Interview with Elin Larsson (Singer of heavy psych/blues band Blues Pills)

Louis Hauguel : So very typical question to start: How Blues Pills was created? Was it difficult to gather everyone?

Elin Larsson: Blues Pills formed a while after I became friends with Zach and Cory back in early 2011. Me and Zach were sending songs we had been writing separately over the internet to each other, and the second time I flew to America we started collaborating and writing together. In the beginning we were only 3 (Me, Zach and Cory). We didn’t take it too seriously, more chilling at the farm outside of Ames, Iowa. Just writing music, jamming, having fun. not knowing what would ever happen for us, we where all kind of lost but just enjoying life for what it is, day dreaming. Our first ever demos of Blues Pills were only the three of us playing. Cory and Zach splitting the guitar parts and then Zach on bass and Cory on the drums and me (Elin) singing. Eventually really quickly offers and shows were coming in, and we got signed by crusher records of Sweden. We got really blown away by this and I remember that day, you see I never would have thought stuff like that would happen.

We got a tour offered in Spain and Portugal, but we were only 3 people at that time. Zach and Cory remembered they met and saw this french kid ( Dorian ) play guitar incredibly. They met him during a tour with their old band. We got in contact with Dorian, at that time he was only 16 years old. We asked if he wanted to play with us on our first tour and also record some solos on our EP that would be released. He said yes. After this tour in Spain, and after playing together we all decided that we would continue and be based in Sweden. It was kind of hard in the beginning with all the visas but finally it all sorted it self out.

2/ You have a very powerful bluesy voice that brings shivers to the spine - for how long have you been practising? What are you main influences and what do they mean to you?

Elin: Thanks dude. That’s nice of you to put it that way. I don’t really know. I’ve been practicing my instrument with teachers since age of 14 back and forth. When I was 16 I went to music high school in Sweden. But I been singing a long time. as long as I can remember. I think what most inspired me was the love and joy music gave me. When I was singing it made me feel so much, you know? Made me feel happy and whole in a way, all the different emotions you feel x 1000. It was so cool to me. I know this maybe sound super deep or something but that was the main reason for why I started to sing. I always listen to big and bluesy, soulful voices , everything from R’n’B artists to Jazz, Blues, Soul and Rock. I think it’s a mix from all of it that made me find my own sound. Aretha Franklin is one of the main inspirations for me, since I listened to her a lot as a younger kid. When I got older I started to listen to more heavy music/psychedelic/rock ect. But I still have my heart for the soul and the blues of course. Of course my influences means a lot to me, even though I never met any of them personally they where still the ones that helped me and teaching me, I was listening to their music and singing their songs and so on. Which I think is super cool they did that without their physical presence.

3/ I read somewhere that the name Blues Pills came from a music blog. What are your thoughts on nowaday's music industry where digital releases are always expanding, CDs kinda going down and Vinyls, on the contrary, rising up again? What format do you like the most?

Elin: I kind of have a mixed feeling against it. It’s good, you can spread your music everywhere and there is so much music today, and back before the internet existed INCREDIBLE bands where playing that no one probably knows about. Then of course there is bad stuff with downloading as well. I think that if you’re really into a band, you should buy their album. And also you go to their shows and so on, which supports the band. I like vinyls, the artwork is bigger and also I like flipping the record over and it just feels more alive then digital and CD format.

4/ How did you come up to the - let's say, globally speaking - Psychedelic scene?

Elin: I started to listen to psychedelic and 60’s and 70’s rock when I was a teenager, started out when some dudes from my class wanted me to jam War Pigs with them in the basement in my old school. And that opened slowly the door to this kind of music. I had lot’s of musician friends that shared music with me and I with them. I’m not really into this mainstream pop star Idol lifestyle that's going on all around. It kind of had a backward effect on me. Back in the 60’s and 70’s there was just so many great vocalists and musicians, and songwriters, and the raw talent would shine through, probably because nowadays it all gets watered down with digital recording where everything can be fixed and autotuned and so on.

5/ Do you have any memorable life, musical moments in your young career that you would like to share with our readers?

Elin: I can’t think of something special now. Maybe.. don’t build a human pyramid while your on a festival concert with your drunk friends, will end kind of badly.. haha

6/ Blues Pills new album is gonna be released in July, the 25th. What can we expect from it, what are the themes you decided to explore this time?

Elin: This is the true sound of Blues Pills. I can definitely say that we are the most proud of this recording. We have some old songs that are really re arranged. It’s going to be fun to see how fans react on that. For me they are way better. Feels like we made the songs more full songs, they are finished from the ideas of them that we released on the EP’s before. Now also since working with a producer and recording in a real studio, it’s really a noticeable difference from the past stuff we put out. Basically all stuff before I see as demos that we recorded our selves that happened to get released. This is going to be the real deal. It’s a lot of rhythm and way groovier then our other stuff. Im exited to release it and I am so proud of the album and all the people being involved and working with it.

7/ I saw that Blues Pills are playing a lot of festivals. Do you actually prefer outdoors or indoors venues? and why?

Elin: I appreciate both. Outdoor shows usually have a better sound than the indoors venues we’ve been playing so far. But then again, you get closer to the Audience indoor than outside. So I like it as much playing indoor as outdoor.

8/ Tell me, how music is important for you, what does it represent to you? Plenty of good bands comes from Sweden, would you consider it too as a big scene of creativity and in a way, a main influence?

Elin: That’s a darn good question sir, getting deep . Wow where do I start?! Music brings people together, it makes people excited, it can bring the saddest person into a state of bliss. Make you look forward to something, make the day dreamers dream even wilder and rocking the unsleeping to the heaviest sleep. It can help you through hard times and struggles you have to deal with in your life and connect to the darkest of your thoughts. It can also make the good stuff feel even better than it already felt . Music is the cherry on top of the cream and the cream is your life. Sometimes it’s a big mess and sometimes it’s too sweet, but sometimes it’s really perfect.

Sweden definitely has a very rich music scene. There is no doubt that it inspires creativity. Being around so many good musicians, seeing lots of good bands, it all contributes, and pushes you to be even better.

9/ Desert Island question is a kind of tradition. So, here we go! Give me one record, one movie, one book you would take with you there ?!

Elin:
 Album: Etta James - At Last
Movie: Hot Rod   
Book: Robinson Crusoe

10/ What are your ideals in life, things, themes you like to fight for?

Elin: I could probably write you a book based on this question, but I will keep it simple. I think happiness is the most important. But the hard part is how we get there.

11/ Last lines are entirely yours... Feel free to share with us anything that comes up to your mind right now!

Elin: Thanks Louis for taking interest in Blues Pills and doing this interview.
Hope to see you at one of our shows in the near future!
Best Regards From Sweden Elin Larsson, Blues Pills

Louis Hauguel for Fuzzine. (2014)


- BLUES PILLS on Facebook : https://www.facebook.com/BluesPills - BLUES PILLS website : http://www.bluespills.com/

Interview with Mike Garson (Legendary Pianist / David Bowie)

Mike Garson is a legendary pianist who's mostly known for his work with David Bowie but also Nine Inch Nails, Smashing Pumpkins, he accepted to talk a bit with me about his upcoming plans and his musical background. I don't think such talent needs a bigger introduction, so enjoy!

Louis Hauguel : First, Thank you for accepting this interview, it's a great pleasure. So 2013 is over, how was this year for you, in terms of music and personal achievements ?

Mike Garson : Excellent. Working on 2 new CDs : a solo Piano album of the music of Thelonius Monk plus an album of originals with a large ensemble. Jazz Performances in Budapest. Mentoring some up and coming young students.

2/ What are your upcoming plans for this brand new year ?

I'm just about to complete a SYMPHONIC HEALING SUITE to be premiered March 1 2014 at Segerstrom Hall in Costa Mesa, California. I have composed a 12 movement suite. (45 minutes in length) I worked in conjunction with a brain surgeon and we tested my music on his patients. I will have 42 hand picked classical and jazz musicians on stage plus a 50 piece children's choir. It's a mammoth project I've been working on for 2 years. More info can be found on music-heals.com, I will also broadcast it worldwide on the Internet in real time so for those who can't be at the live show they can still see it.

3/ So 2013 was also a very productive year with the surprising return of David Bowie and his new album " The Next Day ". What are your thoughts on his last effort ? Have you been in touch with him recently for any new projects ?

Great endeavor. Occasional emails.

4/ What is your favourite Bowie track you like to perform and reinterpret ?

Space Oddity

5/ What are your main musical influences and sources of inspiration when it comes to composing ?

Everyone from Bach, Beethoven, Chopin, Mozart, Liszt to Art Tatum, Bill Evans, Bud Powell

6/ Do you have any favourite places where you like to perform ?

Halls that have good sound. Approximately 600 - 2000 capacity.

Do you have in mind a specific country you could remember well, bringing you special feelings ?

Bosnia

7/ You collaborated with David Bowie and bands like N.I.N, Smashing Pumpkins as well as French artist Kuta. How did all those meetings come up ? What's guiding you or not into a certain artistical project ?

It feels like my destiny just unfolds spontaneously and all the above people just appeared effortlessly and I didn't know any of them because I was living in the classical and jazz worlds.

8/ I have a "Desert Island" question for you : Give me one album, one book and one movie you would take with you on a desert island !

I just need a PIANO

  

Thanks!


Louis Hauguel for Fuzzine (2014)

Interview with Damo Suzuki (CAN, Network)

There is no need to introduce him. I have the great pleasure to offer you this interview with the legendary Damo Suzuki, mostly known as the singer of the german band CAN ( Tago Mago, Future Days, Ege Bamyasi ). He shared with me his views, conceptions of music, life and dreams. It's also about the Network, travelling all around the world, meeting people, meeting musicians. It's about sharing, connecting emotions and feelings. It's the positive energy against the bad things. It's gathering people for the good. No more, no less. I hope you'll enjoy. 


Louis Hauguel: 1/ First, I would like to thank you for accepting this interview. Let's go straight into your world of music and landscapes of sounds : how's the Network was created ?

Damo Suzuki: Network exists since 1997 when I toured in Japan for the first time.

Since 2003, I perform like now, creating time and space of the moment with changing local sound carriers (musicians). Before this, I toured with my friends or musicians I know...

On March 19th 2003, I heard the news of US bombing Iraq, I was angry, confused, sad... because there are millions of people that went in the streets against US bombing for some weeks. As usual US ignored them. Now every healthy people knows that what they did was a wrong mission.

„Violence“ capture this world, I cannot stand this.
„Violence“ is everywhere, not only at battlefield, at home, at work, at school......
I just wanted to make something against „violence“.
Music is one of best weapon against this.
It creates free energy, organic music,......
So, I made up today’s Damo Suzuki’s Network.
I create music on spot with local sound carriers (mainly) I’d never met before.
Music is communication, so it works Step by Step to change this violence orientated world system.

2/ In December, 16th, 2013, a book and a strictly limited LP of Art and Music performance will be released, can you tell us more about it and what's making it special ? How did you meet the people that are performing with you on that record ?

In the year 2010, I travelled through Japan, it was my 60’s birth year, so I presented myself to research my native country for three months. Top North to Bottom South, all 47 prefectures.

In Osaka, at my performance, I met Simon and Bettina from Sweden/Norway. Simon was quite surprised that I spoke with him broken Swedish and he was the first Swedish that knew the tiny village called Gräsmark where I lived for a few months, even during my tour I met many Swedish people. And later they mailed me they would like to make their art project that zoom up Damo in Sweden at the end of the 60’s. Even last year I came back to Gräsmark, a tiny sleeping Swedish village and met some old friends.

This is a book and LP set, limited edition of 500 copies. Audio part is live documentation in Stockholm early this year with Simon, Bettina and other two Swedish sound carriers. Simon and Bettina were curators, so they found sound carriers.

3/ How would you describe your Art and your goals to someone who's discovering the Network, what kind of emotions is it transmitting ?

I would like people to get free from this system.
Freedom is a gift from God. God made us walk on own decision and opinion.
This system ties you and make a slave out of you. Take care, many informations you get in TV, newspapers are manupirated. They make mind control, be awake.
For example, western media inform you about all the bad things about Putin. It’s not true. He might be the only top politician doing something for the folks. I didn’t know about him, I knew him through a blind understanding from western media.

Well, what I wanted to say is everybody have to decide which way you go, not from mainstream media or trend. You have to find how your life's worth.
So, I make instant composing which is just out of this system, we don’t have any control (=we don’t rehearse) before/after the show we don’t talk about music generally. Even I, don’t think I’m making music. Much more creating Energy to Share.

4/ You're performing in many different places, different countries, do you have one in particular where you feel like home, that have that special atmosphere, where you feel safe and free too ?

All Network performance is AT HOME and I thank God for all these opportunities that I have. I feel very comfortable to perform with open-minded sound carriers, and audience support us and share energy.

5/ I read that you mostly like to perform on stage, is there a reason why ? What kind of sensations do you feel there ?

As music is communication, sound carriers on stage, visitors in audience begins from zero. I can feel people breathing, live pure. It’s a meeting place for free energy. It’s Gorgeous, I have such good times, together with these sound carrier, great audience, venues, sound man, local promoters.... All of them are supporting this project. Hope this moment we’re creating is home for everybody involved.

6/ What are your ideals, things, thoughts, causes you like to fight for ?

This world is ruled by a few super rich people who don’t share, who have no interests in other people, even them cannot carry all their materials with themself when they will leave this planet.
As human born naked and leave naked.
Everyday is fighting, within myself and around.

7/ The world is a big scary place sometimes, how do we do to escape from that, do you think your music can help to escape from everyday's life situations/problems ?

Be yourself, find your decision, say no to control, no to gen manipulation, no to nuke plant... No to all things that destroys our nature. This beautiful planet is prepared for us, human being.
Natures’ had been there long time before our arrival.
Yes, positive music (that is not in this system) is a weapon against this completely wrong system.
Instant composing is free from this system, you cannot make that much money but it is worth to work on it.

8/ Do you have some favourite records you like to listen to if you have time ? Are you having some particular influences ?

My favourite music is changing as I’m not friend to eat so much music (information). To live healthy is to eat different things, not always the same. I’m just happy being Damo Suzuki.

9/ What season do you enjoy the most, do you feel concern about climatic change ?

Every season has her own dress.
Climatic change is not coming from global warming, there are many substances, Chemtrail, A-bomb test in atmosphere, etc... if I say here this, many people stamps on me that I’m brain-washed and I’m such a naive person.

People are generally believing in mainstream media. It’s very comfortable to live in the system. There are many questions you can set up. Good thing is that you can research anytime if you’re interested through surfing Internet.

10/ So those lines are yours ... Do you have any last comments, things to suggest, to tell to our readers ?

 Find yourself, be yourself, then share your good vibes to the one next to you.
And most important stay at side of God.

Thanks, Damo !


Louis Hauguel for Fuzzine. (2013)

Interview with Greg 'Stackhouse' Prevost (Ex-Chesterfield Kings)

Charismatic, ex-frontman of the famous garage band The Chesterfield Kings, Greg Prevost is finally back with his solo album "Mississippi Murderer", a trip into the bluesy roots of the talented multi-instrumentist. It's hard to say much more, so many things have been said already but I think you should really step in and have a listen to the album. Music is forever, you can't give up on it. It's a story of rising up, of feeling alive. It's bringing sense to your life. Greg is truly dedicated to his music, he's revisiting the blues with talent and force. It's not a trip in the past, not really. It's about what's happening right now. Rocking the studio, rocking the stage. I hope you enjoy.

Louis Hauguel : Hello Greg and thanks for accepting this inteview. So you released your debut solo album "Mississippi Murderer" this year, so tell me, how things are doing so far ? Could you tell us more about the creation process of this album?

GREG: Hi Louis—totally into the concept. The album “Mississippi Murderer” is doing well. I am very happy with the record label and the response I have gotten from its release. I have done some regional shows (solo) since the release-so much different from playing with a band, but exactly what I am looking for now. In order to relate the creative process of the album, I have to explain: Initially, I left the band with the idea that I no longer wanted to play music ever again in any form. I was turned off by the whole music scene, lost interest in all facets. However, if you are heavy into something like music though, as I am, it is something that just comes back like the plague. At any rate, I started playing guitar again and accompanying myself like early Dylan, Donovan, John Lee Hooker, Skip James, Son House…you know. I was playing in open tunings as well as standard, experimenting with capos, all that … I got into playing slide, playing with fingerpicks, stuff that was interesting for me again. I really got into doing this scene. It was also really heavy to play music again without the hassle of being tied into other people’s lives and situations, not to mention, being bogged with a reputation, which I was quite tired of. I learned about 60, 70 or more songs by guys I liked, to name a few, Muddy Waters, Lightnin’ Slim, Lightnin’ Hopkins, Reverend Gary Davis, Reverend Robert Wilkins, Mississippi John Hurt, Sleepy John Estes, Mississippi Fred McDowell, you know, an endless and continual list. I was so inspired by the songs I was playing that I started writing again. As far as the actual evolution/development of the album, I first have to introduce Zachary Koch, a really great friend of mine. He is the drummer in this heavy psych/RnR band St. Philips Escalator who you may have heard of; they have been on the scene a number of years now. I’ve known him for many years and I co-produced his band’s first album ‘Endless Trip’ (it was also released on our Living Eye label). He filled in during the band’s (Chesterfield Kings) last few tours and appearances and during that time I got to know him very well and we got to be really close friends. About the time I was thinking of doing an album he got in touch with me, like ESP. I previously recorded very primitively (30’s Delta Blues style), a few songs and sent them to my friend Enric Bosser at Penniman Records as we have been friends and known each other for many years since the Chesterfield Kings did shows with Enric’s great band the Meows back in the 80’s in Spain. Enric liked the material and suggested to put out a 45, which is what happened in this case. “Mr. Charlie” b/w “Rolling Stone,” alone-crude-me and a guitar-on Mean Dispostion (a division of Penniman)-same label as the album. Amid corresponding with Enric, he once said something to me like, “I can imagine what you’d sound like with electric guitars, drums, bass etc.”, and that what I was doing “would sound a lot more like the Stones ‘Exile On Main Street’”. That sort of vibe, you know.  Enric’s words inspired me to branch out. I pulled out my electric guitars and played the same riffs as I did on the National steel acoustic and it was like really heavy sounding. I really got into the sound like this. Then-out of nowhere, Zach sent me a new song by his band St. Philips Escalator that they just recorded. I thought it sounded really great and at the time I was thinking of recording in a studio and playing all the guitars and all that. I asked Zach, who engineered this cut and where it was recorded-he said it was recorded by this young genius friend of his, Alex Patrick at his studio (‘Patrick House Of Rock’ studios). He introduced me to Alex, we hooked up, totally connected. He was into like the same heavy music, same things I like, ideals as with Zach. Really good vibes, you know. He engineered and co-produced the album with me. The album was originally cut with just me playing rhythm guitar with Zach playing drums. I then added all the guitars and vocals and planned on adding bass last. I attempted to play bass on the tracks, but my bass playing sounded too much like another guitar riff, so I asked Alex to play bass, and he did. Along with being a fantastic engineer he is also a multi-talented musician. He has his own heavy band, the Absolutes in which he is the lead singer/guitarist.

2/ What are your favourite blues albums and your main influences ?

GREG: So many its hard to list-from the early period, things by Skip James, Reverend Gary Davis, Son House, Robert Johnson, mid-period, Muddy Waters, Howlin’ Wolf, Sonny Boy, Stones, Yardbirds, NY Dolls, James gang, Ten Years After, Roy Buchanen, Johnny Winter…. You get the idea.

3/ I actually wanted to ask you some questions about the Chesterfield Kings upcoming plans...but I read somewhere that you left the band, what are the reasons ?

GREG: Yeah-the band is done. FINISHED. OVER. I will never go back to that scene. First, everyone involved with the band seemed to have lost interest in it-it became secondary, or not even that high on the scale. Everyone went their own way; we ‘existed’ in name only for the last years and didn’t really do anything. I felt it was a good time to end it, the band ran its course. Paul (Morabito), who was the guitar player in the band, and I discussed many a time how we should go into a hard blues/rock direction without all the production/heavy harmonies/frills all that. It never happened, you know. Anyway, I left the band for many reasons, and as mentioned, we no longer had a blues vibe like we did years earlier (STONED, DRUNK ON MUDDY WATER) and we drifted into a zone where I was not at. I’m into slide guitar, Dobro, National, etc. The whole country blues thing as well. Anyway, what I did when I left and went solo was what I felt was missing the past number of years. I played all the guitars on the album as well. This was something I wanted to get back into as well. My style is deep rooted in the blues, both vocally and musically. Some of the guys are still involved with playing music: Paul Morabito moved on with his band The Moviees-they recently did ‘Cavestomp’ in NYC, Mike Boise, the drummer, he is into studio/instructional work ...

4/ I also read that you're a real record collector and as we all are a bit like that too in Fuzzine, how and when did you start collecting records ? What are your most precious possessions ?

GREG: Yes-I’ve been on that trip since the early 60’s when I got heavily into music. I started collecting per se, when the Stones came out. It became an obsession. Prized records? Stones picture sleeves I guess.

5/ What's your point of view on music these days and especially about downloading ? By the way do you believe the vinyl album will rise even more and definitely put the CD back in the shadows ?

GREG: I don’t mind-if the music gets around that is what is the priority. I love records-yeah-we all do-right? But the time now is digital, so you make the scene like that-people get into music from a download-fine—the song is with them. Vinyl has made an impact again because of innovative guys like Jack White. He has turned young guys onto the concept, and youth is the future, and when younger guys go through the trouble to find a vinyl record, that is what will make records come back in a big way. Will this take over CDs and downloads? I doubt it, but it is a heavy mix now.

6/ What would you say to a young musician that wants to live of his passion ?

GREG: I would say if you have a drive, you have to take the trip. If you get there and it is a bummer-get out before it pulls you in and down.

7/ Do you have any places in mind where you performed before and that gave you great memories ?

GREG: Lots…all over really. France I had many pleasant memories. Spain, UK, Italy … Germany, US…lots.

8/ Here it is ... the desert island records/books/movies, assuming there are all that stuff available, quite comfy island but still ... one record, one book, one movie you would bring there.

GREG: Record: Stones EXILE (double set!), BOOK: Peyton Place, MOVIE: Kiss Me Deadly

9/ What are your upcoming plans/actions/performances ?

GREG: Lots in my mind…lots of offers…hard to say what I’ll be doing!! I am working on more new material and constantly learning more blues favorites. I plan on doing more albums/singles/EPs in the future. Actually getting tracks together for my next album as I write.

10/ Final lines for you ... tell us anything you'd like to say/point at/review/talk about ?

GREG: LIVE LIFE!

Louis Hauguel for Fuzzine.

Interview with Antonio Bartoccetti of dark/mystic/prog bands JACULA & ANTONIUS REX.

Jacula and Antonius Rex, two cult bands. Jacula is a kind of musical ufo coming from the darkest crypts ....starting back in 1968, totally ahead of its time! It's about explorations of the mind, black and white meditations, vicious and possessed church organ sounds, guitar riffs never heard before, incantations and formulas by Antonio Bartoccetti. Jacula's records were mainly sold to cults, sects. It's something different to experience, you have to let yourself go, have a trip in a world made of dark woods, weird and threatening shadows, unholy rituals. Antonius Rex, the other musical experience, is exploring more progressive dimensions and paths, organ, ritual drums, heavy guitars, vocals by Doris Norton and Antonio Bartoccetti. It's a very unique atmosphere, there is a mysterious aura around the bands and the musicians and they are still being active these days with many different albums that are dark/prog/metal oriented. August, 2013 : 100 fans are selected and welcomed to a unique show in Perugia, an evening made of rituals and meditations, music performance, from 22 to 6am. The man is quite hard to find and only gave a few interviews, he's there, somewhere in the shadows, transmitting his visions and musical inspirations through the albums, often made in limited editions. It's for Fuzzine that he accepted this interview, it's an honour for me and it's a very rare opportunity so I hope you will enjoy this as much as I do.

Louis Hauguel : How did you come up with the creation of Jacula back in 1968 ?

Antonio Bartoccetti: Spending time with the wizard Franz Parthenzy.

2/ Was that unique sound that we found on Jacula's first two albums the result of being in contact with certain forces, did it help you to find some new inspirations/music landscapes to explore ?

AB: Yes… absolutely ….. the world is full of invisible forces …. there are more than 640 microdemons.

3/ Do you think the listener would be more receptive to Jacula's music if he/she is in a specific condition/state of mind ?

 AB: Yes… absolutely ….. Mind must be free from the absurdity of everyday routines.

4/ How was the atmosphere in the studio when you recorded the Jacula albums ?

 AB: It was full of magnetic fields.

5/ The other incarnation of your music, Antonius Rex is exploring different musical directions. What were the reasons to change from Jacula to Antonius Rex and later to Jacula again with the Pre Viam album ?

 AB: I must have two bands to express better all my feelings.
Jacula = esoteric parabiblic mystic
Antonius Rex = metal gothic prog

6/ What are the main themes/messages that Antonius Rex likes to deliver to its audience ?

 AB: The life is the death.

7/ What do you think of the "live" rendition of your music ? Is there once again any specific needs to feel and listen to the music a certain way and do you have any plans to perform again as Jacula or Antonius Rex ?

 AB: The world is going towards noises and supporting the wacky human side of the listeners. We still are doing what our soul suggest to us.

8/ How does the future looks like for you/Jacula/Antonius Rex, new plans ?

 AB: Listen carefully to the song "Antonius Rex Prophecy" lyrics.

9/ From your point of view, is there any concrete and effective way to pay tribute/contact the spirits ? Is there some 'invisible forces' influencing our everyday's life ?

 AB: SECRETS

10/ Those lines are yours ... do you have any comments, advises, words of poetry you would like to tell to our readers ?

 AB: I love much 'Disincantation' and 'The Fatal Letter' because of the lyrics.

Louis Hauguel for Fuzzine. (2013)

 ------------------------------------------------------ Extra interview :
CULT

Jacula "IN CAUDA SEMPER STAT VENENUM" (1969, Gnome, LP)
Jacula "IN CAUDA SEMPER STAT VENENUM" (1969, Charles Tiring LP) (C) Charles Tiring (white label, Charles Tiring signature, ltd 300 copies ) ---- (UNOFFICIAL)
Jacula "IN CAUDA SEMPER STAT VENENUM" (1981, Wandessa Yelton LP, ltd 100 copies ) (€ 500 ) (C) Wandessa Yelton (white label, WY signature, pictures + dark goth insert) ---- (UNOFFICIAL)
Jacula "IN CAUDA SEMPER STAT VENENUM" (2001, BWR) LP-CD (P) & (C) Black Widow&Musik Research - Published by Brioche Music
Jacula "IN CAUDA SEMPER STAT VENENUM" (2004 live in Paris) bootleg LP -- (UNOFFICIAL)
Jacula "IN CAUDA SEMPER STAT VENENUM" (2013, live in Perugia-Italy ) (€ 500 ) bootleg LP -- (UNOFFICIAL)

In project :

-------Jacula "MYSTIC VOICES " (2014, MR, LP-CD) - mystic - gothic - doom - progressive - parabiblic
-------Antonius Rex " C.M. " (2014, only LP 2014 + USB key) ---- (2014, Musik Research - LP Ltd. - 33)
-------Antonius Rex " H.P. " (2015, LP -CD-USB key) ---- (2015, Musik Research )

Interview with Rosalie Cunningham, singer and guitarist of the psych/prog band Purson.

Purson belongs to la creme de la creme in the circle of neo psych/prog rock. You take all the good things : infernal guitars and keys that are tormenting you without a rest, aerial moments where the beautiful voice of Rosalie is accompanied by a majestic mellotron. Everything is thought perfectly and hard worked by young and talented musicians. Yeah, that's another great thing, their age ! I simply don't know any other band of our generation that managed to catch "the spirit" so well, they rock it like never before, we have an opened soul of what is a music tainted of psychedelia and progressive atmospheres, with some ghosts of german krautrockers knocking at their door. Everything is well structured and also visually mind blowing. Take a look at their music videos. Blow your mind, this is an explosion of senses, it's being under the spell with the eyes wide opened. They are bringing you down to their parallel dimension made of many colors and acid dreams. A real trip for the mind in its different paths, from the colorful moments to some dark and tortuous roads. Here's an interview with Rosalie Cunningham, singer and guitarist of the band.

Louis Hauguel : It's been a long way since Ipso Facto back in 2008, after the band split up, I remember about a couple attempts to start a new project ( that went from Ketu to Purson ), what kind of difficulties did you meet on the way that finally lead later on to Purson ? And how did you guys all met ?

Rosalie Cunningham : The biggest difficulty was finding like-minded people who not only understood the vision and direction, but were musically able enough to make it happen. I worked with some very talented people before Purson became fully formed but I always encountered the same problems. Musicians of my age who are good enough to play the songs, usually have strong ideas about how to play them and more often than not, they clash with my own. Meeting Ed was the first important step. He was the only person who I felt that kind of musical connection with. Sam was my best friend and we’d always had a shared love of music and art and glamour but the problem was, he wasn’t a musician. We realised that he had no choice, he HAD to be in the band, so he learned to play the keyboards pretty damn fast. George and I had been friends since we were very young and grown up together on a diet of The Doors, The Beatles, Floyd, Bowie and all the best stuff. We’d always played guitar together and when I was putting the band together, it just made perfect sense to have him in. Justin, our bass player, is quite a recent addition. He got in touch with us on facebook when we were advertising for a bassist, came for an audition and got the job right away. I think the car and the kaftan sold us before he’d played a note. James is even more recent. He is a friend of Jus’s.

2/ As it's pretty rare for our generation to be into that kind of music, how did you personally come up into the world of psychedelic and progressive music ?

It is a sound that I have been in love with for as long as I can remember. I grew up with all the classic rock staples but was always drawn to the more psychedelic songs. My Dad was a musician and I worked in a record shop when I was 14-16 so that aided my exploration. Then when I discovered prog in a big way, that was all I would listen to, always looking for more and more far out bands. There wasn’t really anything current that I could relate to so looking back became a bit of an obsession.

3/ Do you believe in the fact that "everything happens for a reason" ? Karma, unexplained phenomenons, that type of things that are happening sometimes and have an impact in our lives. Did anything like that happened with Purson as well, like some great, pleasant circumstances that seemed to come from nowhere ?!

Yes and I believe that whatever comes your way does so to teach you something. I wouldn’t have the strength to weather the storm and carry the emotional burden that is being the leader of a struggling band in this day and age if it wasn’t for all the mistakes and the disappointments. Things haven’t been easy for us but it just goes to show me more that I was born to do this. Of course, there have been some positive gifts from the universe too! For instance, a date on our recent tour was cancelled which we were really gutted about but it meant that we had 3 days off in Amsterdam which turned out to be the best time we’ve ever spent together as a band. It was important that that happened.

4/ Let's talk about Purson. You released your debut album earlier this year. You're just about to start a tour with Spiritual Beggars. Also I noticed a successful Pledge. Things seems to do pretty well for the band ! Tell me, are you more a studio or a stage person ?

Haha! I’m glad that it all looks smooth from the other side! It has been so much hard work! We are eternally grateful to the fans for helping us reach the pledge goal. Performing is great fun, it is a drug, the best high in the world, but I am more of a studio person. I spend most of my time writing in my home studio and it is a perpetual process that consumes my every waking thought sometimes. I suppose creating something I am proud of out of nothing gives me more long-term satisfaction than playing live. 

5/ Purson, one of the kings from Hell, it's a very specific thing ! How long did it take you to come up with this name, was it a difficult process ? Do you like old, dusty and mysterious books ?

We knew we wanted a powerful one word name but I was thinking it should be the name of a god. We stumbled across Purson when reading about demonology and liked the idea and the imagery that went with him. It wasn’t a difficult process, it just felt right. Mysticism and the occult have always interested me but it wasn’t until after we named the band that I started to get into it. Now, reading about the archetypes of angels and demons and how they can help explain the secrets of the universe is something I find fascinating.

6/ Visually speaking, whatever it's on stage or on the album's cover itself, Purson has this very 70's-ish "Hammer movies" feeling, it's also very glamourous. Did the whole outfit thing come up naturally among the band or was it something that you wanted very badly as part of the band's identity ?

The way we dress is our way of living what we love. Why stop at expressing yourself through just music and lyrics? I love dressing up and I have always collected vintage clothes, it’s a passion. I resent the fact that it is often criticised these days. Some people ignorantly see it as ‘hipster’ and style over substance but I don’t see anyone calling Elton John a hipster!

7/ These days, there is an important revival of 60's/70's psych influenced bands.

Is that scene still very isolated or growing a bit in London ? Are people quite opened or closed-minded ?

There has definitely been a resurgence of that kind of thing which is great for us. People are much more open minded about it, even hard-core metal fans are embracing it. I think there are a lot of rock musicians of my generation who feel quite alienated from current mainstream music and so are taking inspiration from the golden days of rock.

8/ Alright, now, what is your personal Top 5 records that you would take on a desert island ? ( assuming that there will be a turntable somewhere )

Oh god, that is a hard question! It would have to be old favourites but if you asked me this another time, you’re likely to get a different answer.

King Crimson – In The Court Of The Crimson King.

The Small Faces – Ogden’s Nut Gone Flake

The Beatles – Abbey Road

David Bowie – Man Who Sold The World

I can’t settle on a 5^th one… It’s between Slade, The Move and The Idle Race.

9/ What are the upcoming plans for you and Purson, any new releases, maybe a dvd one day ?

I’ve pretty much finished writing the next album so I can’t wait to record that. We hope to being touring a lot more and playing some festivals next year and we’d definitely like to make some more music videos. We’ve got a load of ideas for videos.


10/ Those lines are yours : any comments, anything you would like to add about anything you may have done/listened to/read/seen recently ?

Errm…..This could take me a while so I’ll leave it blank.


11/ As a bonus question. You're a Taurus lady. What are your thoughts on Astrology ?

I think we are all affected by what is happening on a grander scale in the universe and the forces it creates. I’d like to know more about it. I can’t say I have much of an affinity with the typical Taurean personality traits though. In fact, apart from the stubborn and determined work ethic, I am the polar opposite! 

Thanks for the interesting questions!


Louis Hauguel for Fuzzine. (2013)

Interview with Paul Dean, bassist of the 70's heavy psych bands Jerusalem, Pussy.

Il y a de ces groupes qui vous déversent des riffs assommant, des coups de matraques frénétiques à la tête. Jerusalem en fait clairement parti. C'est un peu l'effet d'une baraque remplie de dynamite qui vous explose soudainement à la tronche. Et si ce n'était que les riffs. La batterie vous prends et vous retourne comme une crêpe. La voix déchirante de Lynden Williams nous plonge tour à tour dans l'hystérie et puis l'angoisse, nous envoie dans des dimensions démentes faites de chauves-souris de l'enfer ou d'innommables créatures pré-humaines. Peu importe. C'est tout le groupe qui vous maintient la gorge et vous lance l'équivalent d'une damnation éternelle dans la gueule. Il y a une grande urgence, pas de complexes, on y va brute de décoffrage et peu importe le nombre de têtes qui tombent au passage. Une pochette étrange, torturée qui vous invite au pays du délire cauchemardesque et autres tortures mentales.

Louis Hauguel : Hi Paul and thanks for accepting that interview, so here we are, how did the band get together ? What's the story behind the name "Jerusalem " ?

Paul Dean : At the age of 15 when we were at school, Ray Sparrow, Chris (Kef) Schelcher and I went to see John Mayall and the Bluesbreakers. We were so blown away by this electric 12 bar blues that the next day we decided to start a band. None of us could play an instrument, so we were starting from zero. I chose bass and vocals, Ray drums and Kef guitar. I also wrote the songs and in actual fact at no time in the history of Jerusalem or Pussy did we ever do a cover. So it began. Later on we pulled in Bill Hinde a friend from when I went to College. As we became more serious Kef decided to concentrate on his education, so we pulled in Bob Cooke, another friend from College. Then came another friend Phil Goddard on vocals as I wanted to concentrate on the writing and bass. As we became more professional Phil decided to leave and we held auditions in London for a singer and chose Lynden. By this time Ian Gillan had signed us up along with my sister Zoe and then came the album.

The name Jerusalem came because it was the only piece of music I liked at school assembly (very powerful classical piece). We actually played a few bars of it in a rock format at the beginning of our shows. The other reason was that you should always choose a very strong name that people can connect with easily. There was absolutely no religious reason for this choice, it was just a word that everyone in the World knew. Jerusalem has always been a headline city for thousands of years for many different reasons. Strong, powerful and birthplace of ideas, beliefs, confrontation, a centre of innovation and change, a melting pot for all races, not all good, but neither is life...

2/ The 70's just started, psychedelic rock evolved into a more raw and progressive music. How was the process of creation of your unique album and how did you meet Ian Gillan from Deep Purple ?

Ian was a friend of my sisters from his days in Episode 6. She met him again at a Deep Purple concert as Black Night hit number one. Anyway, she brought him back to my mother’s house and so our relationship began, more like brothers at times, did a lot of stuff together away from music. What was funny was when he walked in the house I was playing the first Black Sabbath album, he asked who it was because he liked it, little knowing that a few years later he would join them for a short time. Deep Purple’s managers were also interested in Jerusalem, but Ian decided he wanted us.

The late 60’s blues boom gave birth to Rock (Cream, Hendrix) then Zeppelin, Deep Purple and Black Sabbath etc. The bands then started progressing in all kinds of directions and some becoming more sophisticated and technical - Yes, Genesis etc. To be honest we didn’t have any major influences, Ray and I just liked it heavy and raw, no rules, and if it sounded good to us we did it. People either loved us or hated us. It’s funny to think now that what we were doing then would become huge within a few years as Metal, Doom, Stoner etc. took off. One of the strangest questions I was ever asked by a journalist was ‘You were obviously very influenced by Metallica’. He had obviously not done his research as we were doing it 5 years before Metallica. Think this is why Jerusalem has now become so popular, as younger people are searching back to see where everything started. At least we have the last laugh on all the journalists who slammed us at the time. I was the main writer and Ray and I made all the final decisions about everything, so Jerusalem was pretty much our baby and what we wanted.

3/ The album is terrific in terms of energy, very raw and heavy as well as the vocals that sounds sometimes like screams from the beyond. So I was wondering, how was it on the stage ? Did you have the impression of blowing away people with some music that they were maybe not used to yet ? Like "wow, this is mind blowing!"

On stage in the early days there were people that walked out and people that stayed. It was real love/hate. Over time we began to build a following and the word spread, so eventually most people stayed and a few who were there by accident raced out the door. As I said before, Ray and I liked it raw and heavy and as Ian said on the album almost crude. The ‘screams’ is actually an interesting story. Lynden was basically chosen for his showmanship. Once we had practised a few times I realised most of our songs were in the wrong key for him. But I really liked the sound of him stretching and straining. I had a word with Ian and we both agreed it was a good sound, so we didn’t change the keys. It was quite punishing for Lynden in the studio, but gave us something a bit different. On stage anything could happen especially when I wound Lynden up a bit. It all added to the meaning of some of the songs and kept the audience on their toes. We had some amazing followers who would turn up all over the UK. Probably the biggest ‘mind blowing’ episode were two huge festivals we did in Austria and Germany (50,000 in Germany). We were virtually the only unknown band on the bill. Deep Purple, Black Sabbath, Rod Stewart…

 Anyway, when we came on stage many people started wandering out for a drink, food or the toilet. Then much to our amazement once we hit the first 30 seconds of our opening number (think it was Frustration) everyone turned around and ran back in to watch us. Ian Hansford Deep Purples Road Manager who was also mixing for us said it was one of the strangest things he had ever seen. They even showed it on Austrian TV news.

 4/ Let's talk about your influences and the band's influences, what were the bands that inspired you to create your very own sound ? Was it difficult to have everybody playing in the same musical direction ? Was there other influences than music itself ?

As I said earlier, we really didn’t have any strong influences. I did most of the writing. Ray and I’s taste in listening music was extremely varied, but similar, we just liked Rock for our band. The heavier the better. That’s why my favourite is still ‘Primitive Man’. Eventually, yes it did become a problem keeping our direction, which is why Ray and I decided to end the band. Lynden and Bill wanted to go a different way and Bob was stuck in the middle. Talked it through with Ian and he agreed. Once you have achieved your aim maybe time to move on. Ray and I could have changed the personnel and continued as Jerusalem, but that was not an option as in Jerusalem we had created a unique sound, so whatever we did next should be a totally new concept. Thus was born Pussy. Other influences were the usual ones, growing up, new experiences, disillusionment with the way the World was going and to an extent the music business. It was slowly being taken over by lawyers and accountants and most had little knowledge of music itself. We were lucky that when we were signed there were still a number of ex-musicians in the Record companies. If not for them, Beatles, Stones, Hendrix, Cream etc. would never have had the opportunity to change the face of music. Pussy in a way was a piss take of the way the business was going, so we just chose not to follow the rules of the ‘new era’ which was fun. The music was still serious, but we wouldn’t compromise and become what others wanted us to become.

5/ What do you remember about the "Pussy" times ? What kind of inspirations were you having during that period of time ?

I’ve pretty much covered this in the previous question. Because of our attitude which was endorsed by Ian, it became very difficult to get a deal. Ian pulled out of our deal with Deram (Decca) after the ‘Feline Woman’ single because Sam Hamilton who had signed Jerusalem and Pussy to Deram had left the Company and the new guys in were looking for their own signings. Pussy actually recorded a whole album, but it wasn’t released (this is often wrongly mentioned as a second Jerusalem album). Eventually we stopped Pussy. Then in the mid seventies Ian became a tax exile in Paris for a year or so. During this time music in France was going a different way and Ian thought it may be worth trying to sell Pussy there. As it turned out Ariola France wanted the album. Bob no longer wanted to be involved, so we pulled in another young American guitarist Brian Goff, who was a good friend of Ritchie Blackmore. We decided to redo all Bobs guitarwork on the original tracks and I also wrote some new songs. Unfortunately, Europe then went into recession and everything fell apart. By the way, Brian now lives in France. After all these years the Pussy album has recently been released by Rockadrome Records on CD for the first time ever following the successful release of the remastered reissued Jerusalem album on CD and vinyl, also Rockadrome. So, thank you France, for without the interest of Ariola France, this album would never have been made in its final form.

6/ How did the whole thing happen, what motivated you to go for that ?

I had been out of touch with the music scene in Europe and the USA for a number of years and had been living in Southern Africa, South America and the Caribbean. I eventually ended up in the Philippines and about 4 years ago I got an email from Rockadrome asking if I knew what a big cult following Jerusalem had. I then did some research and realised it was true. Universal had even rereleased the original album in 2004 in Japan. So we decided to remaster and reissue the album with a few extra’s. First on CD and then last year on vinyl. Because of the reaction it was then decided to also remaster and release the Pussy album. The most amazing thing is the number of young people, who have now got into both bands. Makes the whole thing very worthwhile. So sincere thanks to Rockadrome and also a Finnish guy Aki, who put up a fan site for Jerusalem on Myspace a few years ago, which also helped to kickstart the whole thing.

7/ These days, a lot of new bands are appearing, very influenced by late 60's psych and 70's prog rock. So I want to ask you, what are you listening to nowadays ? Do you have some feedbacks from a generation like mine ( I'm 25 ) that come to you to talk about Jerusalem or globally speaking about the two periods of time mentioned before ?

To be honest, I’m still pretty hooked into the old stuff even though I actually do some Producing. Have done a few albums in the Philippines with local bands (lots of talent here), so I am close to what’s going on these days. I don’t mean this in a detrimental way, as there is some good stuff around now, but I find much of the music now is a kind of reinvention of past genres. Have fun sometimes with some bands, playing stuff from 30 – 40 years ago to show them what they thought was new, is actually the rebirth of something old. Think this is born out by the number of bands from the 60’s, 70’s & 80’s who are back on the road and playing to all ages.

8/ What are your current projects, whatever they are musical or not ?

Mainly Producing, even long distance. People send me through the tracks after discussions about the way they should record songs and I mix and Produce them here. Once music is in your blood it stays there. Wherever I have lived I have tried to help others. I was very lucky and in the right place at the right time, so try to give something back whenever I can.

Have done many different things in my life, so never know what’s going to happen tomorrow. Have written many articles about all kinds of subjects, special extrain a few movies, played golf professionally and coached others…

9/ Those lines are yours, do you have a last thing to add for our readers ?

Just a couple of things for audiences and artists

To get up on stage and play music takes a lot of nerve and hardwork. If you’re in the audience show a little bit of appreciation, even if you’re not into the music. They’re doing something maybe you would like to do, but don’t have the nerve or talent to try.

If you’re an artist who wants to succeed, it’s bloody hardwork, believe me. Bands from my era used to practice for hours everyday if they weren’t playing live. When you get on stage all you should be doing is trying to communicate with the audience. You should know the songs back to front and upside down. In a studio every person should be able to play a song all the way through by themselves, if not, you don’t know the song well enough and are wasting money on your recording. Recording isn’t cheap! You have to believe in everything you do, if you don’t why should anyone else? The main key to success is to be different, if you’re too influenced by your influences you may as well be a cover band or stay at home and play to yourself. There is no such thing as bad music, if one other person likes it, then it’s good. Stay true to your beliefs and others will start to believe. All the best to all of you.

Cheers, Paul.

Louis Hauguel for Fuzzine. (2013)

Interview avec Bernard Blanc aka B.B. Brutus, batteur du groupe Ergo Sum

Louis Hauguel : Tout d’abord, merci d’avoir accepté cette interview. Comment a débuté l’aventure Ergo Sum, et comment vous êtes-vous rencontrés ?

B.B. Brutus : C’est tout simple. Certains musiciens de Lemon Pie, groupe d’Aix-en-Provence voulaient faire une autre musique. Donc ils cherchaient à rencontrer d’autres musiciens, même si leur choix musical n’était pas vraiment défini. J’avais fait partie d’un groupe, à Aix-en-Provence, durant les années 1966/1968, les What’s. J’avais gardé des contacts et c’est comme cela que j’ai fait leur rencontre. C’était à l’été 1970. J’étais avec le groupe Barricade, de Marseille (festivals de Biot-Valbonne). Ils me disaient qu’ils cherchaient des musiciens pour démarrer une formation. Je suis resté quelques jours en leur compagnie pour apprendre à les connaître, puis on s’est réunis dans une ferme pour jouer. D’autres musiciens étaient là ; en fait, il s’agissait de savoir si je faisais l’affaire ! On a ensuite cherché un lieu pour répéter ; pour habiter aussi, car sur les quatre qui étaient d’accord pour démarrer, il n’y en avait qu’un qui habitait la région — chez sa famille ! On a d’abord trouvé un garage, puis une toute petite maison, à quelques kilomètres d’Aix, à Gréasque, chemin de la fontaine des Dieux. On s’est donc installé là ; on a débuté à quatre, car le guitariste n’était pas trop chaud ! Quelques mois plus tard, après des jours et des nuits de travail, nous avions un répertoire d’une vingtaine de morceaux. On fait quelques bœufs avec des amis de passage, et le guitariste qui n’était pas très chaud est venu nous voir. On lui a montré nos morceaux, ça l’a emballé, et on s’est retrouvés fin prêts ; ils nous manquait seulement du matos. On avait un peu d’argent. On a acheté un camion d’occase, et on est partis pour l’Angleterre... le pays des Beatles, des Stones ! J’y croyais pas ! On a fait tous les magasins. Le chanteur a acheté la Gibson blanche (gravée), avec sa caisse, du groupe East of Eden. Moi, j’ai trouvé la cymbale qui m’a servi de gong sur le morceau Tijuana ! On a aussi acheté une sono WEN, des têtes d’amplis Orange, et d’autres accessoires encore. Ensuite, on est allé à un concert de Family. De retour, on s’est arrêtés à Saint-Étienne pour voir une amie et on a fait la connaissance du violoniste. Il était libre et on l’a emmené avec nous à Gréasque. On a repris alors les morceaux avec lui et c’est comme ça que Ergo Sum a démarré.

Louis : Quelles sont les grosses influences du groupe ? Quels sont les éléments qui ont contribués au son bien spécifique de votre album ?

B.B. : L’influence mutuelle, c’était les années 50 : le rockabilly. Ça, c’est sûr ! Des gars comme Elvis Presley, Eddie Cochran, Gene Vincent par exemple. En ce qui me concerne, à 10 ans, je participais à des concours de chant. J’avais comme pseudo Johnny-guitare, je chantais Tutti Fruttii en yaourt, et j’étais accompagné par Les Bretelles Rock ! Comme tous les jeunes, chacun a joué avec des groupes dont l’influence était le blues-rock anglais : les Rolling Stones, John Mayall, Eric Clapton, les Animals, les Yardbirds, j’en passe. Avec Ergo Sum, hormis le rock ’n’ roll, on écoutait du jazz, des musiciens comme John Coltrane, Miles Davis, Tony Williams, Wayne Shorter, mais aussi les Doors, Jimi Hendrix, Jethro Tull, King Crimson, Rory Gallagher. C’était une période riche, ouverte, variée : on voyageait musicalement ; quand on allait chez des amis, on écoutait des musiques différentes, on faisait des bœufs avec des musiciens de rencontre. Les énergies étaient différentes, ça donnait envie de jouer. Le guitariste adorait Alvin Lee (NDLR : le guitariste de Ten Years After) et son morceau favori était I’m Going Home. Le chanteur aimait beaucoup le jazz et la musique mexicaine.

Louis : Comment s’est passé l’enregistrement de Mexico au Château d’Hérouville ? As-tu quelques petites anecdotes à nous livrer ?

B.B. : On a enregistré en plusieurs fois. La première fois, c’était en août 1971. On est arrivés de nuit en camion, avec le matériel. Il était tard et on ne voulait déranger personne, alors on s’est garés dans une petite forêt, pas loin du Château. Le matin, on était malades à gerber : on s’était garés sous un pylône électrique de quatre cent mille volts. Le studio était superbe et on nous a reçu magnifiquement. On a eu le plaisir de voir MC5 jouer trois morceaux. Le groupe était filmé pour Pop 2, l’émission de Bernard Lenoir. Ils sont arrivés à 10 heures du soir dans un combi Volkswagen. Ils ont installé leur matos rapidement. Ils ont joué et ils sont repartis. Je n’en croyais pas mes yeux, là, devant moi, en live, les MC5. C’est pas tout. Le jour où on a enregistré All’s so comic (qui a duré la journée pour la mise en place), j’ai fait l’échange de mon T-shirt d’Ergo Sum — avec le pied dans la bouche : l’affiche de notre concert au festival Ampus Pop — avec un musicien du Grateful Dead (ils devaient jouer à Auvers-sur-Oise, mais le concert avait été annulé) ; lui m’a donné un T-shirt du Dead Number One USA, à l’effigie d’une Harley Davidson (devant et derrière) ; je ne l’ai pas quitté pendant des jours.

Louis : Un concert d’Ergo Sum, c’était quoi pour toi ? À quoi devait s’attendre le public en vous voyant ?

B.B. : Le premier concert que nous avons fait, c’était en 1970, à la Pointe Rouge, à Marseille, une boîte à la mode ; plein de groupes de l’époque y jouaient, dont Titanic. On était engagés pour le week-end. On se disait que c’était super, qu’on allait faire connaître Ergo Sum chez nous, à une heure de la maison. On avait à peine commencé notre set, on en était au troisième morceau quand le patron de la boîte nous a fait signe d’arrêter et nous a dit : « Hey, les gars ! Y a personne qui danse ! Vous n’avez pas autre chose ? ». On a remballé sans perdre un instant, on était trop avant-garde pour l’endroit, on était des extra-terrestres. Un concert d’Ergo Sum, c’était comme un voyage, une histoire que l’on racontait car les chansons véhiculaient une histoire, un climat, une atmosphère, et on était heureux de la partager avec le public. All’s so comic, enregistré live, donne une bonne idée de ce qu’étaient nos concerts. En fait, c’est à un spectateur qu’il aurait fallu demander ce qu’il pensait d’Ergo Sum ! Après la Pointe Rouge, nous sommes montés à Paris pour le « tremplin » du Golf Drouot, et on a gagné ce tremplin.

Louis : Vous avez tourné avec d’autres groupes de l’écurie Thélème, as-tu quelques anecdotes ?

B.B. : En fait, on n’a pas tellement tourné ! On a fait plusieurs fois le Golf Drouot d’Henry Leproux. On a participé à quelques festivals aussi : celui de Saint-Gratien en hommage au groupe Storm (trois jours de musique non-stop) ; le festival de Malaval, dans l’Ain ; Ampus Pop, en 1971. On a aussi joué au Gibus, à Paris, parrainés et présentés par Sacha Reins du magazine Best. Et puis, il y a eu un concert à Marignan, plus deux, trois concerts pour les radios : Europe 1 (l’émission Campus, avec une interview en compagnie de Patrick Topaloff), RMC, France Inter avec José Arthur, la maison de la radio aussi... J’en oublie, mais bon, on n’en a pas fait tellement jusqu’à ce que je m’en aille en 1973. J’étais parti faire les vendanges, puis un tas de circonstances ont amené le groupe à se séparer. Deux des premiers musiciens ont continué et remonté Ergo Sum, puis ça été fini.

Louis : Aujourd’hui votre album est une pièce de collection, et votre musique est très appréciée, pourquoi, selon toi, n’avez-vous pas eu plus de succès à l’époque ?

B.B. : Que dire ? Ergo Sum était original pour cette période, mais tout autant que d’autres groupes qui mélangeaient un tas d’influences, rock, blues, jazz, etc. Il se passait, en fait, ce qui s’est passé dans les années 80 avec le rock français : il y avait un tas de groupes aussi bons que Téléphone dans chaque ville, mais le show-biz a misé sur Téléphone, et voilà. À chaque époque, c’est pareil : on prend un groupe qui représente bien le moment, on le matraque en radio et hop, on passe à la caisse !

Louis : As-tu une idée du nombre d’exemplaires pressés à l’époque ?

B.B. : 10 000, je crois. Mais on peut toujours trouver le CD chez Musea, qui l’a réédité en 1994, et il y a une nouvelle réédition USA de 2007 sur Lyon Production, remixée par Vincent Tomatore ; il y a les liens des catalogues sur le myspace d’Ergo Sum.

Louis : L’album en lui même est très riche, « toujours énergique mais jamais violent », on note des titres comme Tijuana et Mexico, est-ce un hasard ou y a-t-il un intérêt prononcé pour l’Amérique latine ?

B.B : Comme je te le disais, le chanteur adorait la musique mexicaine — d’où Mexico et Tijuana. Il avait passé une partie de son adolescence au Mexique. Il nous parlait mexicano, on habla espagnol, et aussi de Pancho Villa, un personnage très aimé au Mexique.

Louis : Que penses-tu de la scène musicale française d’aujourd’hui, y a-t-il des groupes qui t’accrochent en particulier ?

B.B. : Je ne donnerai pas de noms, mais il y en a plein et grâce à Internet et tous les sites comme Starshit, Sellaband, Rock’N’France, Zikpot, Lyberty, Tagworld, Hitmuse, Musite, SFR Jeunes Talents et Youtube, tu as le choix et il y en a vraiment pour tous les goûts. Bon, les plus récents se ressemblent un peu, mais, quelques-uns devraient émerger s’ils tiennent la longueur. J’espère bien, sinon ça sera les machines qui donneront le ton. Ça va comme ça les robots, non ? Tant qu’il y aura des groupes, il y aura de la bonne musique. Merci Louis pour ce petit retour dans le passé, pas si lointain que ça finalement.

Louis : Merci à toi, surtout, d’avoir accepté de te prêter au jeu ; je pense que ça donnera envie aux gens de découvrir ou redécouvrir le groupe et l’album.

http://psychedelisme.com/Ergo-Sum

Louis Hauguel, 2010

Interview avec Peter Daltrey ( Kaleidoscope - UK, Fairfield Parlour )

La vie ne tient parfois à pas grand-chose. À ces petits moments de bonheur s’évaporant aussi vite qu’ils vous ont étourdi, instants aussi futiles qu’illusoires. Le temps d’une intro délicatement envoutante vous enveloppant de ses cordes chaleureuses et mélancoliques, suivie d’une mélodie enchanteresse et féérique que vient boucler un refrain répétitif, magique… The Sky Children et ses 8 minutes de beauté totale, qui pourrait tourner des heures et des heures sur la platine, sans jamais en ressentir l’ennui par tant de pureté. Arrangements au panthéon de l’extase absolue, innocence retrouvée le temps de ré-atterrir fébrilement de ce voyage sonore.
The Sky Children. Morceau au combien grandiose que l’on retrouve dans le répertoire des Kaleidoscope, combo londonien mené par le talentueux et magnifique songwriter Peter Daltrey. Deux albums au compteur, qui enivre votre rédacteur à chaque écoute, splendide d’un bout à l’autre, chef d’œuvre de pop parfaite que l’on pourrait aisément ranger devant le Odissey&Oracles des Zombies, ou encore le Smile des Beach Boys, monuments d’érudition pop galvaudée par tant d’arrangements oniriques.

Quand l’occasion s’est présenté de rencontrer Peter Daltrey, autant vous dire qu’on s’est pas fait prié. Résultat grandiose tant Peter s’est prêté allègrement au jeu, revenant sur une carrière emplie de nostalgie et de souvenirs, avec la plus grande simplicité du monde. Peter Daltrey.

 
Louis Hauguel : Il y a une certaine innocence dans vos chansons, une nostalgie enfantine. Quel était votre secret pour écrire de si beaux morceaux ? On pense notamment à The Sky Children?

Peter Daltrey : Le groupe était en vacances, pendant l’été 1964. A Swanage, une ville touristique du Dorset, sur la cote Sud de l’Angleterre. À la sortie de la ville, il y avait un château Victorien, c’était une belle journée d’été, avec un ciel presque bleu, juste quelques nuages hauts dans le ciel.  Nous avons cherché le château un moment, et finalement trouvé un chemin menant à la mer. En bas était une plage de cailloux, de gros rochers s’étant détachés des falaises. La mer s’écrasait sur le rivage, le bruit était assourdissant, mais merveilleux. La nature brute. Swanage, au loin, scintillait dans la brume. Nous avons donc décidé de retourner en ville, en suivant la plage. C’était difficile, les rochers avaient la taille d’une voiture, il était maintenant midi, et le soleil tapait dur. À notre droite, l’océan grondait. Tous les quatre avons été séparé, et je me suis retrouvé dernier. Pour une raison inconnue, une ligne m’est venue, « Un million de fleurs blanches dans un champ céleste ». Ed (Pumer, le guitariste) et moi écrivions toujours selon la même formule : moi les paroles, lui la musique. Écrire une chanson n’est rien moins que de s’inspirer de l’air du temps, et de la transformer en mots. Et l’inspiration, par définition, ne se produit pas à la demande. Sa blague favorite est de s’insinuer dans vos pensées, juste au moment où vous allez vous endormir. Un mot et une ligne vont se former dans votre esprit, navigant dans votre conscience, alors que vous allez sombrer. Mais attention, si vous les ignorées elles vont simplement disparaître, au matin elles seront parties.
Donc, vous revenez du pays des rêves, attrapez un stylo et un papier, griffonné, et retournez vous écrouler. Le soleil se lève, les yeux sont bouffis, la vessie pleine, la bouche en feu, les oreilles bourdonnent. Vous lorgnez sur le papier, en général c’est merdique, parfois inspiré. Dans ce cas, je marchais le long d’une plage, sans papier et sans stylo. Une autre phrase m’est venue, puis encore une. Là j’étais mal. J’avais deux options, refuser de laisser fonctionner mon cerveau, sachant bien comment ce serait dur de retrouver mes mots. Ou accepter les mots qui émergeaient, comme d’une éponge, et tenter de les mémoriser. Après tout, toutes les chansons comportent d’un à trois couplets, et un refrain. J’ignorais que j’étais en train d’écrire une de nos plus longues chansons. Encore plus de mots, je les assemblais, le rythme se formait, une histoire commençait à émerger. Je devais tout reprendre du début, assemblant les couplets dans ma tête. En essayant désespérément de garder le tout dans le bon ordre. Dan (Brigdman, le batteur) était juste devant moi. Il s’est arrêté, m’a demandé si j’allais bien. J’ai répondu que j’écrivais une chanson, il a secoué la tête, apparemment décidé à me laisser tranquille. Il y avait tant de lignes, que je m’y perdais, tout se mélangeait. Il faisait chaud, j’étais en sueur. Quand nous sommes arrivés en ville, je me suis précipité pour transcrire ce dont je me souvenais.
De retour à Londres, les paroles ont été affinées et finalisées. Ed est venu avec une mélodie très simple, qui capturait parfaitement l’esprit. Le conte de fées d’un groupe d’enfants, en quête de magie. C’est facile de se moquer aujourd’hui. Avec nos oreilles modernes, voire usées, tout ceci semble idiot. Mais il faut replacer dans le contexte, revenir à 1967. J’étais influencé par Donovan, sur des chansons comme ça. Les gens disent que j’avais trop lu Tolkien, alors que j’ignorais même qui il était. Mais j’absorbais tout ce que j’entendais autour de moi. Je ne me souviens pas de l’enregistrement de Sky Childern, mais je le soupçonne de venir d’une session tardive, dans les studios Phillips, à Marble Arch. Avec les lumières éteintes, juste une ou deux bougies sur un ampli. Vraiment magique.

 
  Louis : Faintly Blowing semblait plus diversifiée, alternant les moments de calme et de violence. Quelle a été votre approche au niveau de la production ?
 
Peter : Ed et moi n’avons jamais cessé d’écrire des chansons. On en avait toujours plus que nécessaire. Certains groupes sont obligés de faire un album, et composent en studio. Alors que nous arrivions avec notre stock de chansons. Sachant parfaitement ce que nous voulions, ayant déjà présenté nos morceaux au producteur (Dick Leachy) et reçu son aval enthousiaste. Tangerine Dream a été écrit principalement en 1965/66. Bien qu’à cette époque nous ayons été ensemble depuis deux ans, nous étions toujours novices. On apprenait notre métier. En 1967/68,  la confiance était là, ainsi qu’une structure pour notre musique. Dans la mesure où nous étions sous contrat avec une maison de disques, qui était convaincue que nous étions les prochains Beatles. Sérieusement, c’est que nous disaient les gens de Phillips. 
La période psychédélique a été très courte. Une fusée multicolore, tirée dans le ciel en 1966, nous étourdissant tous par sa brillance. Qui est doucement retombée sur terre en 1968. Les braises ayant continué à brûler jusqu’à la fin de cette année là. Pour notre genre musical, on était certainement au bon endroit au bon moment. Londres vibrait de bons plans. Nous étions jeunes, naïfs, confiants dans nos possibilités, impossibles à stopper. Début 1968, notre écriture était beaucoup plus adulte. Mais toujours dans le style psyché, fidèle à nos racines. Je me souviens de Sunny Side Circus à ce moment là. Mais nous étions insatisfaits du résultat, et le titre a dû attendre From Home To Home pour apparaître. Un peu décalé, sur le dernier album.
Avec un budget conséquent, notre son avait été augmenté d’un orchestre. Ce qui avait certainement élargi une approche plus mature. Je n’écoute plus nos disques (plus beaucoup de musique en fait, puisque j’ai fait cadeau de mon ouïe au groupe), mais sur nos deux albums, c’est le morceau Faintly Blowing qui porte la couronne.
Ma mémoire est pleine de trous, donc peut de détails restent. Mais je me souviens que nous avions fait un effort commun, pour que les morceaux soient le plus excentriques possible. Notre producteur nous poussait, lui qui voulait se faire un nom. Quand la base a été enregistrée, on a ajouté une partie vocale. Ensuite, on a embelli le tout avec divers bruits. La semaine d’après, nous avons été conviés au studio pour écouter le premier mixage. La production avait adouci le tout avec du phasing, au lieu de garder l’effet pour la fin. Mais nous avons été convaincus que c’était le bon son pour la chanson. Jeunes et tenus dans une crainte respectueuse par notre maison de disques, nous avons décidé de laisser filer. Aujourd’hui, je reçois régulièrement des mails de fans, jeunes et vieux, qui vantent les charmes de Music. C’est une question de goût, je crois.
 
 
Louis : Kaleidoscope a sorti un single intitulé Isle Of Wight Festival Theme en 1970, sous le nom de I Luv Whight. Vous avez joué le vendredi 28, en tant que Fairfield Parlour, et il semble que vous ayez été informé (par lettre anonyme) que le premier groupe qui passerait, se ferait tirer dessus.
 
Peter : En Mai/Juin 1970, notre manager avait beaucoup discuté avec les frères Foulk, organisateurs du festival. Un joli coup pour lui. Non seulement, le groupe avait une place sur l’affiche, mais les deux filous étaient d’accord pour que nous écrivions et enregistrions une chanson. Laquelle sortirait sous la bannière The Official Isle Of Wight Festival Song 1970.  Encore mieux, il était convenu que le morceau passe entre chaque concert. Cette publicité massive, avec les passages radios, servirait au moins à donner au groupe le hit qu’il attendait depuis si longtemps. Les représentants légaux ont rédigé un contrat, qui a été signé par les deux parties.  Le jeudi, nous étions assis dans la salle de télé du Shanklin Clarendon Hotel. On prenait des trucs durs : de gros pots de thé, couleur créosote. Dave (Symonds, le manager)  a suggéré que nous regardions les informations, pour voir si on y parlait du festival. Deuxième titre : « L’IRA a annoncé que, pour protester contre la présence anglaise en Irlande, elle tirerait sur le premier groupe du festival de Wight, demain ».
Qui est le premier groupe ? Avons-nous demandé à notre manager.
Vous.
Le vendredi, on traînait en attendant de jouer. Tous nerveux. C’était un concert majeur pour nous. Nous nous sommes retrouvés devant un quart de million de personnes. Dan a tapé sur un tom, Steve (Clark) a tiré sur une corde de basse, Ed se raccordait. Je me suis approché du micro, le cœur battant. Les accords familiers de Eyewitness, j’ai ouvert ma bouche, sèche comme un os. We Know You Have Seen A Lot Of Things, c’était approprié. Le son était curieusement bas, alors qu’on s’attendait à être assourdi par les murs d’amplis. Ces bâtards avaient seulement tourné le bouton de volume à cinq. Et maintenant Aries, cet hymne nostalgique à la jeunesse. Mais le son disparaît dans l’espace ouvert, vers la colline. Vous pouviez presque le voir s’évaporer dans l’air. Applaudissement chaleureux, mais attendez, l’IRA…….S’ils descendent quelqu'un, ce sera le chanteur, au centre de la scène, les bras ouverts, la cible parfaite.  Pendant un moment, j’ai pensé à repérer le flingue, mais suis instantanément revenu à la réalité. Pas le moment de penser à ma mort. Je pouvais le faire plus tard, dans un bain de sang, en coulisse. Ma vie se mêlant à l’herbe piétinée, comme de la neige rouge. Ma bouche formant un dernier mot, « Bâtards ».  Après un concert trop court, nous avons quitté la scène, content d’être encore vivant.  En fait, c’était un pétard mouillé, juste pour faire de la pub à leur cause aveugle.
 
Louis : Vous faites toujours de la musique aujourd’hui, et avez sorti de nombreux albums. Étés vous ouvert à de nouvelles influences ? Ou êtes-vous nostalgiques des années 60/70 ?
 
Peter : Quand le groupe s’est séparé, j’ai quitté Londres, pour les vertes collines du Wilshire. Après deux décennies de silence, l’urgence créative est revenue, un besoin d’écrire. Je me suis mis à composer et à enregistrer mes propres chansons. Aujourd’hui, j’ai sorti quatorze albums en un DVD. Je vends mes disques sur mes deux sites : www.chelsearecords.co.uk (véritable mine de renseignements) et www.myspace.com/peterdaltrey. Il y a eu de bons retours des fans. Ils me disent que ma voix est restée la même, et qu’ils aiment ce que je fais. Dans la mesure où je suis la trace de Kaleidoscope et Fairfield Parlour. C’est inévitable, je ne peux pas (et ne veux pas) échapper à mes racines.  La nostalgie donne un sentiment de mélancolie chaleureuse. Mais c’est essentiellement auto indulgent et vain. Je préfère vivre dans le présent. Être concerné par ma prochaine chanson, que par celles qui ont quarante ans. Ce qui n’est pas pour dénigrer notre travail passé. J’en suis fier, et toujours ému que les jeunes générations découvrent et aiment nos disques. Je me sens immortel, ce à quoi tout le monde aspire.
Mes années avec le groupe étaient frustrantes. Parce que nous avons vu le succès nous échapper.  Ce qui n’était pas notre faute. Notre maison de disques était inutile, incapable de fournir nos disques aux fans qui les voulaient. Et le manque d’un manager, quand nous étions Kaleidoscope, nous a sérieusement handicapé dans nos contacts avec les dirigeants de notre compagnie.  Nous avons eu trois hits (Jenny Artichoke, Bordeaux Rose, Let The World Wash In), mais sans réel succès. Les deux premiers, gros carton sur les électrophones, ont échoué dans les charts, à cause de l’inefficacité,  de la maison de disques. Le troisième parce que les frères Foulk ont renégocié notre contrat, pour promouvoir le single pendant le festival. Donc, j’ai des souvenirs, mais ne m’y penche pas.
 
Louis : Avez-vous des histoires de concerts à raconter ?
 
Peter : Nous en avons fait tant que tout s’est fondu en un seul morceau dans ma mémoire.

 
Louis : À quoi pouvait-on s’attendre en venant à un concert de Kaleidoscope ?
 
Peter : Nous avions plusieurs personnalités. Pour nos premiers concerts, vous vous seriez sûrement retrouvé dans un club de jeunesse malodorant, ou une salle paroissiale poussiéreuse. Quelques gamins embarrassés, autorisés à leur première sortie par des parents autoritaires, se bousculant, agrippant nerveusement leur verre de limonade. Le groupe, quatre jeunots maladroits, The Sidekicks. Nous jouions les premières chansons des Rolling Stones et des Beatles, des blues de Mose Allison ou Muddy Waters. Le son n’était pas excellent, car nous avions seulement quelques amplis bon marché. Le chanteur était rivé au projecteur, agrippant son micro, tentant désespérément de se souvenir des paroles. Après à peu près une heure, le groupe était à court de chansons, et devait commencer à répéter son set. Mais presque personne ne remarquait rien, ils étaient occupés avec les jeux de la puberté. 
 
Si vous aviez vu The Key, ça aurait été dans l’arrière salle obscure d’un pub. Le groupe sur le sol, dans un coin. Ou dans un collège. Dans le pub, vous auriez été entouré de rockers graisseux, cherchant la castagne ou de quoi se défouler, plutôt qu’écoutant. Une épaisse puanteur de bière et de sueur, et un air d’anticipation. Pas du groupe, mais de la putain de baston. Dans un collège, la salle aurait été plus large, et le groupe sur une scène. Un public jeune, intense, avec des verres de cidre ou de bière.  Il y avait des projecteurs et peut être quelques jeux de lumière. On jouait toujours nos reprises de blues, mais on avait incorporé plusieurs chansons à nous. Vêtus de chemises bouffantes, et de Beatles boots Anello and Daniel. Une fille en mini-jupe était assise sur scène. Entre chaque morceau, elle lisait une ou deux lignes de poésie. À la fin de la dernière chanson (une pièce de résistance épique, oubliée depuis longtemps, nommée Face), le groupe emmenait le chanteur qui venait de s’évanouir. Du sang coulant de sa bouche. À l’université de Brune, où ceci s’est déroulé, vous auriez pu voir le public devenir sauvage. Et les organisateurs nous ficher dehors, pour avoir enfreint les bonnes mœurs. Ils semblaient peu apprécier notre mise en scène ampoulée. Et les capsules de sang, achetées dans un magasin de farces et attrapes, sur la route.
 
Un concert de Kaleidoscope se déroulait dans une université, ou un club. En compagnie de gens vêtus tout en couleurs. Le groupe superbement équipé de matériel tout neuf. La sono de meilleure qualité, on jouait fort. Le répertoire était entièrement original (Dive Into Yesterday, Snapdragon, Love Song For Annie, Music). Cette dernière chanson était le final, une cacophonie. Qui, en général, en faisait demander plus au public. Pas de sang cette fois, mais de la vraie sueur.
 
Un gig de Fairfield Parlour se déroulait toujours dans une université. Le public habillé plus sobrement. Vêtement sombre et grands chapeaux. Toute la soirée avait un air beaucoup plus mature, avec nombre de morceaux acoustiques. Steve jouait de la flûte sur Eyewitness, et moi du clavicorde sur Soldiers Of The Flesh. Vous auriez pu nous voir au Mothers de Birmingham, juste au-dessus de chez le tailleur Burton. L’endroit méritait un effort. On a joué là-bas plusieurs fois, toujours chaleureusement accueilli. C’est dans cet endroit que Dan s’est démoli, en se coinçant un nerf de la colonne vertébrale, après un concert particulièrement énergique. On pensait qu’il allait mourir sous nos yeux. Il a passé des semaines à l’hôpital, survécu, et nous a rejoint, en vrai grognard. Mais il porte toujours les séquelles de cette nuit là.

 
Louis : Contrairement aux USA, le psychédélisme anglais semblait avoir des difficultés à s’adapter à son environnement. Quelles sont pour vous les différences entre les deux ?
 
Peter : Les deux sont bien distincts. La version US a été fortement influencée par l’émergence de la drogue culture. Particulièrement à San Francisco. La musique, bien que retenant les éléments essentiels (guitare bruyante, bizarrerie contrôlée, paroles obscures) était en général plus lourde. En Angleterre, c’était plus aérien. Et certains diraient avec des textes plus compréhensibles. Nous étions influencés par les contes de fées, le côté gentil de la vie. Qui va probablement vous ramener à votre enfance. La drogue était présente (pas dans notre cas, du moins), mais de façon plus subtile. Je pense pouvoir dire que c’est cette version que je préfère. Le mouvement psychédélique a été très bref, un phénomène musical qui a défini sa propre époque. Partie d’une ère brève, fleurissant sans raison apparente. Semblant offrir un doux chemin coloré vers le futur. Mais se consumant dans les excès, sur la fin.  Donnant naissance à la soi-disant musique progressive. On a suivi le mouvement, et secoué nos fringues de hippies, pour devenir Fairfield Parlour.

 
Louis : Que pensez-vous du téléchargement ? Tangerine Dream a été réédité plusieurs fois, vous à t’on demandé votre avis ? Avez-vous eu un retour financier ?
 
Peter : Un point qui fait très mal. Comme quatre jeunes naïfs, nous étions (et tant d’autres avant nous, y compris les Beatles)  manipulés par une multinationale. Je doute que nous ayons même lu le contrat, avant de le signer. J’en veux toujours à Dick Leahy, notre producteur, de ne pas nous avoir incité à prendre un manager. Il nous aurait représenté, et discuté avec la maison de disques. Un manager à poigne aurait insisté pour un meilleur taux de royalties, une meilleure distribution et promotion, du soutien. Alors que nous étions piétinés par une boite incompétente, avec toujours un pied dans les années cinquante. Ils ne connaissaient rien au psychédélisme, et avaient de plus gros chats à fouetter. Comme Dave Dee, Dozy, Beaky, Mick and Tich. Bien que notre manager de l’époque Fairfield Parlour ait fait des erreurs, il nous avait au moins assuré un meilleur contrat avec le nouveau label, Vertigo. Le disque a été enregistré, et on a loué les bandes pour cinq ans. Après cette période, tous les droits revenaient au groupe. On profite donc d’un revenu correct, en licenciant Fairfield Parlour et White Faced Lady (album resté inédit).  Pour répondre à votre question, oui nous touchons des royalties pour Kaleidoscope. Mais vu le taux de retour criminellement bas, qui se maintient depuis quarante-deux ans, ça nous fait de l’argent de poche. Amer moi ? Tu parles. J’ai travaillé avec Universal sur la compilation Dive Into Yesterday, mais là encore ils ont lésiné. Le livret était supposé être en couleur, ce qu’ils ont changé en monochrome, à la dernière minute. Pour économiser trois ronds. Les pauvres gens. Télécharger ? Pas mon truc. On touche des haricots là-dessus. À moins d’avoir des centaines de milliers de gens téléchargeant votre musique, vous ne gagnerez jamais un sou comme ça. Je préfère vendre mes disques sur mon site, Les fans savent que s’ils m’achètent un CD, le profit sera investi dans la musique. Pas dans lesgriffes d’un représentant de maisons disques, ou d’un actionnaire, sourd comme des pots.
 
Louis : Que pensez-vous des groupes actuels ? Des favoris ?
 
Peter : Je n’écoute pas de musique. Pour ne pas m’abîmer davantage les oreilles. Les mecs dans les groupes, lisez ceci : protéger vos oreilles, portez des filtres anti bruit, sauvez votre ouïe. Où vous finirez comme moi. Le mot anglais que j’utilise le plus est « pardon ».
 
Louis : Vous a-t-on déjà pris pour Roger Daltrey ?
 
Peter : Beaucoup de gens font l’erreur de m’appeler Roger. Mes parents avaient réservé dans un restaurant, et ils avaient bien mangé. Le serveur leur a demandé si le personnel pouvait les rencontrer. Ils ont accepté, en trouvant ça extrêmement bizarre, mais ont accepté. Les serveurs et les cuisiniers ont débarqué, bouché bée devant mes parents stupéfaits. Le chef a alors demandé si Roger pouvait leur rendre une visite. L’addition avait baissé, mais mes parents n’ont rien dit. Je crois qu’ils voulaient surtout manger à l’œil.
 
Louis Hauguel pour Fuzzine, avec la collaboration de Lou et traduction de Laurent. (2010)