Take Away Shows

Blogotheque, La Premiered Apr 26, 2006 Hasn't Aired


No Editor

User Score: 0

Episode Guide

  • 2011
    • Battles
      Episode 0523
      For days we were searching for hangars, warehouses and big empty loft spaces. We got the opposite along with the immoderate enthusiasm of Agnes, who works with the city’s cinematography association and wanted to see “what it would be like, a Blogothèque concert at the city hall”. It was incongruous, it was bloody exciting. We were going to shoot Battles in a rococo style lounge in The Hotel de Ville, the magnificent city hall and mayor’s office in the centre of Paris. We decided to go all out and take as much equipment possible, dragging huge boxes, running dozens of cables across the ancient and noisy wooden floor. Constructing a wall of amps under a fresco of glorious and triumphant agriculture, preparing a wall of sound that would, we were later told, make the several floors above us shake. We couldn’t say what was further from their comfort zone - the angular futurism of Battles, or the heavily detailed painted walls of the ’Bertrand Salon’. With the housekeepers flitting between anxiety and amusement, the three band members roamed around the space, eyeing up the chandeliers, dumbfounded. As their sound engineer secured several wires to the ground, Ian had trouble reducing his tension. You know, we never play live without an audience like this. We need the excitement... do you think we could have some beer? Beer, here? Surely we ought to have some good wine... Ha why not. But we’d need real glasses wouldn’t we? The accessories were found. The wine glass almost linking the two worlds. Next, the machine was launched. We were in an environment as different as the group themselves - their mathematical music, cut to the extreme, long sections with boxes within boxes - we couldn’t possibly film on just one camera. Nat found himself directing five cameras, trying to not miss even a microsecond of what was happening. The result is like nothing we’ve ever created before. Blogoth&egmoreless
    • Misteur Valaire
      Misteur Valaire
      Episode 0509
      (A short disclaimer for you connoisseurs of the interweb’s finest: this text is not the finest. We love this session, and sometimes we leave our pants untucked too.) There are those among us who resist watching music videos, but nonetheless only know the Valaires through their videos: carefully shot and polished films, where they display their sharp and definitively Québéçois sense of masculine elegance with acumen, whether in a deserted alleyway or by poolside. How will these control freaks, these dandies, survive the trials of a Take Away Show: completely improvised, shot in a symbolic Montreal barbershop? Réal : Thomas Jacquet Tourné à Montreal We were deceived: they were roughly shaved, shirts untucked. They thought it was good form, when blowing into a saxophone, to keep their glasses on. They tried to hide their unkempt hair under scruffy caps. Réal : Thomas Jacquet Tourné à Montreal And there they were, having pleased themselves by thinking that they could easily stir up a crowd, liven up a garden party: at Menick’s the older clientele sat still as clay, not even batting an eyelash. Even worse, if you’re paying attention, is the second video, where the room is empty. No, really, they’re hipsters.moreless
    • Jae
      Episode 0509
      I met Jessica (aka Jae) two years ago. Camaraderie limited had organized a concert in someone’s apartment, one of Jessica’s first concerts in France. I didn’t really know what to expect from her, a girl half-hiding under her pink cap. She arrived solo, Jana Hunter-like, electric guitar and mini amp in hand. I think what it’s called is love at first sight, taking you by surprise even if we’d repeated “this girl, this voice, you’ll see” twenty times over. This girl, this voice, like something from a past era, with the airs and intonations of the turn of the last century, and being no further than a metre from the musicians, this incredible tone hits you straight in the face. That look, that voice, though, were so unlikely. I left the apartment with some CDs and the firm intention to film her. It took a while to do, though. A year. A year, enough time for Jessica to evolve and to surround herself with Anat the Israeli and the Dutch Vijam. A well-stocked trio. We brought them to an apartment. These harmonies would probably have been too delicate for the street. The girls were ready, smartly dressed, a little nervous about the idea of being filmed so closely. Réal : Colin Solal Cardo Tourné à Paris The session carried itself. I think that this was one of the rare times we have filmed so many songs, without cutting, in such a short period. It was so easy, so natural for them that we decided to leave the comfort of the apartment and confront the life of the courtyard, the curious onlookers. They sang in every corner, played with the street’s noise, before finally finding, around a fountain, their harmony as a trio. Réal : Colin Solal Cardo Tourné à Paris It was in September 2010, during (I think) the last few days of spring. Everything was soft, the music, the weather. It took a crazy neighbor, “exasperated by the racket” because “there are people working&rdquomoreless
    • Alex Winston
      Alex Winston
      Episode 0504
      The wind rose up to chill us; the weather was bleak, the sky all grey. Were expecting four girls without instruments, Alex and her singers. From the distance, we saw an impressively large group approach. Forget an a capella, the musicians were there and numerous. A slight worried look passed over the sound engineer’s face, he who would have to capture this happy mess. Deep down, however, I was delighted. Smiling and enthusiastic, they only wanted one thing: to play their songs wherever they could, in newly discovered spaces. And they sang “Choice Notes” everywhere, as if they were using it to harmonize. Everywhere, always, like a melody you can’t get out of your head. Réal : Nathanael Le Scouarnec Tourné à Paris After a second song in some very strange bushes made of condoms (which you can see in the long version of this session), we started to get cold. To warm up, we decided to play “Locomotive” on the move. We were behind the Louvre pyramids, in the middle of an immense, deserted interior courtyard. Without really knowing where we’d end up or who we’d meet along the way, Alex confidently took the lead. Resolute first steps on old cobblestone, first notes of a vigorous song. Réal : Nathanael Le Scouarnec Tourné à Paris The session ended much more calmly along the banks of the Seine, with the amused glances of tourists and the natives’ indifference. www.myspace.com/alexwinston The long version can be seen at watchyoursteps.netmoreless
    • Josh T. Pearson
      Josh T. Pearson
      Episode 0427
      He had a giant beard, giving the feeling of being wise beyond his years. He barely moved as he sang, lips, fingers. His sadness was infinite, his music brought tears to your eyes, it never stopped. Follow Josh T. Pearson’s eternal laments through Belleville’s bustling streets. 1. The Eyes/The Beard Josh has the beard of a man who has had the time to live, who has lived many times. It is long, it is dense, engulfing his cheeks, taking over his face to the point that it has become the face, his identity; it gives him his age, his severity. When you get close to Josh, when you see his eyes, they are young, blue, frighteningly intense. Think about Daniel Day Lewis’ mustache and eyes in There Will Be Blood. That intense. 2. The Never-Ending Song We already felt it in the Lift to Experience era, and it was confirmed when we heard the album: each of Josh T. Pearson’s songs is a lament, a mantra to while away the hours. This is what happened that afternoon. In a quiet street, in an empty hallway, in the tumult of the boulevard de Belleville, with no one around, crowded, he would have still played, and played the same song. We usually followed, sometimes we lead. On a sloping street, he fooled around by confronting each descending car, while continuing to play, on and on… Réal : Colin Solal Cardo Tourné à Paris 3. The Chinese We’d chosen Belleville. Without really knowing why, other than being attracted by rue Denoyez, its graffiti-covered walls, unceasingly redecorated. We hadn’t thought about it being the Chinese New Year: dragons, drums, strings of firecrackers. It began as a game of cat-and-mouse, trying to get a song in before a new explosion of joy rang louder than Josh’s voice. Later, it became simply the inclusion of slow movement within the fast bustle, the roaming of a musician, alone, rootless, inaudible and invisible in the noisy, joyous crowd. The sun set, we’d been there for two hours,moreless
    • Buck 65
      Buck 65
      Episode 0420
      It’s been ten years since I saw Buck 65 in concert. Back then, he held the room alone with the mic, a MiniDisc player and his decks. I was a fan of Square’s flowing songs, of the formidable efficiency of The Centaur or 4 6 3, and was won over even more by his live show. Having followed the rest of the adventure with interest, his maneuvering towards a bigger rock sound (with Tortoise as a backing band, no less), I thought, however naively, that Buck 65 would use his Take-Away Show to take a bite of his first albums, with a Ghetto Blaster and some guys keeping the beat on the edges of the Opéra Bastille. It was a sort of fantasy. Because Buck 65 is different. A dandy, an articulate gentleman, playful but skilled, efficient, no visible effort. No spinning b-boys, but a former model with a dreamy voice, no ghetto blaster, but an iPod slid into a small portable player – one that even had giant round batteries to pop inside, like an ancient, mythic memory. Buck 65, sensational on stage, found himself in front of a sparse audience, not counting the three pleasant high schoolers sitting quietly a few steps away, a small group vaguely intimidated, not knowing what the next few minutes held in store. But once the music started, any doubts disappeared. Réal : David Ctiborsky Tourné à Paris There was, evidently, a complicit agreement between him and her. There was equally a tiny bit of malice towards the high schoolers. Above all, though, there was his unstoppable diction, his colourful evocations (Rossy de Palma, even!); in short, the thing that Richard Terfry does best: rap. I’d imagined an unrestrained MC, but I was wrong, I saw them together and I was happy. No lovey-dovey, no pretention, no joking around: just two people seeking to be, for the space of an instant, within parentheses. The bassin de l’Arsenal was an obvious choice, sheltered from the traffic and the crowd. We felt less and less there; the music, themoreless
    • Hyperpotamus
      Episode 0405
      I was frustrated. Frustrated with years of playing in too many bands as both a drummer and a pianist, tired of the usual procedures, bored with the label talk... I set out to make music on my own. I dabbled in electronic music, but found it way too technical for my poor brain; I recorded solo multi-instrumentalist music, but left it aside after realising I’d never be able to play my songs live, unless I had a band...again. It was only after having suffered a 48 hour workshift as a runner at the wrong electronic music festival, being bitten by hordes of African jellyfish on the Spanish coast and later driven home by a shaky ex-inmate, that the distress and sheer extremity of my physical condition allowed me to encounter my epiphany: make music without instruments... I quickly recorded myself improvising and only after having pressed the Stop button did I realize this was the best music I had ever done. Soon, I bought myself a loop pedal and started to rehearse my new found vocal compositions in Madrid’s metro station of Tribunal. After that came the gigs, the album, the festivals... Let’s quickly fast forward to three years later. A guy who calls himself Vincent Moon gets in touch and dares me to repeat the venture while roaming the streets of Barcelona, something to which I was initially reluctant to do, since the technical issues aroused by having to perform while walking made it look impossible. But it was this challenge, as well as the extremely tight deadline imposed (thanks Vincent...), that made me tick... Being used to my static food pedal connected to a PA system, I had to improvise and come up with a mobile setup of some sort. In came the handheld delay pedal, the cheap battery-operated amp and the microphone, all connected via my backpack: et voilá, the 21st century one man band. Réal : Vincent Moon Tourné à Barcelone The end result was something I had never done or experienced before. Basically, what you see imoreless
    • Valleys
      Episode 0329
      Montreal is a city of authenticity... its bagels, its smoked meat, its music, its snow storms. As snow falls, you are at once convinced of its authority and its arresting beauty. It is not a rare fact of winter though, and locals are not dissuaded from their activities by its onslaught or accumulation. During a particularly convincing show of power in December, Tillie, Marc and Pascal took to the streets, and tested their sounds against the elements. We started at the McTavish reservoir on the campus of McGill university. Backdropped by the formidable pump house and the spot lights of a downtown sports event, Valleys charged into a stripped-down version of their 10 000 Hours, howled into the night as our fingers atrophied in the bitter cold. Réal : Derrick Belcham Tourné à Montreal Joints burning from exposure, we climbed back in Tillie’s station wagon and sought warmer climes in the Mile End. We congregated in James Irwin’s oft-utilized basement apartment with its atonal piano and flickering lamps ready to accompany the band’s impromptu arrangement of their Tan Lines. Réal : Derrick Belcham Tourné à Montreal Business of art complete, we used the unrelenting weather as an excuse to drink the night away, speaking far into the night of shamanic herbs, the dark side of the Montreal sex club side shows and growing up in the comforts of a Buddhist monastery. All of this was to be buried, without trace, in a night that saw 3 feet of snow fall on the tracks of our adventuring.moreless
    • Florent Marchet
      Florent Marchet
      Episode 0328
      It’s probably not often that the secretary hears music from the street, a melody; it’s unlikely that even laughter travels to her through the enormous windows of these bourgeois offices. When Florent Marchet and his band left the stuffy atmosphere of the taxidermist, singing la Charrette under the setting sun, the moment presented the perfect opportunity for the secretary to play the giggling schoolgirl, to swoon from above, poke her head out, call her colleague over, and then to hide, sneak a glance, giggle, and disappear. Florent was ready to perform a serenade, to sing for them in the silent street. But it wasn’t to be. Too bad. Réal : Ed Tourné à Paris Too bad, because Florent Marchet was on point. He’d warmed up amongst polar bears, tigers and trepanated monkey heads. First, a ‘Benjamin’ true to form, and then this ‘La Charrette’, where Florent understood that he had the right to have some fun with it, to give in to his dancing feet, to get out onto the street. Go, go, we’ll follow. Réal : Ed Tourné à Paris He’s charming, he’s affecting, Florent. He called his jacquard sweater ‘the Benjamin sweater’, and had brought it along especially for the occasion. He had a silk tie for the moments where the Benjamin sweater was laid aside. Once he was done playing with the bears, we left to find him a fireplace, resembling the one on his album cover. It was a small, low-ceilinged apartment, a Parisian apartment that looked like a ski lodge from another century: open kitchen, pinewood bar, a collection of GEO magazines and old Guinness Book of Records on the shelves. There was also an old carpet: Florent sat on it, alone, and played one of his more beautiful songs, L’Eau de Rose, there, just next to the fire. We were peaceful. We should have had hot chocolate, we could have laughed at old jokes. Réal : Ed Tourné à Parismoreless
    • Polaco Sunshine
      Polaco Sunshine
      Episode 0328
      The jungle, sure, or something like that. I’d only been told that we were going to Tigre, somewhere north of Buenos Aires. Without knowing what Tigre was, we would be spending two days there, then returning by boat, which sounded like the perfect trip. With one exception: you can’t even imagine what it’s like to film a long take with a hoard of mosquitoes nibbling at your arms. There’s nothing on how to deal with this in film manuals. It made everything a little less glorious. Réal : Vincent Moon Tourné à Tigre Polaco Sunshine’s music is near indescribable, music that picks up on everything around it. Instrumental music that opens narrative possibilities. In that era I was seeking out emerging paths in music, and this film with Polaco was my first attempt at discovering a new religion. Or, kind of. So, then, an abstract wander in the JUNGLE, seeking out the soul of our surroundings, which lead to Calitshatski, a curious character who lives alone in the wild, and the Argentine musicians who went to him from time to time to build on their imaginations. Filming nature is impossible. Evoking it is even harder, its soul taking you over, and its sounds, intense but mostly invisible. There’s no point but to pretend that the mosquitoes are rare visible manifestations of this spirit, to rejoice in them. And we can forget our fluctuating plans a little longer to say that we believe.moreless
    • Adam Repucha
      Adam Repucha
      Episode 0308
      I’d never been to Poland. The idea never really excited me, to the contrary in fact; the place seemed cold, and I wasn’t expecting anything big. The shock, then, was overwhelming, and Adam’s music was the soundtrack to my short trip. Réal : Vincent Moon Tourné à Varsovie The first time I met Adam Repucha, he was by my side in the audience at a small concert in the centre of Warsaw. An American musician was in town; no one knew his name, but the information was flying around (It sounded like ‘An American is here!’ as if it were a breath of fresh air). During the concert, the American musician asked the crowd, “What would you do with a time machine?” – surely an introduction to his next song, although I can’t remember – and Adam answered, as quickly as he could, “Play a song that I hadn’t written yet!” It was then that I decided filming him would be a good idea. I’d discovered Adam via a sad little youtube video sent to me a few days before I’d left for Poland. The link to this young guy who hadn’t yet released anything had been sent to me by Magdalena, my only Polish contact. I’d wanted to meet him, seduced by the tone of his voice, and by this drifting body, so Rimbaudian. Above all, filming songs sung in Polish, though the words may sound rough. Réal : Vincent Moon Tourné à Varsovie I arrived in Warsaw by bus, or by train, I can’t remember, directly from Berlin, where I’d spent two days filming Bruno S, who passed away two weeks later. Warsaw was a pit stop before Krakow, a city that excites the imagination quite a bit more – but to think about it, the history of the disappearing world forms the history of the emerging one, and it is evident that life can’t be found in a museum. We have to figure out if we’re seeking true life or its representation. I would have liked to film Adam longer, to tamoreless
    • Colin Stetson
      Colin Stetson
      Episode 0307
      If ever there was a time to not write about music and to simply listen, this is it. Colin Stetson’s horns are played with an absolute and uncompromising authority. His accomplishments and collaborations are many and considerable. His discipline is unrelenting. He plays here alone in his home, a man at work to create a powerful orchestra of tones, a hydra-headed sound only to be experienced, not to be described. Réal : Derrick Belcham Tourné à Montreal Later, we descend into the practice space of Bell Orchestre, studio to 2/7th of Arcade Fire, now the scene of another sonic attack by Colin’s baritone. Ten minutes to spare before a tenuously populated schedule takes him away to the world where he is hired gun to Tom Waits, Laurie Anderson, Lou Reed, Godspeed, Bon Iver, he loads his weapon and fires with precision. Réal : Derrick Belcham Tourné à Montreal PS : Please please read the text Said the Gramophone wrote about Colin Stetson D.B.moreless
    • Tahiti 80
      Tahiti 80
      Episode 0304
      A few years ago Xavier, the singer, saved a Take Away Show by singing louder and more sensibly than a stoned Kevin Barnes, in the midst of a crowd just emptying out of Bataclan. It was enormous chaos, a moment of joyous anarchy that Xavier tapped into musically. We promised that we would meet one day to film him and his band. We had to wait through a couple of albums, long tours, several jolts (the biggest being the departure of a major figure in the band), before we could keep our engagement. Until finally, three years later. Like a family, calm. Tahiti 80 in its entirety. Tourné à Paris We were curious to see what a film with them would offer, out of the studio, off the stage, the band presiding over the electronic arrangement of the heavy beat. They brought it with their deadliest weapon: a pad that made “pff” and “boing” sounds, a pad that automatically made your head keep time. We started in an improbably store, stuffed with faded CD and DVD boxes, but this didn’t make it into the video (director’s note: trust me, I would have loved to show you). Then next door to the Tiffin, then over to Motel, the refuge of the band and of the indie boys and girls of the east as well of as the band. Tourné à Paris Tahiti 80’s music has always kept an eye on soul, discreetly borrowing from the warmth and electricity of older black music. We’ll leave you here to discover this inflection, intimate and languorous; we’ll be jumping into the pool.moreless
    • Danielson
      Episode 0221
      I am 22 years old and working a shift in a basement record shop in Toronto, eagerly awaiting my turn to pick the next store-play record. Endtroducing is still in high rotation on my home player, Kid Koala and Beth Gibbons on repeat in the discman. Dylan and Cohen fill the emotional gaps left by the stylized drum and string sounds of my potential choices. One track from the end of the currently spinning Smog LP, I spy my choice. The new Tricky has arrived that morning, and I am hell-bent on converting the other ears in the room to his grimy, London trip-hop. In front of the player, I’m greeted by Nathan. He is the veteran of the shop, the authority. In a world before the rise of the music blog, his opinions reign supreme. N: What’s that? Me: The new Tricky, The Wire reviewed it this month. This factoid does not compel him. Me: I met him at the Opera House. He was really nice actually. N: LET ME TELL YOU SOMETHING. Nathan has had a falafel for lunch. Angry cilantro blows towards me. N: DO YOU WANT TO HEAR SOMETHING? LIKE SOMETHING REAL, DO YOU WANT TO HEAR SOMETHING REAL? He is outraged and grave. I defer. N: GIVE ME THAT. He discards it, breaking the case. He pulls out a colourful sleeve from below the counter. I don’t recognize it. N: Please just listen to this. It is the Danielson Famile, and nothing will ever be the same. Our time at Pop Montreal is brief and surreal. I am in awe of Daniel and his wife Elin. His touring band is practiced and ready for adventure, and we shoot in one of the iconic Montreal alleyways, and Josh’s bass tears through the cigarette pack amp we’ve provided. Daniel is in fine form, his voice powerful and in control of its complex melodies. Réal : Derrick Belcham Tourné à Montreal We stop at a church, and I only later do I recognize the obvious correlation. This is the aspect of Daniel’s music that is most bewildering. His songs are deeply faithful, full of a belief that most of his lmoreless
    • Local Natives
      Local Natives
      Episode 0211
      There are encounters like this, encounters that can change your year. That hit you without warning. This one happened on a February night, during last winter’s Route du Rock festival. Since then, we haven’t let them out of our sights, and today we’re happy to bring you the second Local Natives Take Away Show, where the music is marvelous even if their shirts were a bit bizarre. This time they spent their extraordinary energy in the Passage Vivienne, not far from the Palais Royal, serving up a version of ‘Who Knows, Who Cares’ re-written especially for the occasion. Of course, the rain loves interfering… Already part of the cast at our first meeting a few months before, part of our first session: a stunning, unexpected moment, during which the group from Silverlake didn’t stop moving, wanting to play everywhere, running around like kids. Our memory of this remains so strong that we wanted to recreate the moment. Their venue during the Inrocks festival in Paris provided the perfect opportunity. Caught in the rain once again, we had to reassess our plans. We couldn’t film outside, of course: the Passage Vivienne reached to us, with its colours, its lights, and its echoes. We just had to dare ourselves to break the passages’ silence, its calm. We knew we had only one chance to make it right. Réal : Nathanael Le Scouarnec Tourné à Paris But we also wanted to try something complicated, to play with this huge, convoluted corridor. Kelcey, Taylor, Matt, Andy and Ryan spread themselves out between corners and stairways. We’d been talking about this special version of ‘Who Knows, Who Cares’ while organizing the shoot. We wondered whether the piece would be a succession of layers or whether each musician would pick up on the others’ steps. We would never have time to film a progressing notation that needed adjustments… There’d be no retakes; we launched into it undemoreless
    • Stars
      Episode 0203
      If I would have to describe my early twenties in song it would most likely play a lot like a Stars song. That’s because nearly everything I did during those days, I would do it while listening to Stars. I would write, study, run, snuggle and most importantly, party, to Stars. Stars is a band that enchants you. Their live shows are unapologetically dramatic, filled with energy and wrapped up with a weird sense of nostalgia. We’ve had an opportunity to shoot Stars a few times throughout the years but we never quite aligned until this moment. That night while I was getting ready to meet them, I remember thinking to myself, “I have to get them to play Your Ex-Lover is Dead.” I had come up with different reasons and approaches as to how I was going to get them to play it. But to my pleasant surprise, the first song that they suggested to play was this one. That’s when I knew that this night was going to be special. Réal : Art Perez Tourné à San Francisco We jumped in a cab and headed to North Beach, a beautiful part of San Francisco, filled with old beat generation artists, poets and drunks. It was fitting. It was perfect. It was Stars.moreless
    • Chk Chk Chk
      Chk Chk Chk
      Episode 0202
      Who could tear up the stage without a stage? Without sweat and chanting, without bone-shattering noise, without intense encouragements accompanying even the smallest motions? They would have to become placid creatures, so conscious of their capacity to create an explosion that they wouldn’t have to expose it. Self assured, calm. Serene, even. That morning, Nic Offer was serene. That morning, Nic Offer was the classiest gentleman on earth. A short pink shirt, a simple trench coat, and not one word any louder than another, not a hint of anxiety, irritation, impatience, even though, it has to be said, nothing was ready. We left to get a coffee while the rest of the band sat in a grey hotel room, making a last-minute attempt to adapt their music to our constraints. Without changing his rhythm he nonchalantly rejoined them as they worked, then comfortably lead everyone outside. The weather was nice, time was on our side. Réal : David Ctiborsky Tourné à Paris That day, !!! (Chk Chk Chk) was a cougar on vacation, a beast who could have pounced but who knew she would be noticed regardless. The band worked with the rhythm of the sunny morning, tourists passing by lent their distracted ears, pretending to ignore the drunkard at the other end of the square while pretending to ignore that this music could have pounced upon them without warning. Naturally, in the air of pretending, the only dancer was an old man, who had taken the time beforehand to detail how these afternoon dances saved him from the boredom of old age. Nic did keep one of his reflexes, learnt during his career as an unfettered singer: no matter what, as soon as the camera got close, he couldn’t help but stare into it. He should have danced with someone instead.moreless
    • Iron and Wine
      Iron and Wine
      Episode 0202
      Hi, Sam, hi. Do you know how long I’ve been dreaming of this moment? You don’t, I’m sure, and I’m not about to tell you. If I could stop talking, I would; I never asked for anything other than to spend a few long hours with you, to follow you wherever you wanted to go, so you could play, so you could sing, so you could play again and again, so you could tell stories, so you could whisper contentedly like you do on The Creek drank the Cradle. It had been a while since you’d been through Paris. So, no, you don’t really have time, your schedule is overloaded, even if you’re trying not to let this show. You look well and nothing seems to bother you, although we can’t tell whether this is your natural kindness, your maturity, or extreme politeness fashioned by years of playing the promo game. Réal : Colin Solal Cardo Tourné à Paris This being the case, we couldn’t tell whether you needed pushing, flattery, encouragement, promises… The things you could have been doing tugged at your beard, pulled at your smile, inciting you to taste some wine, trying to find a way of closing the horizon around you, to build a cocoon, find a way out. Finally you sang. Like dates are etched onto the wall of a monument, I have often written: we’ll be seeing each other again, Sam Beam. Your songs deserved to be wrapped properly in our reels, letting them have time to warm up. We’ll be seeing each other, you folky, bearded song of my heart.moreless
    • Spoon
      Episode 0131
      Download mp3s from the Take Away Shows ! Spoon : The Ghost of your lingers- Take Away Show version Spoon : Got Nuffin - Take Away Show version Spoon : Black Like Me - Take Away Show version One evening in February last year, Furtif Garrincha and I were discussing the problems of “big” bands, one of which we agreed as being the fact that they never came to visit us in France; Spoon being an example of this. And then, as if to put a lid on our discussions, God, (or at least some omnipotent force,) decided to fulfil our wish of seeing them return to Paris. Britt Daniels and his band arrived at Pigalle around midday nine months later. Remote and undoubtedly tired, he seemed a touch inconvenienced. We were intimidated, and silently worried upon what remedy would be needed to help relax the atmosphere. Finally though, they made the first move. As soon as those starting chords struck out they formed a somewhat tense jubilance within us that rooted us to the spot, whilst the sound of thumping sticks upon dusty old vinyls sent a shivering rhythm down our spines. This pure version of “The Ghost Within You Lingers” was their way of showing us they were happy to be here. Finally, there was no need for words. Réal : Nathanael Le Scouarnec Tourné à Paris The four lads took it upon themselves to play in the narrowest part of the Phonogalerie, which became even narrower once the crew had squashed themselves in too. In this small corner, brimming with music archives, we were given their compressed, claustrophobic rendition of “Got Nuffin.” With their growing promiscuity acting as a catalyst, the band’s emotive excitement began to sweat through the impeccable facades of their compositions. The voice of Britt Daniels delved dangerously between the pulsing rhythm and guitar flecks, revealing the hidden desperation contained within the muscular indie hit. Réal : Nathanael Le Scouarnec Tourné &moreless
    • Chief
      Episode 0113
      Chief arranged to meet us at a friend’s house in Malibu. A bonfire had been planned. It was raining over Los Angeles, a light but unrelenting drizzle; it was dark and had been raining since the morning. In the car, I tried to spot the ocean. John told me that it was too bad it was dark, since the scenery was incredible all along this route from Venice to Malibu. Too bad. Face pressed to the window, I never saw more than the size of the homes perched on hilltops, the fancy-looking restaurants along the roadside, the size of the cars passing by us. Palms. Rain. The ocean, black and invisible. We finally found the street and parked in front of an ordinary looking gate. The drummer greeted me in perfect French, the product of several years of study at the Sorbonne. The house seemed enormous to me, but when he led us to what I thought would be the garden, when my feet sank into the sand and when I heard the waves crashing into the rocks, I stopped, looked at John, and silently mouthed WHOA. The garden, this garden, was the beach. And the ocean. Just for us. A piece of private sea. The owner of the property, a member of a well-known band, greeted us, offered hot dogs and Bud Light, and we joined the group that chatted and laughed around the fire. The drizzle hadn’t stopped and it was beginning to get cold, but the wind made it perilous to edge closer to the fire for warmth. Réal : Jeremy M Lundborg Tourné à Los Angeles Chief were nervous, but they were surrounded by friends. As they started to play, we saw that everyone there knew the words, and once they’d started they didn’t stop. Next we took them aside, to the patio, nearly broke a glass table and a statue, played with the lights, lowered the curtains, raised the curtains, and they played us a second song. And when we rejoined everyone sitting on the sand, after a couple of beers, we forgot about the drizzle, the cold, it was all part of the jam; we sang Weezer songs and amoreless
  • 2010
  • 2009
  • 2008
  • 2007
  • 2006