in 2008, and you can feel them when you listen to it. It’s a soulful record, it has its own kind of groove. Its dysfunctional for the better, should I say…

What gave it this lo-fi mood?
Some experimentations went bananas.

Is “This Mouth (Nhạc Cho Em Mèo)” a concept-album?
Yes and no, it has a unity for sure, and some underlying stories that connect the songs, so you can say there’s a concept behind it.

Who should never buy “This Mouth (Nhạc Cho Em Mèo)”?
It’s surely not for everyone. It’s quite libidinous, booze-infused, things could go berserk sometimes, so if you just love clean acts, don’t bother buying. It’s like an exclusive club, you need to pass a test, and if you love “This Mouth (Nhạc Cho Em Mèo)” you’re in.


* This Mouth (Nhạc Cho Em Mèo) 10th anniversary remaster *

Paul J. No is the biggest bastard of Lunear! (featuring interview and quiz)

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In a time they call the 70’s and 80’s, the hype of the hypes (and the pot of gold for record companies) was supergroups. It was the brief union of members from various famous bands, or solo artists joining forces to make promises or at least an album.

Usually, supergroups were one-album wonders, despite their best of intentions. The reason was that you couldn’t expect huge egos to cohabitate in the same studio, dressing room or stage for too long before destructive fights, political matters and lawyers making grey hair defending angry record companies.

You might (or not) remember Paice Ashton & Lord, Captain Beyond, GTR, Asia, The Firm, The Power Station, Arcadia, or more recently Super Heavy. Only a few have survived, although a closer look at their line-ups clearly shows that only one member carries on, surrounded by anonymous underpaid session-musicians.

With the access of technology made easier and cheaper, one-man bands have become the new trend. If it saves from ego-driven fights, being the leader of a one-man band is quite a ‘lonely at the top’ situation, and sadly not even at the top for most of them. So without much surprise, a new kind of supergroup just started to show, which is the union of several one-man bands to form a multi-man band. Isn’t life a cycle, after all?

The first of these new supergroups is the power-trio named Lunear. Sousbock (Sébastien Bournier), Qurtis (JP Benadjer) and Midrone (Paul J. No) may not be as famous as Duran Duran, Genesis or Deep Purple who were a regular basis for supergroups in glorious days, but they’re all three established projects in their own fields.

Not exactly being fresh chicken, they have a common ground, which is a search for some musical perfection, leading to extremely high-quality records. Moreover, their collaboration hasn’t started with Lunear: take Sousbock’s “Lune & l’Autre” in 2009, you’ll hear Paul J. No and JP Benadjer giving a helping hand to Sebastien Bournier’s greatest musical achievement ever (only him could argue about it).

Here the equation is a bit different, since this supergroup is supposed to be, ahem, a democratic unit (don’t laugh please). When you know how rock bands and democracy don’t make very good matches, you may wonder how they could manage not to rip each other to threads. Well, they could and as result, there’s a superb album called “Many Miles Away”.

To give you a hint of the quality the band could reach, let’s say that if 1973 was represented by “The Dark Side Of The Moon” and 1985 by “Brothers In Arms”, 2018 should be the year of “Many Miles Away”. Top quality sound, fabulous songwriting, sophisticated music yet melodically captivating, a huge variety of songs that keep a unity all through the 50 minutes of the album, well, it doesn’t get better than this!

There’s a natural flow, constant inspiration, there is something that happens each and every second, each and every note carries its load of wonders, there’s actually not a single weakness, not a hint of dullness, nothing that comes in the way. “Many Miles Away” is close to what we’d expect from a perfect album. This is high-class sophisticated rock, the songs that Muse tries but in vain to write since their debuts.

Although the Lunear lads don’t try to hide their influences, the music never sounds like pastiche or a tribute. Sure one can spot a glimpse of this, a spoonful of that, yet it never spoils anything more than it should. Everyone will find a link with their favourite music anyway, so it’s rather pointless to analyse furthermore.

On the flip side, the lyrics rather fail to excite me. Knowing how a great gifted lyricist Bournier is with Soubock, I expected more than this mundane 40-something existential concerns, that will touch the heart of 40-something rat-racers in quest of life’s questions. “Slam the door, hit the road, leave everything behind, change your life (…) Time to follow your heart”. Come on, guys, really???

To understand a bit more about Lunear’s democratic structure, Seb, JP and Paul kindly answered a few mildly disturbing questions.

– Compared with Sousbock, which is your approach in songwriting with Lunear?

Seb: Well, it’s really not the same thing because in Sousbock I’m responsible for everything. I’ve had some collaboration within Sousbock that went the same way as for Lunear: I wrote lyrics and someone sent a music back. That was mainly the case with Lunear. I had lyrics and Paul would send songs back. Sometimes I had lyrics and musical ideas. Paul had musical ideas too. Almost finished songs but with no lyrics nor guide vocals and I just had to sing my lyrics over the music. That is a really fun way to write. And a bit worrying too because you hope that the others will like what you did. I can say that lyrics came first for Lunear. Or that existing lyrics were paired with existing musics. But I didn’t write lyrics for a specific music. In Sousbock there were no rules. Lyrics or Music, or sometimes both at the same time while writing and improvising…

Paul: I know that It’s a question for Seb, but I’d like to add that Seb’s lyrics fits perfectly with our kind of moods and music. As a singer I had no problem to sing them, and as a composer, they were very inspiring.

– Do you think that it’s easier to collaborate with other musicians since you have your own projects (Sousbock, Esse) to ease your ego?

Seb: I don’t know. But it is *really* a good thing to forget your ego and work to achieve something that will please three people instead of one. It’s really good to say things like « ok I’d really love to sing this one but your voice is better for the song, so do it ». And Paul has an amazing voice, that’s why he is our lead singer! At the end the music is the winner. It’s all for the music. It’s all that matters. And I think, because of that, it’s the best album I’ve been involved with and it’s no coincidence that I’m so proud of it.

– JP joined the band later. Did you and Paul start the project as Lunear, or were you thinking of a new Midrone album, or even a Sousbock record? Or did you start from a blank page?

Seb: One day, after working on each other projects for many years we just said « hey, let’s make an album together! ». We didn’t start from a blank page. We had lots of unused musical ideas, lyrics and even almost finished songs that we thought could fit in well. But we wanted to make a new band. So that was not Midrone and that was not Sousbock either.

JP: Sousdrone.

Seb: Or Mibock 😉

Paul: Midbock could be a fine name ;-)) What I feel great about those songs is that I really believe that none of us would have been able to do such an album without the help of the others. Even JP who arrived late in the process laid his magical touch on all the songs. A song like “Fresh Start”, which was the first we wrote with Seb, gained a lot after JP’s input.

– JP, Paul and you have worked together on several projects, including Sousbock. It seems that you are three ingredients than can produce different recipes. Do you feel there are more possibilities for you 3 working together on different kinds of projects, or have you already reached the limits of your collaborations?

Seb: Time is the limit. Really. And Money. And Distance. Otherwise, I’m up for anything music wise.

JP: As Prince said: « Time is a trick ». And don’t forget that the spice has mutated over four thousand years, we can use the orange spice gas which gives us the ability to fold space. That is, travel to any part of the universe without moving.

Paul: You can see that JP is a Dune fan 😉

– Knowing that most of influences came from you and Paul, if a second album has to be released, do you think that JP will bring his own set of influences, which include some more funky stuff? He’s known to be a huge admirer of Prince and David Bowie.

Seb: A second album will be released! That’s a scoop for you! I’ve already written the lyrics for 9 new songs and we’re really excited about it! Now we’ll have to write the music. And it will be new because now JP will be here from the beginning. I don’t think he will propose funky stuff to us, because I don’t like that and I think that our goal is to please the other two guys in the band. We’re not going full Tony Banks on the other two and forcing them to play and record things they don’t enjoy 😉

JP: And I love funky stuff but I can’t write some things like that. I never wrote any funky song… Maybe one title for PolarSun had a little funky taste (“Michael Collins”), but that’s all.

Paul: I’d love to do some funky music!! Sing in falsetto!! But let’s face it, it’s not the style of music we can produce in Lunear. When we finished the album, there was kind of a private joke. Seb saying that after the release he will leave the band, but JP and me always saying we’d love to try to do another one, with or without Seb… I guess he wrote the lyrics that fast just in case ;-))

– Amongst you three, who’s the biggest bastard?

Seb: That would be Paul, obviously 😉

JP: The idiot bastard song…. it would be a great song title. Oh wait !

Seb: Marillion has this song: “Built-in Bastard Radar”. I think we need one!

Paul: I don’t like that Marillion song… I’m definitely the bastard. I’d love to be the bad guy like in all good movies…

– Is it a rumour that Paul J No asked a plastic surgeon to make him look like Jon Bon Jovi?

Seb: Can we agree that when it’s true it’s not a rumour?

Paul: Plastic Surgeon??? Gosh… I’d love to be like Jon Bon Jovi at his age… Even if that’s not my cup of coffee.

– JP is obviously very strict about production and quality. When he joined the project, did he feel he had to fix a lot, or was he pleased by what he already heard?

JP: There are some re-takes, but it was overall pretty good when I arrived. I hope we will reach another level on the next album, including in the recording phase.

Seb: Well… He had to record all guitars and bass because on the demos they were played on a keyboard with guitar and bass sounds. That was a big thing to fix.

Paul: I have to admit that every guitar and bass that JP recorded was far stronger than the ones I recorded on the demos. JP is impressive. His work on the mix of the album is just brilliant. Sound is neat, clear. Powerful. I hope that with number 2 we’ll be able to maintain that level. I learned a lot from him and I’m sure we’ll reach a higher step on our next record.

– Does it make sense that Paul J No is a fan of Yes?

JP: Definitely maybe

Seb: You were keeping your best situation, an answer to yes. And don’t forget that the yes needs the no to win against the no.

Paul: The problem is that not only I’m a huge fan of Yes. The main issue is that my favorite Yes is the YesWest with Trevor Rabin.

– The songwriting on Lunear is impressive. Would you consider writing songs for other people, as a team?

Seb: Why are you asking? Do you need songs for your next Snowcat album? Seriously, I love to collaborate with others but I don’t know if I can write for others. Writing is not that hard but it takes time and energy. We don’t have enough time and energy for our own projects so…

JP: I dream about making film music.

Paul: I’d love writing for other artists. With or without my mates of Lunear. I don’t have enough ego to be a strong frontman. I’d better be a man in the shadows. I would have loved to see my songs sung by great singers…

– Why those Spanish people need to write question marks the reverse way? Was it easy to talk with Paul, who now lives there?

Seb: ¡ No ! Or… is it « ¡ Yes ! » ???¿¿¿??? Is it ?¿?

BONUS: as if wasn’t enough, why don’t you take the Lunear quiz right now?

What the ‘J’ of Paul J. No stands for?

  1. Jamon
  2. Jamón
  3. Jamòn
  4. Jamôn
  5. Jovi (from Jón Bón Jóvi)
  6. ¡?¿! (from Museo Del ¡?¿!)
  7. All of the above
  8. None of the above, or maybe one or two (from Museo Del Above)
  9. All of the below
  10. Jenesis
  11. Jene Simmons (from Jene Loves Gezebel)
  12. As above, so below
  13. Find here

Lunear on the web: http://lunearmusic.com/

 

Lunear: the birth of a band (part 1)

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Sébastien Bournier, singing drummer and drumming singer

Sébastien Bournier, the singing drummer, had a dream. A strong, obsessive dream. He wanted to take group pictures. Stupid group pictures. With a pose. Like any decent 80’s hair-metal band.

Satan Jokers

Years passed and someday, suddenly, he took the plunge, called his good friend J-P Benadjer, gave him a camera, and said: “Come on, JP, take group pictures of me”.

JP took the pics, gave back the camera to Seb, who went to the photographer having the film developed.

J-P Benadjer, fractal photographer

When he came back home, he called JP, panicked: “JP, I think there’s a little problem with the pics”

“Yeah?” said JP.

“I’m alone.”

“So?”

“Well, these are group pics”.

“Ah, true. Never thought of that”

“What should I do?”

“Get a friend, bring him her and I’ll take more pictures.”

“JP, you’re a genius.”

“I know.”

Seb took his old but strong 1982 Citroën LNA and hit the road to Spain, where his old pal Paul J. No was making a living as a more or less official Jon Bon Jovi doppelganger. His hard earned pay check was however dilapidated in satisfying his deeper vice, drinking jamón soup till he dropped, every night, in his favourite Museo del Jamón restaurant.

Seb found Paul sniffing his 45th spoonful of jamón fat and boldly asked him if he wanted to join for group pictures. No said yes.

The two friends hit the road again, PJN having to deal with Seb’s recurrent joke: “Why didn’t you study medicine? You could have become Dr No!” Paul never knew if he had to laugh, sigh or simply keep quiet. He opted to laugh, which happened to be the wrong choice that just made Seb very confident in his storytelling, and remember the road is long. Many, many miles…

Paul J. No, affirmative serial jamónizer

Back to France, JP was asked once again to shoot what became a duet. “Lovely, lovely”, he said after the 457th cliché taken, “you look like a modern version of Modern Talking. Doubly modern.”.

“No”, said Seb.

“You called me?” said No.

“No, No, I meant I don’t want to look like Modern Talking”.

Modern Talking

“Me neither”, said No.

“You need to be three”, JP revealed.

“…or no to be!” laughed No, who revealed the source of his musical guilty pleasure.

“On s’est promis, oh oui, d’être toujours des amis ! ”, gladly added JP.

“I don’t want to be mistaken for the 2B3”, cried Seb.

2 Be 3

“Don’t worry”, said JP, “the risk is, let’s say, quite low.”

“So let’s bring Snowcat on the group.”

“No”, said No.

“I don’t want to take pictures of Snowcat”, mumbled JP.

“And I don’t want Snowcat on the pics!”, added Seb.

“So why you asked?”, wondered No and JP.

“Hey, we need someone here, no?”, defended Seb.

“You called me, Seb?”, asked No.

“No.”

“Yes, you just did it again.”

“Oops”, britneyspeared Seb.

“What if JP became the 3rd member of our group?”, suggested No.

“Yes but who will take the pictures then?”, asked Seb.

“We can call Snowcat…”, innocently offered JP.

“Or simply use the timer of my iPhone X and do the shooting that way”, completed Seb.

A band was born. And then there were 3.

The pictures went viral. In no time, Seb, JP & No had become the new idols of South France, Spain and Catalognia del Jamón. Girls were sleeping in front of the house, money was flowing, life was good.

JP expressed his happiness: “We have a great band, wonderful pictures, faithful fans, free cocktails and a swimming pool. What else do we need?”

“An album, maybe?” replied No. “We haven’t played a single note of music since we formed.”

“Oh, that’s a great idea”, complimented Seb. “I’ll be the drummer. And you both, what you want to be?”

JP admitted that bass would suit him well, and No chose the keyboards.

“We need a guitarist”, reminded Seb.

“I know a band that became a trio and it’s the bassist who played the guitar”, said No.

“Well, he tried”, thought a realistic JP.

(Some bass players should have remained bass players)

Once it had been decided that it’s JP who would play the guitar, our newly formed band locked itself in a studio for four years, called themselves Lunear and offered the world their first album, a long-playing called “Many Miles Away”.

Listen to the album here: http://lunearmusic.com/listen/

Visit the website to get to know the three lads: http://lunearmusic.com/

What is the strange relationship between Lunear, Sousbock, Qurtis and Midrone? Read the review in this blog very soon (once it’s written actually).

 

 

 

 

 

“Don’t go there!”, they told me (Wild, dangerous & fun)

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If you’re familiar with Tarzan-style old movies, you most likely have heard the porters who said, paralysed by fear: “Don’t go there, sir! There very very dangerous, sir!“. But the ‘sir’ doesn’t seem to give a damn about the wise advice from the men of the Jungle, and keeps on going straight ahead. Then they leave the trunks on the floor, shout a desperate “We don’t go there sir“, run away, yelling a last piece of wisdom sounding like “We warned you, sir. We warned you!“.

Similarly, the taxi driver who doesn’t want to lift his customer to the deep dark parts of Brooklyn at night is fitting the same category.

But it’s only a movie, isn’t it? Does it happen in reality?

Hell yeah it does. When Gilles Snowcat gathered his musicians to give them a hint about his forthcoming album he had in mind, the reaction was unanimous: “Don’t go there, Snowcat!

Don’t go there, Gilles, this is dangerous music! No one does that anymore. Those who tried never came back. And those who succeeded failed anyway. Why don’t you play safe?“.

Far from daunting the Mardi Gras-born feline, the naysaying demands from the network boosted him to not only try, but succeed into making the wild, dangerous and fun territories his.

That’s why, since 18th of April, 2018, Snowcat is exploring, creating, experimenting and pushing his own boundaries to the point of no-return. And it’s quite exciting. Wild, dangerous, fun and exciting.

And guess what? The naughty musicians who were so reluctant to take the trip, where are they now? With Gilles, on the very same boat. Excited like kids in a toys store.

Yes there are sharks, traps, toxic stuff and tempting sirens carrying bottles of forbidden liquors, but so what? Isn’t it what makes rock’n’roll the upper it should always be?

Will we keep you updated on the making-of the album? Will we send you lots of pictures? Probably not. What happens backstage remains backstage. When time will come for you to discover the new collection of Snowcat’s tunes, you’ll know it without even realise. And you’ll feel in a wild, dangerous and fun mood.

The Night Cats.