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Interviste | Pubblicato il 6 novembre 2013

Oiseaux-Tempête photo Michael Ackerman Agence Vu 02

Qualche giorno fa vi abbiamo parlato degli Oiseaux-Tempête, un quartetto di Parigi molto interessante. La formazione comprende Frédéric D. Oberland e Stéphane Pigneul (membri di FareWell Poetry e Le Réveil des Tropiques) e il percussionista Ben Mc Connell (batterista di Beach House, Rain Machine, Au Revoir Simone, Marissa Nadler e Winter Family). Il 13 novembre uscirà l’omonimo doppio lp di debutto per la Sub Rosa. Vi avevamo fatto ascoltare “Buy Gold (Beat Song)”,  il primo brano estratto che metteva in evidenza la natura stratificata della loro musica, prevalentemente strumentale: post-rock, ambient, forti distorsioni e una elevata tensione di base. Siamo onorati e lieti di presentarvi, in anteprima esclusiva (per l’Italia), lo streaming del doppio album del quartetto francese. Dopo lo streaming troverete una piccola intervista al gruppo. L’intervista è in inglese, la traduzione verrà pubblicata nei prossimi giorni. Frédéric D. Oberland risponde alle nostre domande. Il Pre-Order dell’album è disponibile a questo link

 

On November 13, your debut album will be out on Sub Rosa. Your creative process is intertwined with the work of the videomaker and photographer Stéphane C. . What can you say about this collaboration?

F.D.O: This is a great opportunity for us to share something deeper than a regular band playing just music. Stéphane C came into the recording studio with some video footage he shot when he and I were travelling in Greece in 2012 and 2013. The screening of these rushes really inspired the way Stéphane Pigneul, Ben Mc Connell and I improvised during the recording.  When we came back at home from the studio we decided to include some field recordings I gathered in Greece, mixing these with the instrumental material, to build the whole piece as a kind of sonic and visceral Odyssey. Stéphane’s b&w photographs illustrate the album, we see them as visual partner to the music.

Your music has a strong connection with the visual art. What can we expect from your live performances?

The final format of the live shows remains open. We perform sometimes just as a musical trio, but sometimes Stéphane C is with us to screen some video footage or photographs. We can choose to play the tracks from the album or to improvise a whole set. It can be a regular concert, an installation, a live film performance. We recently scored a 20 minute video installation with Stephane, The Divided Line, which was screened as a loop during the Promenades Photographiques Festival in Vendôme (FR). A full-length experimental film is also in the making, but this will take time.

You belong to the family of prestigious label Sub Rosa. What does it mean have a label that supports your work? And what do you think about the “explosion” of fundraising?

This is an honor for us to be on Sub Rosa. Personally I have been a huge fan of this label since I was 17. Their catalogue is immense, innovative and always passionate. We all felt so proud when they said they loved our album and that they wanted to release it. Regarding crowdfunding, that’s not something we use to produce our music at the moment. But I guess this could be an interesting thing to do, to involve the audience in the making of your work, to help you to release it. I think a band like Einstürzende Neubauten was one of the first to cut themselves off from their record company and ask their fans to participate in the creation of their albums in this way, offering gifts in exchange. That was more than 10 years ago and I remember subscribing for one of these. More recently Stéphane P showed me the way Michael Gira used crowdfounding for the Swans album Not Here/Not Now ; they were offering special acoustic songs with your first name in the lyrics in exchange for a contribution. Funny and iconoclastic for a band like the Swans

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