Orwell - Following
Days
 Artist:
Orwell
Title: Following Days
Catalog#: AHA!045
Price: $10.00  |
Tracks
on this CD: |
| Toutes
les nouvelles parlent d'hier |
| Fear Of Mars |
| Une
si belle aventure |
| Sans
cesse |
| Live
on |
| L'arrière-boutique
[partie 1] |
| Devenir |
| À
nous... |
| Clair |
| L'arrière-boutique
[partie 2] |
| Seulement
la foule |
| Comme
ceux qui savent poser leurs cheveux dans un angle de lumière |
| Des
lendemains |
| À
nous... (reprise) [Fugu version] |
|
|
Since the international success of bands like Air, Tahiti 80,
and Phoenix, French Pop has aroused a growing interest all over
the world. Maybe this explains why
Orwell's debut album was originally released by Quince Records in Japan late
last year, even prior to the French release (entitled 'Des Lendemains') this
past Spring. After an encouraging European mini-album, Orwell's sophisticated
pop has found its definitive sound for 'Following Days'. On this 14 track record,
sung in French and English, gentle melodies are supported by omnipresent string
arrangements, while the band's influences include both sixties orchestral pop
and eighties new wave. French retro-futurism has never sounded so beautiful!
'Following Days' features collaboration with guitarist Mederic Gontier from Tahiti
80 and multi-instrumentalist Mehdi Zannad AKA Fugu. A collection of Euro-exotica
and
melodically mesmerizing baroque pop… You have been warned.
Excerpts from Modularonline.com. Please click the link to read the whole
interview http://www.modularonline.com/07/interview_orwell.htm
Orwell combine a flair for the Beatles with nostalgic musical sensibility.
We can also note the insertion of sophisticated electronic sounds to keep the
music up-to-date. Could you reveal the real base of Orwell music?
Like for any band wanting to write good tunes, the Beatles are of course a major
influence. But we're not living in the past, and so many periods of music history
interest us that it would be very boring to list them all. Let's simply say that
we like to compare our way of making music to a time machine. We're fond of the
big orchestral sound of the sixties as well as the sharp rhythms of the current
electronic scene. We also listen to some obscure eighties bands of the like New
Musik or the Korgis. If we hear a great sound, why shouldn't we use it if it
fits the song? We just pick out ingredients from different decades to give a
certain feel to our melodies, but in the end all that's left is the quality of
the song itself.
Tahiti 80's Xavier Boyle has mentioned Orwell as a great French band. The
French multi-instrumentalist Fugu and Mederic Gontier also from Tahiti 80 has
appeared in the current Orwell release. Do you think is important to have the
support of bands from the same region? Why?
It is indeed very important for us because we really are outside the music business.
A band like Tahiti 80 is very fortunate to have a big record label behind them,
whereas Orwell is a real independant band. We all met thanks to the music, without
any intervention from a record company, just because we appreciate each other's
work. Mehdi from Fugu is our neighbour in the town where we live, and we are
used to debating about our songs almost every day, it's as natural as going to
buy the newspaper.
Tahiti 80, Fugu, Orwell, Strawberry Smell, Maarten, etc... Do you think there's
a rising French guitar pop scene and that it coincides with the decline of the
British music scene?
Obviously nowadays there's a particular interest for French pop which never existed
before. Since the success of bands like Air and Daft Punk in a large part of
the world, people have started to check out what's coming from France. Therefore
there are a lot of new bands because this has created a sort of copy-cat phenomenon.
If we compare this rising scene with what's happening in England, it would be
very selfish to think that French musicians are more interesting. But we do think
that British pop is a bit conservative, even if there are always good surprises
like Gorillaz recently.
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