Affichage des articles dont le libellé est France. Afficher tous les articles
Affichage des articles dont le libellé est France. Afficher tous les articles

samedi, juillet 14, 2007

Daft Punk


Punk fiction.

So you've reinvented dance music, packed out stadiums and won over hip hop royalty. What next for Daft Punk? Umm, an art-house flick about melting robots, finds Alex Rayner

Saturday July 14, 2007
The Guardian



A scene from Daft Punk's Electroma
You may now kiss the, um, robot: a scene from Electroma

You can only imagine the confused faces in the boardroom when the pitch came in. Two French disco producers want to make a film about robots driving through south-west America, on a mission to have their heads transformed into human ones with liquid latex. The proposed feature is 70 minutes long, has no talking and, although neither have any experience in cinematography, the disco producers want to shoot and direct it themselves. Transformers, this ain't. Add to this the fact that they're not employing many proper actors and plan to sneak in a close-up of a young lady's pudenda into the final cut. And that the soundtrack will feature none of their own, popular music, but, instead, suicidal folk, a baroque liturgy, as well as such radio-friendly hit makers as Franz Joseph Haydn. Oh, and they want a helicopter, some explosives, a black Ferrari and a pair of leather jumpsuits made by the world's most sought after clothes designer. Drafting the cheque already, fantasy film financiers? Well, it's a good thing that Daft Punk don't need your cash.

Ten years on from their debut hit album, Homework, Daft Punk are still a formidable presence in the music world. Right now, they're part-way through a huge international tour, playing a greatest-hits set to stadiums filled with adoring fans. Clubs are throbbing to French dance music once again, courtesy of Daft Punk acolytes such as DJ Mehdi, Justice and Busy P. Hip-hop stars are also paying their respects. Last spring Busta Rhymes rapped over a Daft Punk break on his Touch It single; now Kanye West has borrowed from the duo's Harder, Better, Faster, Stronger, on his new single, imaginatively entitled Stronger. Yet, despite all this acclaim, Daft Punk seem keener on half-filled film theatres than packed sports arenas.

"We expected it to be less popular than Discovery, of course" concedes Thomas Bangalter, the more talkative one, comparing the pair's cinematic debut, Electroma, to their multi-million selling 2001 album; "the film is experimental and inaccessible; however, it's a movie that does not require your brain to function."

Bangalter and his production partner and co-director, Guy-Manuel de Homem-Christo, are seated in a smart west London hotel suite, having recently returned from their soundcheck for the Wireless festival. Known for their wariness of the press, the duo are recording our interview on minidisc.

To avoid any misunderstanding Thomas is explaining their intentions in considered sentences. There follows much discussion of Magritte, dot-to-dot books, and the subjectivity of musical appreciation; all of which sounds like, not so much cinematic nonsense on stilts as Gallic bullshit on a quad-bike.

"It is a film without dialogue, almost without actors," Bangalter says, "does it fit into the blockbuster film industry or the pop charts?" before answering, haughtily: "it does not."

This would all be rather embarrassing were Electroma not a gem. Daft Punk's widescreen debut is a beautiful, sun-blushed nugget of cinema. From the clunk-click of the 1987 Ferrari 412's doors at the start to the burning figure at its end, Electroma urges viewers to hit the "off" switch on their higher faculties, and float down a sweet stretch of 20th century celluloid, recalling the science fiction of THX 1138, through the Cali rock mythology of Zabriskie Point, via Gus Van Sant's Death Trilogy, the androids of Westworld, the nudes of Edward Weston and Brian De Palma's camp rock horror excursions.

As a multiplex option, Electroma is unlikely to appeal to all the ravers who cheered along in Hyde Park this summer. Yet, rather than an embarrassing stab at vanity cinema, the film could seal Daft Punk's reputation as art-house playboys. Unlike the Sex Pistol's Great Rock'n'Roll Swindle, the Monkees' Head or U2's Rattle and Hum, Electroma may be their first film of many.

Hundreds of bands may tout cinematic references, yet few have them as hard-wired as Daft Punk. Guy-Man and Thomas met two decades ago this year, at the perfect cinema-going ages of 13 and 12. They spent much of those early days in the flea-pits of the Latin Quarter in Paris. Bangalter says the first movie they saw together was The Lost Boys.

"We went to the cinema on Wednesday and Saturday afternoons, when there's no school in France," he explains, "We watched a lot of classic films, from Charlie Chaplin to Fellini."

The one movie which they saw together more than 20 times was Phantom Of The Paradise, Brian De Palma's 1974 rock musical, based loosely around Phantom of the Opera (both this and Electroma feature "a hero with a black leather outfit and a helmet").

A love of smart movies and movie-makers remained. Daft Punk began working with Spike Jonze on their first video, when they were barely in their 20s. Michel Gondry directed the second, while Roman Coppola (Sofia's brother, Francis' son) shot the final promo from their debut LP. To accompany the singles from their second CD, Thomas and Guy-Man commissioned their own cartoon sci-fi feature, in conjunction with Japanese anime legend, Leiji Matsumoto.

These contacts stayed in the robots' Rolodex. Bangalter lives in LA with his actress girlfriend, Elodie Bouchez, star of one of Roman's features, and perhaps the model for Electroma's brief nude shot, sneaked in among a sand dune sequence. It was Jonze who put Daft Punk in touch with Electroma's special effects maverick, Tony Gardiner.

"Tony worked on Michael Jackson's Thriller video, when he was 17," explains Bangalter, "he turned Gwyneth Paltrow into a very fat woman for Shallow Hal." Although the duo's Parisian friends, Alex and Martin, first made the robot outfits, Bangalter says that on Electroma, "Tony brought them to life."

The film's producer, Paul Hahn, was a close associate of Gondry's, before co-founding DP's production company, Daft Arts. Hahn was tasked with finding two Thomas and Guy-Man sized actors to fill the lead roles. After considering a number of hunky Hollywood types - much to Guy-Man and Thomas' amusement - Paul eventually cast Peter Hurteau and Michael Reich, two production assistants who had worked on other Daft Arts projects. Hahn describes the process as a "Cinderella story". "The leather outfits and robot masks were tailored to Guy-Man and Thomas's physiques," Paul explains, referring to the biker-style leathers, designed by Hedi Slimane, former chief-designer at Dior Homme, for the duo in 2004; "it was a case of finding someone to fit into their bodies."

A number of additional helmets were produced for the extras. How many, is hard to say. The net figure is somewhere around 40.

Beyond these, few props were made solely for Electroma. Even the high-tech facility, where the robots have their faces slapped on, has appeared in another film.

"There's a big prize for the person who can name that movie," Bangalter jokes.

Electroma contains no use of CGI, and Thomas shot the movie himself, on 35mm Kodak stock. As this was his first experience of lensing a motion picture, Bangalter prepared by buying and reading more than 200 old copies of American Cinematographer magazine. The resultant shots are surprisingly accomplished. Just as Daft Punk are meticulous in music production, so they are equally obsessive in their film work.

Thomas: "I don't know if it's obsessive."

Well, you are perfectionists...

Thomas: "Perfection is also something that doesn't exist."

Erm, do you work hard?

Guy-Manuel: "We work hard."

Thomas: "We pay attention to every detail."

Rather than being distributed nationally, the film now plays every Saturday night at the witching hour, in an old Parisian cinema in the same movie-going district as they used to frequent.

"You have people there every Saturday," says Bangalter, rather proudly.

Daft Punk may sell-out stadiums and kick it with Kanye, but they seem happier pleasing a few Parisian film geeks.

Bangalter: "It's unexpected, doing underground art next to a Kanye West single. It's funny to be able to stretch and still not feel like you're a sell out - to be able to express yourself with integrity."

Having already hit the big time, it seems that Daft Punk's hardest task now is to avoid success, and damn the cost.

· Electroma is on at selected cinemas across the UK (see electroma.org), DVD out Sep 3


Pop screen: five more cult rock flicks

200 Motels (1971)

Bonkers Frank Zappa-fronted hippy flick that resembles Tiswas for acid casualties. Plus, Keith Moon as a nun!

Ladies And Gentlemen, The Fabulous Stains (1981)

Take lower league brat packers, Diane Lane and Laura Dern, cast them in a fictitious punk band, then draft in half the Sex Pistols, Paul Simonon and Ray Winstone. Grindhouse gold.

Phantom Of The Paradise (1974)

Brian De Palma's glitzy rock musical reworked chunks of Faust and Phantom Of The Opera.

Privilege (1967)

Pitched somewhere between Hard Days Night and 1984, Privilege predicts the corporate takeover of rock'n'roll and stars Paul Jones of Manfred Mann.

Sgt Peppers Lonely Hearts Club Band (1978)

The Bee Gees "interpret" Beatles classics for this rock opera. Badness.


Guardian Unlimited © Guardian News and Media Limited 2007

lundi, juillet 02, 2007

Justice


Electronica That Rocks, à la Française

By WILL HERMES, New York Times
Published: July 1, 2007

ONE of the most blogged-about sets at this year's Coachella Valley Music and Arts Festival in Southern California took place on a stage dominated by towering Marshall amplifier stacks and a huge illuminated cross. When the dark-clad musicians let loose with a familiar hammering riff, the fans erupted in roars, punching their fists in the air and barking out lyrics.

Young audiences "just want more fun in electronic music," says Gaspard Augé, right, of the duo Justice, with Xavier de Rosnay. No, the group wasn't a heavy-metal revival act — not exactly. Justice is a French D.J. duo at the forefront of a new school of electronic music far removed from the genteel soundtracks one commonly hears in W Hotel lobbies and design-conscious restaurants. The music is harder and hookier, as apt to inspire slam-dancing as hip shaking. It's more like rock, which effectively dislodged dance music early this decade as the hipster soundtrack of choice.

"Our crowd is more a rock crowd," said Gaspard Augé of Justice, who is still surprised that fans sometimes stage-dive at its gigs. Young audiences, he suggested, "just want more fun in electronic music, more hedonism."

So in a year that has seen indie rockers like Bright Eyes and the Shins releasing conservatively tuneful CDs that parents might borrow from their kids, rowdy electronic music seems to be seeding a new underground. "People are dancing again," said Tom Dunkley of GBH, the New York company behind Cheeky Bastards, a weekly club event that has embraced the new sound. When Justice and several like-minded D.J.'s performed at a Cheeky Bastards event in Manhattan in March, Mr. Dunkley said, the demand for tickets was "crazy, completely unusual."

Justice's debut full-length CD, whose provocative "title" is a simple cross icon, arrives July 10 via the Vice Records label. The duo had a video added on MTV (extremely rare these days for an electronic act) and has just finished a remix of "LoveStoned" for Justin Timberlake. And it has emerged amid the ever-growing influence of Daft Punk, the Parisian D.J. duo that pioneered the harder, faster approach that characterizes Justice's music with its thrillingly crude electro-house debut, "Homework," in 1996. The rapper Kanye West sampled a track from that album for his hit "Stronger"; this summer Daft Punk will embark on its first major tour in a decade, a multimedia extravaganza that will come to Keyspan Park at Coney Island on Aug. 9.

Some American acts, like LCD Soundsystem and Ghostland Observatory, have been channeling this new sound, as have cutting-edge artists elsewhere. (In recent recordings and live shows, Bjork has been adding noise to her usual dance beats.) But for the past couple of years France has served as its most exciting incubator, on indie labels like Kitsuné, Institubes and especially Ed Banger, which signed Justice and whose name suggests its M.O. (Try pronouncing "headbanger" with a Parisian accent.) And despite some tut-tutting by fans of minimalist techno and other esoteric electronic styles, the new headbanging aesthetic has found an audience.

The members of Justice — Mr. Augé, 27, and Xavier de Rosnay, 24 — met in Paris. Mr. Augé was a Metallica fan who once played in an experimental post-rock group. Mr. de Rosnay was a fan of hip-hop and pop. Justice was effectively born in 2003 when the pair, on a lark, refashioned a song for a remix contest promoted by a college radio station in Paris.

"You could download the separate tracks: guitar, drums and other things," Mr. de Rosnay said via phone from Paris, explaining their remix process. "But we were working without music software: just a sampler, a sequencer and a synthesizer. So we downloaded just the voice on the chorus, because there was not space enough for more than eight seconds of sound on our sampler."

The remix, a radical reshaping of "Never Be Alone" by the British rock group Simian, lost the contest (no one seems to recall who won) but netted the duo a deal with the nascent Ed Banger label in 2003. Eventually retitled "We Are Your Friends" to echo its shouted refrain, the track became a club and Internet phenomenon. To top it off a striking video clip for the song, which looked like the aftermath of a college keg party as dreamed by Michel Gondry, won the award for best video at last year's MTV Europe Music Awards, trumping even the Evel Knievel-themed flamboyance of "Touch the Sky" by Kanye West (who, characteristically, threw a tantrum over the outcome).

"We Are Your Friends" isn't on Justice's new album, but there are plenty of other signs of the members' fusion-minded taste, from a pixilated take on Parliament-Funkadelic ("New Jack") to the kiddie-disco singalong single "D.A.N.C.E.," which seems to have struck a chord: A leaked version was so widely remixed by Internet sample-jackers that Vice posted alternate versions on its blog.

The album also includes the vocal-less single "Waters of Nazareth" from the group's self-titled EP, which made numerous best-of lists last year. The new version begins with a serrated sputtering of electronic noise; when a 4/4 kick-drum beat comes in, the noise becomes a simple, brutish melody. It mutates as the beats fragment, like chips of wood from the blade of a buzz saw, and is replaced by a churchy organ riff on the bridge; then the two melody lines combine, skidding back into pure modulating noise again at the end.

As with the best garage rock or heavy metal — as well as '80s electro, the synthesizer-heavy urban dance style Justice frequently echoes — there is beauty in the relentless primitivism.

As for the cross-icon title, Mr. Augé said it was inspired, in part, because "it was a potent pop symbol in the '90s, with people like Madonna and George Michael using it." Of course it's also a common heavy-metal motif, a connection also suggested by Justice's crudely gothic black-and-silver cover art (not to mention those awe-inspiring Marshall stacks, which, it should be noted, are merely stage props).

Both members of Justice have worked as graphic designers, and visual presentation is an important part of Ed Banger's aesthetic. So is a sense of playfulness, whether it's the shameless potty mouth of Uffie, a female American rapper of sorts best known for the campy gangsta track "Pop the Glock," or the way DJ Mehdi mixes old-school hip-hop and electro with bits of hair-metal guitar. (Both acts appear on the recent compilation "Ed Rec Vol. 2," released in America via Vice.)

"I've never worked with a group that's so fully formed," said Adam Shore, the general manager of Vice Records, referring to the Ed Banger crew. "They've got the music, the art, the aesthetic, the amazing videos, and they're kind of a traveling party."

Ed Banger's multimedia sensibility, not to mention its sound, has a clear antecedent. The label is run by Pedro Winter, who, in addition to making music as Busy P, has for many years managed Daft Punk, the duo of Thomas Bangalter and Guy-Manuel de Homem-Christo. Like Justice, Daft Punk played Coachella, in 2006; its set was a spectacle of lights and video with the duo, in the guise of robots, triggering electronics atop a sort of neon pyramid.

Daft Punk is not directly involved in Ed Banger, but you can hear its influence on the label. And Mr. Bangalter's superlative remix of DJ Mehdi's "Signature" turns a teasing snippet into what might be the most ecstatic dance track you'll hear this year. The duo's influence persists elsewhere too.

"Daft Punk were my heroes when they released the `Homework' album," said Thomas Turner of the young Austin synth-rock band Ghostland Observatory. "That really influenced my view on music."

Mr. Bangalter, who spoke from Los Angeles last month during a break from tour rehearsals, is amused that, at 32, he is considered an elder statesman to a new generation of electronic musicians. And unlike the scene veterans who reject the rockist attitude of Justice and its peers, Mr. Bangalter appreciates the music on its own terms.

"Most of these people were like 6 or 7 years old" during electronica's first wave, he said. "It's not really their history. So they are starting from scratch maybe. From more of a blank slate."

Or as Justice's Mr. Augé put it, "We just don't care about respecting the rules."

dimanche, juin 10, 2007

Jarvis Cocker interview

Paris match.

Jarvis Cocker moved to Paris four years ago in search of anonymity and a new life for his French wife and baby son. Returning to Britain to curate the Meltdown festival, he tells Lynn Barber about fame, fatherhood and his alter-ego, Darren

Sunday June 10, 2007

The Observer


Meltdown, the arts festival on the South Bank, starts next Saturday, curated by Jarvis Cocker, and you can see him in concert on the last night, after a week of events including Iggy and the Stooges, Motorhead, Devo, Cornershop, the Jesus and Mary Chain and zillions of acts I've never heard of. That is if you can get tickets - Iggy sold out the first day, rather to Jarvis's chagrin. Jarvis doesn't really do wild enthusiasm but he came as close to it as I've ever heard him when talking about Meltdown. He was asked to do it back in February and was very excited to be taken around the Royal Festival Hall in a hard hat while it was still being restored - he hopes to get a square of the original carpet as a memento.

His first move was to buy a whiteboard 'because I was waking up a lot in the middle of the night thinking, "Oh yes, we can have this," and it was getting very hard to keep it all in me head so I got a whiteboard. Meltdown is one of those things you might fantasise about doing one day but when it actually happens, it's almost traumatic because you know you're only going to get the one chance, and you don't want to miss anything. Obviously it is a series of concerts but I'm hoping that you will get some sense of a festival, where people can just come and hang out. So we've got talks and a room showing short films, including some I made at college, and something that's supposed to be like Speakers' Corner, where people can express any ideas they're into - as long as they're not religious.'

Some of the events are very Jarvisly esoteric: the Lost Ladies of Folk is a showcase for women musicians, mainly from the early Seventies, including a singer called Bonnie Dobson whom he tracked down and dragged out of retirement. Then there's a night of songs from Walt Disney films with many different performers - Jarvis is doing 'I Wanna Be Like You' from The Jungle Book - because he's been watching a lot of Disney films since he became a father. 'The thing with Disney songs is they're very manipulative, very sentimental, but they do get you, you know - there's a kind of sadness to them and that kind of music doesn't really exist any more.' Then he is having Motorhead, followed by a northern soul disco, which he hopes will mix the audiences up: 'I think things are always more interesting when you get people from all different backgrounds. And I wanted to have northern soul because it's almost invisible. It's difficult to have subcultures now because everything is covered so much - as soon as five people sit round a table in a pub in Hoxton, somebody will write an article about it - but they have these northern soul weekends at holiday camps out of season where they play obscure records and put talcum powder on the floor so they can do fancy footwork.' His one regret about the line-up is that he couldn't persuade Leonard Cohen to perform - he worships Leonard Cohen.

I was worried that living in Paris and being married to a French fashion stylist might have changed Jarvis - that he might have gone a bit chic and lost his Sheffield wit - but not a bit of it. He met me off the Eurostar at Gare du Nord and walked me round to his nearby flat, apologising that I would find it a bit messy. A bit? Every inch of hall, corridor, sitting room was covered with mounds of bags, suitcases and clothes rails like the back of an Oxfam shop. He explained these were clothes his wife, Camille, had borrowed for fashion shoots, awaiting collection. There were some people dimly discernible among the bags - a young woman whom Jarvis introduced as his wife's assistant, an unidentified man, and a boy of 11 watching television, who turned out to be Jarvis's stepson (his own son, Albert, four, was at school). Jarvis asked the boy if he'd had lunch and, when the answer was no, cooked him some fish fingers, though 'we call them batons de poisson here', while inviting me to admire the pistachio-green fridge, which was the one good present he ever got from Island Records: 'They usually give you some stupid framed picture of a tulip or something, so one year I said, "If you want to give me a present, give me a fridge."'

While he was cooking, I kept trying to work out whether the flat would be nice if it weren't covered with jumble. It is certainly vast, and grand, with beautiful cornices and stained-glass windows and a fine baronial fireplace, but there are some worryingly awful lampshades and 'amusing' objects, such as a spinning-globe drinks cabinet. Actually it's the same problem as with Jarvis's clothes - you never quite know whether they're thrift-shop or some brilliant designer look. Today he is wearing an ensemble of a grey suit jacket over a purple cardigan, tan shirt, jeans and yachting shoes that I don't think is high fashion, but how would I know? Anyway, he always looks elegant because he is so thin and graceful.

Boy fed, we then proceed to a very jolly restaurant for lunch, where Jarvis apologises for not drinking and smoking and orders food in a French accent even worse than mine. He has lived in Paris now for four years, ever since he married Camille, but there is no danger of him becoming Francophone. He hardly knows anyone in Paris apart from his wife, and his son goes to a bilingual school. 'You will probably have noticed, with your eagle vision, that the telly in our house is in English. I buy me Guardian from the little newsagents on the way to school and I probably read the papers more now than when I lived in England. And there's a couple of English bookshops, which is very good for me, because it would be difficult if I couldn't get books.' It doesn't feel like exile, he says, because he can always hop on a train to London, where he still has a house, or fly up to Sheffield to see his mother.

Still, for someone as sensitive to language as Jarvis, it must be quite a loss to live outside England. His dry humour would never work in French. 'The French haven't got a sense of humour anyway, so you can forget about that. That's my own excuse for not really picking French up. I know that even if I applied myself to it, I'd never really be able to have a funny conversation - there wouldn't be any beauty in it. I'm not saying the way I speak English has any beauty in it, but there's a lot of pleasure to be had in choosing the right word or turning a phrase. And I know that even if I tried it in French, I couldn't do it. The school Albert goes to has lots of American pupils and he comes back and says things like, "I'm going to put that in the garbage," and I say, "No, no, no, the rubbish bin! Put it in the rubbish bin!" It's terrible, really, to get so het up about it.'

Quite. So why is he in Paris? Basically because he married a Frenchwoman, Camille Bidault-Waddington, who had been living in England but wanted to move back when she found she was pregnant. But it also suited him at the time - it enabled him to escape fame. This is the terrible irony of Jarvis's life: having longed for fame ever since he was a child - 'It's the classic way of getting over your social ineptitude: you think if you're a star, people will come and talk to you' - and having waited an incredibly long time for it, until 'Common People' in 1995, he found when it arrived he didn't like it at all. He didn't like being recognised in the street or being pointed out at parties - he wanted to be the observer, not the observed - and he could only cope by getting drunk. Whereas Paris is fine: nobody recognises him at all. 'If I went and stood in the indie section of the Virgin megastore,' he muses, 'maybe someone would come along and say, "Ooh, look, it's Jarvis!" If I was really desperate one day and needed to reassure myself that people still knew who I was, I could do that. But that would be a bit sad, wouldn't it?'

Marrying Camille, moving to Paris, becoming a father - these are all huge changes in his life since I last interviewed him in 1998. He said then that he had no intention of having children - he was enjoying a belated adolescence. He also thought that he couldn't go on being a pop star once he reached 40 (he is now 43), so he was trying his hand at other things. He made some excellent television documentaries about outsider artists and British art schools and also, rather bizarrely, wrote songs for Nancy Sinatra because he thought it would be 'more dignified' to be a songwriter for other people.

When he moved to Paris, he thought he might give up music altogether. Sales of the last two Pulp albums, This is Hardcore and We Love Life, were disappointing and Island Records did not renew their contract, but also Jarvis did not enjoy making them. 'They took a long time to do and I was conscious that it was me that was holding the process up, because I couldn't write the words or wasn't sure I liked the song, and I could sense that the others wanted to get on with it and just go and have a laugh or whatever, and I was holding them up. And so I thought at the end, maybe I should just stop because it's taking a long time, it's proving to be a tortuous process, it shouldn't really be like that. I should just knock it on the head. Why bother?'

So he stepped nimbly away from Pulp and fame and England, and threw himself into Paris, marriage and fatherhood. He had been softening on the idea of having children ever since his sister had them, but still he was alarmed when Camille got pregnant the minute they married, and even more alarmed when they found she was expecting a boy. 'I suppose I was thinking if it was a girl it would be easier because I wouldn't have to be a role model, I wouldn't have to kick a football or go fishing or anything. And because of my father leaving [he disappeared to Australia when Jarvis was seven], I hadn't got an example to base my performance on. But then once I found out it was a boy, I kind of accepted it quite readily. That was the comforting thing about becoming a parent - I don't want to talk about parenting too much because it makes me want to be sick whenever I read it - but one of the good things is that all those fears you might have about how you're going to rear a child fade away. Once you've got one, it all becomes a lot more instinctive and that's a nice feeling if you are someone who tends to over-analyse everything. It's quite nice to realise that you do have instincts, that you don't have to write everything down on a little pad and plan it all out.'

Did the pram in the hall mean any loss of creativity? 'No, not at all. It was probably the other way round. If you've got limited time, it makes you use it more effectively - you're more focused. If you've got all the time in the world, you tend to sit around thinking, "Oh, I'll just sharpen some pencils." I think Cyril Connolly or whoever said that was talking out of his arse.'

So with his new focus, he found himself writing songs again and playing them in the basement. 'Then I did that thing where I dressed up in a skeleton costume and called myself Darren Spooner.' Yes, why did he do that? 'You'd have to ask a psychiatrist! I liked the idea of performing in secret so nobody would know it was me. I made up a name and a whole life story - I would only do telephone interviews and I had a little voice box that made my voice sound deeper. He was Darren Spooner from Doncaster and he was about 45 years old, an ex-club entertainer, whose kids were heavily into drugs - he was kind of an alcoholic as well.' Perhaps a bit like Jarvis's father, a club musician who always claimed to be Joe Cocker's brother? 'Dunno about that,' says Jarvis curtly. He has forgiven his father but he still doesn't like talking about him.

Anyway his experiment with being Darren Spooner ended when the Sun outed him. 'But for about a month people didn't know it was me and that was good. I think the satisfaction was doing something that I didn't have to worry about, that was a bit off-the-cuff. I've thought about it since and if I was doing me amateur psychology I could say: I was glad to get married and have a kid and everything but I was kind of worried about thinking I had to be a nice person and a grown-up person, so in a way I invented a character who was the sort of nightmare scenario, who drinks and takes drugs, letting him do all the horrible stuff so that would leave me to be the nice person and get it all right.'

Did it work? 'Well, it can't work for a long time because you'd become schizophrenic, wouldn't you? And what I realised is that Darren and I have to live together in harmony. For a while Darren became a separate thing but we are now one again. I know it sounds daft but it's true. But you realise those things are part of you. I think it's only when you pretend they don't exist, you can have a problem. You need to accept that you'll always be, in some way, a bit of a nightmare - you're not suddenly going to become a fantastically mature and sensible person.'

So, having eased himself cautiously back into music via Darren, he started writing his first solo album, Jarvis, which came out last autumn to brilliant reviews. And then he was asked to go on tour and perform it. It was the first time he'd sung his own songs on stage for five years, so he was nervous: 'I'd already recorded the songs but if they didn't work with an audience I'd have been screwed. But luckily for me as soon as I was on the stage singing, it felt great - I didn't feel like a phoney - so I was very relieved.' Now he is beginning to think about making a second solo album but he says he has to wait for some time to elapse: 'You have to wait till you're in a different frame of mind, till circumstances change. You write a song about how you think at the time, and then gradually you drift away from that, and when it's far enough in the past, that's when you think, "Now I have to write something new."'

So will he still be singing at 60? 'I hope so, yes. Because what else am I going to do? I had that thing where I thought I was going to retire - when we first moved here, I thought, "Right, that's it" - and then I realised that I still wanted to write songs. Having gone through that, I think, "Well, once you've resigned yourself to the fact that you are the more mature pop performer and you're past the age you ever thought you would do it, you might as well do it as long as you can. As long as I can still lift a microphone, then I'll do it, you know.'

From Sheffield to Paris: Jarvis's journey

Born Sheffield, 1963.

Debut Cocker started Arabacus Pulp at the age of 15. They'd renamed themselves Pulp by the time of their John Peel Sessions in 1981. The band struggled in the 1980s and from 1988-91 Cocker did a BA in film studies at Central St Martin's College of Art, London.

Celebrity Pulp made the leap from Sheffield to national consciousness after signing to Island and releasing the album His 'n' Hers in 1994. Their biggest single, 'Common People', came a year later. After quietly disbanding Pulp in 2002 Cocker collaborated with artists including Nancy Sinatra and Marianne Faithfull, worked under a pseudonym in electro-pop duo Relaxed Muscle and directed pop videos.

Controversy During the 1996 Brit Awards, Cocker leapt on stage and wiggled his backside during Michael Jackson's performance of 'Earth Song' Afterwards he said: 'My actions were a form of protest.'

Exile In 2002 he married Camille Bidault-Waddington and they moved to Paris with their son, Albert. In 2005 he performed in Harry Potter and the Goblet of Fire. His solo album, Jarvis, was released in 2006.

Liam O'Driscoll

· The Observer is a media partner for Meltdown, which runs from 16 to 23 June. We have a pair of tickets to give away for Motorhead on Saturday. Email us at review@observer.co.uk (marked Motorhead) by Tuesday.

For more details visit www.southbankcentre.co.uk/meltdown or call 0871 663 2500 for tickets. Jarvis Cocker is the subject of The South Bank Show, 10.45pm tonight, ITV1

Guardian Unlimited © Guardian News and Media Limited 2007

lundi, avril 09, 2007

Life in Paris


The boulevard of broken dreams

It is the epitome of romance and style. But Paris is in the grip of an unprecedented 'flight of the young', with the disenchanted looking to London and New York for a new life. On the eve of the French elections a generation of young Parisiens, frozen out economically and racially, are turning their back on the city.

Andrew Hussey
Sunday April 8, 2007

The Observer

As you step off the Eurostar at Gare du Nord it's sometimes hard to know whether you're really in Paris or still in London. This used to be one of the smokiest, dirtiest and most romantic railway stations in Europe. These days it is as anodyne, clean and dull as Paddington. With its Upper Crust sandwich bars and McDonald's, it even looks like west London. Worse still, the same effect is starting to take hold all over Paris: there's a massive Virgin Megastore on the Champs-Elysees, Starbucks is now all over the city - even in the former avant-garde stronghold of Montparnasse - while Lily Allen, who is never off the radio or telly, is the latest style icon for all snotty Parisian gamines under the age of 20.

You don't have to spend a long time in central Paris, however, to realise that there is one massive difference between the two cities. Unlike grimy, busy London, Paris still moves at a relatively stately place. The long boulevards are usually uncluttered, even at rush hour. It's almost always possible to get a decent table in a good restaurant without a reservation, even on Friday night. But as it slowly dawns on you that Paris is a sedate haven for the middle-class and the middle-aged, the fashionable areas of town - the so-called beaux quartiers - can suddenly seem not just beautiful but eerie. This phenomenon is most marked just south of the Champs-Elysees, near Place de l'Alma, where Diana met her death. This is the heart of Paris, the most important and cosmopolitan city in Europe; but with its empty avenues and silent and uninviting streets, it can look just like the opening scenes of a zombie movie. It's then that you ask yourself the question that has been nagging you since you arrived here: where have all the young people gone?

Interestingly, 'la fuite des jeunes' ('the flight of young people') has also become a burning issue in the French press, including Le Monde and, most notably, the daily Le Parisien, which for months has regaled its readers with the tales of young Parisians finding the good life at the other end of the Eurostar. Indeed, the real issue in this election - at least for young voters - is not la securite (crime and delinquency), but unemployment.

The politicians who are arguing that they will clean up the streets are still fighting the last election; meanwhile, young people in France look at the latest statistics - one in eight unemployed in some parts of Paris - and begin to despair of ever making a living in France.

The simple fact is that, in the past few years, young people have been leaving France in unprecedented numbers. More worrying still is that although depopulation was a worry in the French countryside in the Sixties, it now has become a specifically urban phenomenon. Nor is it confined to Paris: Lyon, Lille, Bordeaux and Marseille can all report an exodus of young people towards les pays Anglo-Saxons (the United States and the UK). This fact was acknowledged by politician Nicolas Sarkozy when he made his flying visit to London last month to visit the French community there - at 400,000 people this is (as the newspaper Le Parisien helpfully pointed out) equivalent to one of the largest French cities.

The echoes of the riots of November 2005 are never far away in discussions of the new French emigrants. This was when, for more than a month, the suburbs outside more than 20 French towns burned as youths torched cars and fought the police, triggering the call for a state of emergency. The riots were blamed on poor housing and heavy-handed policing. No official recognition of racism has taken place. And so resentment lingers among the mainly black and Arab kids who feel excluded from the centre of Paris. The latest manifestation of this ever-present anger surged to the surface in a riot at the Gare du Nord a week ago last Wednesday, when kids just off the RER train that links the suburbs to central Paris rushed to the aid of an illegal immigrant who was being battered by police for not having a metro ticket. The ruck lasted seven hours and cost several hundred thousand pounds.

Sarkozy, former Minister of the Interior and now presidential candidate for the ruling right-wing UMP, visiting the scene hours after the riot, amid the burnt-out shops and wrecked bars, declared the battle a victory for common sense. Such incidents all help account for the success stories quoted in Le Parisien, which have notably highlighted the examples of young beurs (Arabs from North Africa) who have escaped racism in France to find good jobs in London, in the City of London. According to Algerian singer Rachid Taha, based in Paris, this racism is a legacy of the Algerian war of independence from 1954 to 1962. 'An Algerian in France still frightens the French,' he says. 'They think he's still a terrorist who'll cut your throat for nothing.' In London, Algerians talk about their absorption into a friendly Anglo-Asian, Muslim community.

'Fucking hell! Who are we going to vote for now?' asked the headline on the cover of last week's Technikart, the hippest and most influential youth-oriented magazine in Paris. Inside, journalists analysed the 'disarray' of the young generation of voters when confronted with the 'non-choices' of Sarkozy, Segolene Royal, the later starter Francois Bayrou and the sulphurous Jean-Marie Le Pen, leader of the National Front. Candidates were assessed according to their views on a range of allegedly 'youth' issues, ranging from the legalisation of cannabis to gay marriage: all were found nul or catastrophique.

In the same issue novelist Virginie Despentes, the voice of youthful feminist dissent in France, states that she won't vote for any of the 'fakers and frauds on offer. Better to leave France for good.' In the same cynical vein, Marc Weitzmann - one of the most influential figures on French youth in the past decade, a novelist and former editor of rock magazine Les Inrockuptibles - has claimed Sarkozy as the only choice. In a recent interview, Weitzmann declared that the intellectual left was dead in France, strangled by middle-class and middle-aged functionaries who despised youth and sought only to enhance their pension plans. 'There is no other choice,' says Weitzmann, a former avant-gardist and supporter of such radicals as philosopher Guy Debord and novelist Michel Houellebecq, 'Sarkozy does what all politicians do, only he does it better than most of them.'

Following Weitzmann, Mehdi Belhaj Kacem, probably the most fashionable and dashingly youthful philosopher (he's in his early thirties) on the Left Bank, writes of 'democratic nihilism' and describes France as a 'failed state'. Didier Lestrade, founder of the Aids campaign group Act-Up, puts the angry voice of the French clearly: 'We're sick of voting against things. When are we going to have someone that we can vote for?'

The politicians themselves are watching the arguments among young people with a degree of caution. More to the point, after the fiasco in 2002, when Le Pen terrified the French nation (and the rest of the world) by making it to the second round of the elections, largely because of voter apathy in the first, the big political parties are eager to court young first-time voters as insurance against such variables.

The emigration of so many young people is seen most threateningly in the press as the victory of Anglo-American capitalism (most French youngsters dream of London or New York) over the French socialist model. But there is more at stake than money and jobs. Racism, poor housing and the stagnant nature of French society are also, damagingly for the present government, all cited by the present generation of young people as reasons to get away.

This is why the main political parties in France, as the presidential election finally gathers real pace, are eager to capture the youth vote as the potentially most volatile and decisive factor in a campaign that has been far from an easy ride for any of the candidates.

'It's not that I dislike Paris or France,' I was told by Jérome Leboz, a young Breton who came to Paris from Morbihan with his parents as a small child, 'but it's just become more and more impossible to see any future here if you're French.' Leboz is 24 and has a good job as a junior manager at a factory in the suburb of Levallois. But his salary barely covers his rent (in a low-grade apartment in the suburbs) and his bank refuses to give him any form of loan, let alone a mortgage, until he can name the day that he will have enough capital accrued to pay it off.

'It's a trap,' says Leboz. 'Everybody in France wants security - in their job and house - but if you are young you are denied access to owning your destiny for so many reasons. I work hard but it can seem pointless. I have enough money for a few drinks and maybe a club at the weekend, but so what? It's not a future.'

Leboz is up against the unbending nature of French society, which, in stark contrast to the liberalising movements in the rest of the Western world, is still a mixture of rigid bureaucracy and heavy-handed paternalism. More specifically, the so-called taxe Delalande - a crippling levy on any company that sacks anybody over the age of 45 - means that businesses are weighed down with an ageing workforce and unable to offer jobs to younger workers. Since the tax was introduced in 1987, the French workforce has grown older and slower, while youth unemployment has risen in the same proportion.

Whenever French young people demonstrate against the precariousness of short-term employment - as they did last spring - they should really be demonstrating against this tax. This must be one of the few countries in the world that actually has a tax that all but excludes young people from participation in real life until middle age.

But most telling of all, especially in a country that prizes education so highly, is the rocketing number of jobless graduates. According to a survey conducted by the Centre for Research on Education, Training and Employment (Cereq), of 25,000 young people who left education in 2001, 11 per cent of graduates were unemployed in 2007. Unemployment was even higher - 19 per cent - among those without a degree.

These really are staggering figures - far worse, for example, than UK unemployment figures at the depth of the Eighties slump, even in the post-industrial black spots of the North. What makes the situation even more desperate is that - unlike the UK, which in the Eighties was shedding an ageing and ill-educated workforce - the new unemployed of France should represent the future. Instead, this all adds up to a massive wave of youth disaffection, which may indeed be the real deciding factor in the elections.

Like so many of his generation, Leboz is contemplating a move to London. 'I have studied hard and worked hard,' he says. 'But I can't wait that long to begin living my life.'

'One of the difficult questions for young voters in France is that we don't know who is on the right and who is on the left any more,' says Myriam Kalfon, 24, a film student from the not terribly posh 13th arrondissement. Kalfon, like many of the young people I spoke to in Paris last week, would like to vote for Royal 'because she's a woman; because she should be kinder; because she might soften French politics'. But in reality, Kalfon has divided loyalties. 'I think Segolene is also very posh,' she says, 'and very distant from ordinary people. Also she defends things that are wrong - the big public bureaucracies and the administrations that slow everything down or make life impossible for young people.'

Kalfon thinks that Sarkozy, with his promises to reduce the public sector, may have the real answers but is too swaggering, too unpleasant, too cocky to be worth a vote. She mentions centrist Francois Bayrou, but like nearly all the young people I speak to, dismisses him as a 'teacher' and therefore 'boring'. 'The truth is', she says, 'I don't know who to vote for.' This is the most common refrain I hear among young Parisians. Most of them, from all ends of the political spectrum, are acutely conscious of their responsibility to vote and wish to avoid the kind of political accident - as it is commonly perceived - that allowed Le Pen a shot at the presidency last time. But they are also cautious, and don't want to give away their votes too easily.

Kalfon's view - that there is no right and left in French politics any more - is also typical. More specifically, Royal's Socialist party is seen as defending the vested interests of the bloated administrative classes - precisely those forces that hold so many young people back. Sarkozy, on the other hand, is a straight-forward right-winger who nonetheless, because he advocates entrepreneurship and individual businesses, appeals to website designers, DJs, hip-hop record label owners and, especially important for Kalfon, young film-makers. 'It's a real dilemma,' says Kalfon. 'I hate everything Sarko stands for, but sometimes I listen and it seems he's right.' I am even more surprised by her view that what France needs is a Tony Blair figure. 'He is a socialist, but one who believes in freedom and flexibility.'

I am rather taken aback by this statement, but it is not the first time in recent months that I have heard Blair cited by French people, especially young French people, as an emblem of change and youth. But then, Blair probably does seem a relatively fresh figure to a generation of French youth who have known nothing but the same parade of elderly dinosaurs in power since they were born.

'You can see how sad Paris is by its nightlife,' says Kalfon, who loves to go out but is bored of the same limited round of expensive clubs. 'There is none of the street culture of London here. It is as if young people are not wanted here, either in work or just for fun at night.'

Actually, it's not that Paris doesn't have young people or a youth scene, but that over the past decade or so the young have been increasingly driven out of the city centre by a combination of high prices and restrictive laws on noise and nightclub management. There is still a relatively thriving bar scene out at Oberkampf and the Canal Saint-Martin, east of the city. Unlike, say, Manchester or Barcelona, where the urban centres have been painted in primary colours as party central, youth culture in Paris tends to occupy space at the edges of the city.

The result is that at night Saint-Germain-des-Pres - the area where Western youth rebellion was born in the Fifties in a blur of angular hard-bop jazz and existentialism - is dead as a ditch, no more than a crossroads flanked by Armani and H&M. A mile or so up the road, the Quartier Latin, until the early Seventies the home of Parisian bohemian youth, is now no more than a tourist trap. Even the Marais, for the past two decades the part-Jewish and now mainly gay district, is no more than a playground for a well-heeled international clientele, lacking anything like the gritty edge of Soho, where all sexes and races mill around overcrowded and riotous pubs. The Marais, even at its buzziest on a Friday night, seems both relatively sober and - I use the word advisedly - rather straight.

Kalfon identifies herself as both Israeli and French, a combination she finds increasingly difficult. 'I think Paris has always been an anti-semitic city, but I didn't notice it or even think about it a few years ago. Now I don't like too much to go to really Jewish areas. I don't know why - I love the Hebrew language and am proud to be a Jew. I just think the climate is changing, and Paris is becoming a less tolerant place.'

I mention 19-year-old Ilan Halimi, who was kidnapped in February 2006 in the traditionally Jewish area of Rue des Rosiers, then tortured and murdered by an anti-semitic gang. 'It's not good to think about,' she shudders. 'This is not the Paris I want to live in.'

Frederic Castor, a 30-year old black guy from French Guiana, a would-be writer and music fan, is also convinced that France has become less racially tolerant and more dangerous in his lifetime. 'I can remember the Eighties, even the early Nineties, and France was not like this, so tense and hard.' Castor lives in the suburbs in Asnieres-sur-Seine, scene of some of the worst disturbance during the riots of November 2005.

'It was terrible. I don't approve of violence or rioting,' he says, 'but you can only understand how bad it is to live here if you're black or Arab, when every time you go into a shop you don't know, you become an object of suspicion.'

Castor never took much interest in the Anglophone world when he was a child, but now he is working hard on his English language skills, hoping to make it as a translator, a writer, a screenplay author. 'I never used to, but now I dream of New York or London. I envy the air of freedom. That is what we are losing in France.' In recent years, he has stopped going into central Paris more than is strictly necessary. 'I am just an ordinary guy,' he says, 'maybe with some intellectual ambitions, so I cannot take the humiliation of being searched by police for nothing, and I hate the gaze of white people when that happens. It's a complete humiliation. What we are seeing in France is two sorts of apartheid - first there is the hatred of young people, and then there is the hatred of people of colour. To be young and black in Paris is a source of dishonour and shame.'

Castor's view accounts for the simmering tensions that mark each encounter between immigrant youth and the police - who in Paris in particular have always been organised on quasi-military lines. It also explains the slow death of youth culture in the centre of the city. When I was a student in Paris in the Eighties, it was common enough among white kids to spend the night moving between the mainstream discos such as Le Palace, and the underground African or North-African clubs, then mainly in the 11th or 12th arrondissement. This is no longer the case. 'Black kids from the suburbs won't come into Paris now unless they have to,' says Castor. 'Why should they? They don't need to know white people.'

The divisions in French society around the issues of race and youth are evidently growing ever sharper. But what is truly dangerous is the way in which the main political parties seem to be in deep denial about this. I spoke briefly to Justin Viasse, an academic at the distinguished Sciences-Po and co-author (with Jonathan Laurence) of a recent piercing study of discontent in the suburbs called Integrating Islam. 'There are only two people who can really change things in France, and that is Nicolas Sarkozy and Segolene Royal - Le Pen only wants to go backwards,' he said. 'But I am not sure if they have understood the complexity or urgency of the problem.'

This seems to be very much the case. When I asked Royal, in an interview last summer, whether she had plans to tackle the despair of youth, she fudged the issue: talking endlessly about 'professional training', but never really acknowledging that the 'flight of youth' had any basis in reality, and certainly not in failed racial or economic policies. But by then she also had committed the fatal error of saying the rioters of November 2005 should be sent to boot camps, thereby alienating not only the kids in the suburbs but all those who thought they had a point. Since then she has struggled to make any impact with the younger generation.

Sarkozy is an altogether more macho figure - but he, too, needs the youth vote. 'Sarko', however, plays badly with the younger voters, both as the nasty-minded provocateur who called the November rioters 'racaille' (scum) and as a posturing would-be tough guy. 'Sarko has balls,' I was told by Rachid, a young Algerian from the suburbs, 'but he has all the wrong ideas.'

Even many of the older generation, who want to like his tactics against 'hooliganism', see him as a bully and a thug. But above all, what 'Sego' and 'Sarko' and the others are finding, much to their consternation, is that young people in Paris are not only conspicuously absent from the mainstream life of the city but are turning their backs on the traditional French values that politicians have so far taken for granted - that the 'flight of youth' from France is no mere reflection of temporary unemployment statistics, but marks a generational change that will have consequences over the coming years and decades.

Politicians of all parties have signalled their fear that Paris may become just another provincial city in the new globalised and multiracial Europe. While London is slowly pulling ahead of the rest of Europe as an economic powerhouse and a magnet for migrants - becoming in the process the New York of Europe - Paris, with its rising unemployment figures and stagnant economy, seems to be travelling in completely the opposite direction.

Youth emigration on such a massive scale is the clearest signal of all that France is in deep trouble. 'Of course I am patriotic and glad to be French,' says Frederic Castor, contemplating the new horizons of Southwark or Brooklyn. 'But the problem is - for how much longer?'

· Andrew Hussey is the author Paris: The Secret History, now out in Penguin paperback


Her placard says: 'I want to succeed in France. Let's get a move on!'

Helene Lamouroux
24, student

'There is a lack of dialogue between generations, and between those who are in power and those who aren't. There is a lack of solidarity. Everyone is too focused on their little problems.

'I spent a gap year in Argentina and saw how people with very little - without grants and benefit, or in public universities whose fabric is crumbling - can be creative, work hard, have high standards and a smile on their face. We grumble a lot, but I also quite like that French thing of speaking out when things aren't as they should be.

'The riots in 2005 showed that there are problems. The student demonstrations against the first employment contract in the spring of 2006 also showed a sense of dissatisfaction. But life has got harder for everyone. We all have to try harder.

'French society is terribly fractured. The left-right divide is part of that and, to me, it's an outdated concept. That's why I'll vote for [centrist] Francois Bayrou. He tries to unite people. I was pleased to see the socialists come up with a female candidate, but I won't vote for Segolene Royal just because she's a woman. I get the impression someone else is writing her script. As Interior Minister, Sarkozy put police everywhere. In his rhetoric, he increases the divisions between people by emphasising their differences.

'My boyfriend is trying to start his own video production company. It's a nightmare because of all the charges and paperwork. I want to start my own communications agency, but if I can't get it off the ground in six or seven years, I can imagine leaving for a dynamic country like Canada, the US, Spain or Britain.'

Interview by Alex Duval Smith


'The police with us, not against us'

Alexandre Lacour
18, unemployed

'French youth have been abandoned by the generation that's in power. I had problems in school, but because I had passed my 18th birthday, the education authorities didn't care about giving me guidance.

'I've heard teachers say, "I don't care what you do. I get my salary at the end of the month." No one should ever hear that from their teacher.

'Both my parents used to be in the police. It's not surprising that there were riots in the autumn of 2005. They were a response to the police, who are rude to young people and constantly asking for our ID. They need to be completely restructured.

'The police who deal with us are inexperienced officers from the south of France who are sent up here to cut their teeth in the suburbs. Their attitude is, "We're going to show those Parisians that they're not in charge."

'I love Paris. But here, unless you're working or studying, you get up to no good. France has become very splintered and selfish. Everyone has their clan - the racists, the anti-gays, the Jews, etc. People should mix more and try to get on.

'I was brought up with the idea that there is only one party, the Socialists. I shall vote for Segolene Royal. I don't see her as particularly great, but she has many experienced politicians around her. As a woman, perhaps she will have the quality of calming things down in politics. Sarkozy is, if anything, more terrifying than Le Pen. At least it's clear where Le Pen stands.'

ADS


'I'll take an interest in politics when it takes an interest in me'

Kalilou Sissoko
19, professional handball player

'The candidates to succeed Jacques Chirac seem less crooked, but I have doubts about Nicolas Sarkozy. He says he's changed, which makes you wonder whether he has just changed because there's a campaign on.

'My father is from Senegal and came to France in 1983. He rose from being a cleaner to being a part-owner in the hotel where he worked. I shall vote for Segolene Royal, because she is of the left. She is the one candidate who has the good grace to not lump youth and delinquents together in every sentence. Her approach is that everyone has the right to live together. Sarkozy just divides people.

'There is a real problem between the police and young people. I was sitting with a friend in a sandwich shop and the police came in and asked for my ID. I said, "Why don't you check the [white] guys out there on their scooters?" They just said, "Are you trying to tell us how to do our job?" and that was the end of the conversation.

'My handball club pays me €590 [£400] a month if we win, €380 if we lose. I'm going back to school to get a diploma so I can get a job as a salesman, but I'm also hoping to get hired by a bigger team and earn more from my sport. I've been to Spain and Portugal and life seems a lot better there - more optimistic. At least, if you cannot get a job, it's warm.'

ADS


'They said to me: "You'll never find work"'

Hamid Senni
31, company director in the UK

'My parents came to France from a very poor mining area in the south-east of Morocco. We were told that if we respected French values and studied hard, we'd break out of poverty. But when I applied to business school, they told me I'd never get a job. I wouldn't know the right people. I thought: isn't this the country of supreme meritocracy, where skills are more important than background?

'When I tried for an internship in the final year, I couldn't even get an interview. I had to escape, so I went to Sweden to finish my studies. Going there made me realise just how bad the discrimination was in France. I sent five CVs to the UK and was offered three interviews. A few years later, as a project manager for Sony Ericsson, I went back to Paris on assignment. Everyone in management positions there was white and male.

'When the internet bubble burst, I lost my job and my family persuaded me to return to France. From November to March, I spent five days a week looking for a job and got one interview - as a door-to-door salesman. Then I applied to other countries and landed interviews all over Europe. I landed a job with BP in London and now I run my own consulting firm.

'The situation in France is like the caste system in India. If you are born in a certain social area, that's where you'll remain.'

Interview by Killian Fox

vendredi, février 16, 2007

2007 Soundtrack

Zach Braff's long-time indie favourites, we're-not-new-ravers, Brum guitar heroes, backpack hip-hop revivalists - these are the 10 bands ready to step up to the big stage during the course of the coming year.


The Guardian

New bands: The Shins, Art Brut, The Kidz in the Hall and Findlay Brown

Lend them your ears... (clockwise from left) The Shins, Art Brut, The Kidz in the Hall and Findlay Brown


The Shins
In short: sensitive indie-poppers poised for the breakthrough

James Mercer, singer and songwriter with the Shins is skinny, sweet and slight, as regulations require for leaders of indie bands; as gentle in appearance as a long-eyelashed lamb and as polite as a church verger. He looks like his music sounds. But over two albums, his band have carved themselves a sizable niche within US alternative music: you've probably heard them, even if you don't realise it. Perhaps you saw the movie Garden State, in which Natalie Portman played the Shins' wistful ballad New Slang to Zach Braff in a doctor's waiting room ("You've got to hear this one song," she said, handing over her headphones, "it'll change your life").

The pre-release buzz for their third album, Wincing the Night Away (it was leaked to the internet in October), suggests the Shins have the opportunity to cross from cult concern - their first two albums sold around half a million copies each around the world - to major band. That said, the album's closing track, A Comet Appears, suggests a bleak outlook: "Let's carve my ageing face off/Fetch us a knife/Start with my eyes, down so the lines/Form a grimacing smile." The song ends with this cheering thought: "There is a numbness in your heart, and it's growing."

"That makes us sound emo," Mercer laughs when the lyric is read back to him. "Well, we were called emo, you know, when the term was used to describe Fugazi, and in a way, it made sense. They played emotive punk; we played emotional songs. Emotionally tough stuff. But then, suddenly, I was hearing this emo, candy-ass bullshit." He smiles and shakes his head. "But I guess the last three years of my life have been very emo."

Three years ago, Mercer says, "I'd just bought my first house, the dream of my life. I found out one night at two in the morning that next door was a crack house. So much hope ... So much hope was there, and suddenly that was gone." He'd also come to the end of a destructive personal relationship and was falling out with friends who'd helped the band out financially before the cult success of Oh! Inverted World in 2001 and Chutes Too Narrow in 2003. "I was all, 'Hey, I need help. My neighbours, these gangsters, are threatening me.' Late at night, when you can't fucking sleep, obsessing about these negative things, you go places you never would go." He shudders. "So there was a lot to write about."

Songwriting to Mercer is therapy, pure and simple, then? "It's catharsis. You get this chaos and cut it to bits and suture it together and then go, 'Yes, done.' I wanted to get rid of this bitterness, resentment, this darkness. I wanted to fucking expel something." Suddenly, Mercer is interrupted by a power ballad coming through the speakers in the west London hotel where we meet; a silky-knickers kind of baritone bellowing a lovelorn "Woaahhhh!" Mercer crumbles into laughter and addresses the bar. "Jesus, hear me here, man! I'm trying to turn this shit into something polished." He shakes his head. "This happens all the time. It's impossible for me to appear ever manly or," he laughs, "masculine when I'm trying to get my point across, without something embarrassing happening." His raises his eyebrows. "I live a very Woody Allen kind of existence."

It's useful to think of Mercer of the Woody Allen of indie: literate, self-deprecating, witty. And, he says, he prizes intelligence in songwriting more than anything else. "The most enjoyable part of this all is the craft. The trying to be clever - the 'math' of pop music."

English pop music has always driven him, making him care for cleverness and catchiness in equal amounts. He fell in love with the Beatles as a child, "the really sentimental, soft-hearted stuff like Yesterday", then landed in the middle of British indie's golden age when his air force father moved the Mercers to RAF Lakenheath in Suffolk in 1985. "1985 to 1989 - 15 to 19 years old. What luck, man. The Smiths, Echo and the Bunnymen, the Cure." He didn't find those bands depressing; they were, to him, uplifting. "It was like: wow, I feel right at home here with this music. It's so powerful. It made me feel like I was connecting with somebody, this person singing, turning your shitty life into something beautiful. It's such fucking validation."

When he got back home, "here I was with my curtain haircut, into the Stone Roses" and his friends were head-banging to Poison and Mötley Crüe. But as the 90s wore on and the American indie scene kicked off, Albuquerque, New Mexico became a good place to be. It was the only stop-off city between Texas and Phoenix, Arizona: "You had to play Albuquerque to get gas money to keep going." So Mercer's band opened up for Rocket from the Crypt, Polvo and Tsunami, bands that he reasons "really changed us, and really changed the music scene of the States. We felt really part of that American indie scene." But now in 2006, with the Shins long since uprooted to Portland, Oregon, where do they fit in? Mercer has no idea. "It's actually unnerving. What kind of person would like us? We've come from nowhere. I feel like we don't fit in anywhere. But everything's going so well with us, so we're giving this a go. People love us. People do. And I have no reason why." Surely Garden State was part of it? "For sure. Zach did an amazing thing for us. And what was great was that he did it as a fan. Zach gave a little band a platform. He introduced us to people who may never have known us otherwise." Mercer shakes his head and returns to his earlier fears. "I guess the doubts are more to do with my damn personality."

These doubts are a throwback to the old James Mercer. The new one is much brighter. Some time ago, he moved out of the house with the crack dealers next door, and two years ago met a woman who recently became his wife. "And the positive side is that I really went through all that shit, and this record came from it. I'm happier now than I've ever been." But can you make a good record again, if you've got nothing to be mad about? Mercer swigs his beer. "I still have a dark side, you know. I can go there on demand." And suddenly something makes him laugh: "You know, I planned ahead anyway. I saved some of the hard shit for the next record just in case."
Jude Rogers

Hear them: Wincing the Night Away is out on Transgressive on Jan 29; www.myspace.com/theshins

New Young Pony Club
In short: partying like its 1988, with squiggly synths and glowsticks

Tahita Bulmer's voice takes on a pained tone. "What," she demands rather haughtily, "does new rave actually mean?" It's a fair enough question. Despite a lot of music press hyperventilation about a new movement headed up by the Klaxons and apparently primed to irrevocably alter the musical landscape in 2007, no one seems to know precisely what new rave is supposed to entail, apart from the consumption of ecstasy and the waving of glowsticks. Neverthless, it's slightly disappointing to hear it coming from the lips of a woman recently proclaimed the Queen Of New Rave by the NME, which also bestowed upon her the hotly-contested title of 15th Coolest Person in the World: reward for her band New Young Pony Club's ascent from minority interest with "quite a big following in Scandanavia" to hotly-tipped indie-dance act (equal parts Stranglers, Tom Tom Club and the DFA, according to their website). You might know them from their recent single, the aloofly funky Ice Cream, which ended up soundtracking an advert for Intel Core 2 Duo processors, a curious fate for a track that examines food as a metaphor for oral sex more thoroughly than any record since Serge Gainsbourg's Les Succettes. "I suppose we can sketchily use the term new rave," she continues, "but I think it's best to say 'bands with songs with a dance influence underpinning them'."

That is not the snappiest title ever devised for a nascent musical genre, but in her defence, Bulmer doesn't seem much like the Queen of New Rave. Rather than the saucer-eyed, platitude-spouting flower-child the title implies, she sounds eminently sensible and rather head-girlish. She abandoned her previous band, who specialised in chill-out, because "they wanted me to stand still on stage, which was anathema to me, it just wasn't the visceral thrill I signed up for." She dismisses indie music as "four skinny boys in leather jackets singing songs that don't really mean anything about their ex-girlfriend that they don't like anymore and ripping off bits of William Blake", but is far more clear-eyed about the chances of imminent new rave musical revolution - or, rather an imminent bands-with-songs-with-a-dance-influence-underpinning-them revolution - than anyone at the centre of a storm of hype has any right to be.

"You get people writing oh, new rave is taking over the world and it isn't, it so isn't," she says. "The kids don't give a shit. You do kind of worry that there's all this hype and everybody is going to expect one of these bands to cross over and do really well and to be honest, I don't think the overall musical palette of this country is ready for it. It's just not going to happen and the idea that it's going to happen is ridiculous. Almost any band, regardless of how underground they want to be, has one song that could potentially be a hit single. But that doesn't mean that their album is not going to be something sonically challenging that a lot of people won't be able to get their head around."

But then she brightens, perhaps bolstered by the thought of New Young Pony Club's eagerly-anticipated debut album, or their forthcoming tour with the Klaxons and Brazillian electro-rockers CSS. "There's loads of potential in this scene. People seem to be developing a sort of supermarket of style ethic in their music taste, they're quite happy to have a Prodigy record next to an old Rolling Stones record. It's ripe time for things to be changing, because how many more Libertines-like bands do we need?"
Alexis Petridis

Hear them: www.myspace.com/newyoungponyclub

The Twang
In short: either the new Happy Mondays or the new Flowered Up, according to preference

It has been, Phil Etheridge is happy to concede, a surprising few months for the Twang, the band he fronts. First, Radio 1's Edith Bowman turned up at a gig in their hometown of Birmingham. Thrilled by the Twang's admittedly impressive collision of loose-limbed dance beats, echoing guitar lines and Streets-like sung-spoken vocals that unexpectedly erupt into terrace-rousing choruses, Bowman began enthusing about the unsigned quintet on her show, which was, says Etheridge "a mad compliment". Then the music press began not merely taking an interest, but calling them the best new band in Britain, about which Etheridge doesn't "want to give it the fuckin' big one ... I don't want to sound really boring, but if we get a record out, we've achieved more than most fuckers do, innit?" Next, the Twang signed with record label B-Unique, home of Kaiser Chiefs. The label teamed the band up with Steve Osbourne, co-producer of the Happy Mondays' Pills'n'Thrills and Bellyaches, and packed them off to Peter Gabriel's plush Real World Studios. "You get en suite bathrooms," marvels Etheridge, "and three meals a day. They do a great chicken."

But perhaps the most striking thing Etheridge has noticed is a sudden change in attitude towards the Twang among Birmingham's rock venues. "We've been fucking banned from everywhere for about three years," he says, "but now they're all asking us to play." The problem, Etheridge is quick to point out, is "never the band", but "the lads playing up". "The lads", it transpires, are the Twang's local following, who display what a recent press release tactfully described as "a tendency to squeeze as much fun out of every show as possible". Etheridge sighs in a slightly exasperated manner. "No. Well, yeah. It's bollocks though. Most venues, right, you've got no doorman and one student on the bar and if 50 lads turn up, you know, they're going to play up, aren't they?" He brightens up. "It's getting good now, though. Most people are starting to get it and enjoy it and have a dance. It's not pogo music, you know. That's more of a riot," he huffs, "people bouncing around and fucking jumping on each other."

Despite his protestations, a certain reputation for misbehaviour has already firmly attached itself to the Twang. If, as Etheridge complains, this sort of thing has nothing to do with their music it seems unlikely to do their public profile any harm: in a rock world populated by decent blokes Making Trade Fair, there's clearly a vacancy for a band who can generate juicy copy. But mention of it brings on another weary sigh. "There seems to be a lot of concentration on the fact that we're mad lads or hooligans. But we're not mad lads, man, we're just mischievous. They're dying for a bunch of lads who are writing good tunes, though, ain't they? I'm not knocking them, because we've met a few of them and they're top lads, but most bands start at uni, don't they? And they write songs about ..." - he searches for the right word - "rivers, man. And because we don't, they fucking love us. But they said we pulled out a samurai sword in the middle of a club! I mean, where would you hide the fucker to get into the first place? I weigh 10-stone-eight mate, I ain't built for fucking rowing. It's all about your tunes, it ain't about your jeans." He emits a filthy cackle. "Even though I do wear really fucking good jeans."
Alexis Petridis

Hear them: www.myspace.com/thetwang

TTC
In short: the new wave of Parisian hip-hop

Though the history of French hip-hop is far from bare, with acts such as MC Solaar and Saïan Supa Crew having achieved domestic success, its presence on the international stage has been limited. So it's a surprise that Paris's TTC could be one of this year's breakthrough hip-hop acts.

Tido Berman, Téki Latex and Cuizinier - the three MCs who comprise TTC; the letters also stands for toutes taxes comprises, the "all taxes included" stamp found on most French price tags - are smart and literate, but never let that get in the way of the more important issues - namely rapid-fire wit and chat about how great Paris, girls, parties, girls at parties in Paris, and TTC themselves are. Set over beats that take their cues from European electro (Parisian dance producer Para One is responsible for over half the cuts on their album 3615ttc , and the trio have worked with Berlin techno pranksters Modeselektor) as well as American hip-hop (tongue-twister raps and squealing crunk synths), the result is irresistibly bouncy music destined to set dancefloors alight throughout 2007. And - pay attention, hip gunslinging French teachers - it could well be a way to enliven those écoutez exercises as well.
Alex Macpherson

Hear them: 3615ttc is released on Big Dada on Monday; www.myspace.com/inbedwithttc

Findlay Brown
In short: the interesting James Blunt

Don't judge Findlay Brown by his new song, Come Home, which is currently serving as the tastefully strummy "soundbed" to a MasterCard TV ad. It's a deceptive introduction to a songwriter whose true metier is haunting, indigo-hued acid-folk. But if MasterCard helps point the way to Brown's more sensual work, it will have been worth it.

Growing up in the countryside near York, Brown was going to join the army, until, at a teenage party, he encountered both LSD and Jimi Hendrix's Electric Ladyland album. It was a pivotal experience that inspired him to buy a guitar (paid for by selling off a set of Beatles autographs that had belonged to his grandfather), and start making his own lysergically twisty music.

A limited-edition single, Losing the Will to Survive, got repeat Radio 1 airplay a few months ago, so he's in the right place to edge out the two Jameses (Blunt and Morrison) who dominate this corner of pop.
Caroline Sullivan

Hear him: myspace.com/findlaybrown

Last Gang
In short: the Yorkshire Clash

What's in a name? Wakefield's upstart punks were originally called Last Gang in Town, after Marcus Gray's biography of the Clash. The trouble was, everyone they knew shortened it to Last Gang, and so the band followed suit. The result? Major labels sniffing around.

The four members - Kristian Walker (vocals, guitar), Maff Smith (bass, vocals), Ritchie Townend (guitar, vocals) and Matt Knee (drums) - do have the gang mentality of bands such as the Clash and the Who, getting involved in endless scrapes and immortalising them in song. October's debut single Beat of Blue (on the small Leeds label 48 Crash) saw them crying out: "You're going home in the back of a police van" over a ridiculously catchy melody, which saw them hurriedly snapped up by Sony, the label that owns the Clash back catalogue.

Comparisons are not inappropriate. Like Strummer and co, Last Gang specialise in head-rushing harmonies and are more than capable of experimenting with reggae; the Rock Against Racism logo features prominently on their myspace site. However, their sound has a poppier edge, referencing other British pop hallmarks such as Madness, the Housemartins and Buzzcocks. Stepping up into major-label territory is a quantum leap from their feverish gigs in pubs, but the band has some killer tunes and a bittersweet northern effervescence that may take them from Wakefield to the world.
Dave Simpson

Hear them: www.myspace.com/lastganguk

The View
In short: the Libertines, the Fratellis, the View

While Pete Doherty barely bothers with his own career, it's him that the View have to thank for kick-starting theirs. In September 2005, bassist Keiren Webster thrust a demo tape by the View into Doherty's hands before Babyshambles played a gig in the quartet's hometown of Dundee. After listening to the songs - and perhaps hearing echoes of the exhilarating life, humour and charm of his former self - Doherty offered the band a support slot for that night's gig and recommended the View to the man who discovered the Libertines, James Endeacott. The View are now signed to Endeacott's 1965 label and following the success of singles Wasted Little DJs and Superstar Tradesmen, the band are releasing a debut album, Hats Off to the Buskers, which should see them enjoy the kind of success the Libs squandered.

They share a similar spirit too, though the View have softer hearts. "I don't want money, I want the thing called happiness," sings Kyle Falconer, "I don't want cash, no, I quite like memories." Blessed with Falconer's adroit vocals, which shift from angelic to depraved at toddler tantrum speed, their adrenalised punk and boozy pop celebrates the Dryburgh housing estate they grew up on and eulogises the local heroes hanging around outside the corner shop. Always exciting, if sometimes unintelligible, the View are set to become the new favourite band of those who those who snapped up albums by the Kooks and the Fratellis last year. As Falconer sings: "You'd be amazed at what you can achieve in a year."
Betty Clarke

Hear them: www.myspace.com/dryburgh

The Kidz in the Hall
In short: graduates take hip-hop back to the source

Despite hip-hop being in the commercial doldrums - the genre that has dominated US record sales for over a decade produced only one album, TI's King, that shifted more than 1.6m copies in 2006 - there may be some benefits if the music stops pandering to the lowest common denominator. If so, the Kidz in the Hall - Chicago rapper Naledge and New Jersey DJ Double O - will clean up.

The pair met at university in Philadelphia, and after various guest spots and mixtapes, their debut album proper was released in the US in October on a resuscitated Rawkus, the imprint synonymous with the rise of the "backpack hip-hop" of Company Flow, Mos Def and Talib Kweli in the mid-1990s. School Was My Hustle is released in the UK in February, and has already been hailed by Hip-Hop Connection as "by far the best LP" the label has ever released.

A succinct 12 tracks, the album is a classic: eschewing the flab and flam of today's bloated rap LPs, it concentrates on lyrical firepower and cohesive musical muscle. Like fellow Chicagoans Kanye West and Lupe Fiasco, Naledge leavens his street talk with words of consciousness and wisdom, while the production pays exciting, enticing homage to hip-hop's sampled roots. Set it alongside albums from the golden age hip-hop duos - Gang Starr, Pete Rock & CL Smooth, even Eric B & Rakim - and it more than holds its own.
Angus Batey

Hear them: www.myspace.com/thekidzinthehall

Art Brut
In short: they're not jokey, they're quirky

Dismissed as a novelty band when they bounded out of south-east London back in 2003 - despite acclaim overseas - Art Brut have spent the past year proving they're anything but a lame gag. They've been on the cover of German Rolling Stone, toured the world and have been lauded by the tastemaking Pitchfork media website; now they intend to be taken seriously at home.

Frontman Eddie Argos is both the point of Art Brut and the reason some have dismissed them: he's a fiendishly arch budget amalgam of Morrissey, Mark E Smith and David Niven. He is the anti-Johnny Borrell, a man with wit, bucketloads of charm and a bit of a tummy. The band's second album is set to be released in June 2007, and, says Argos, "it's a pop album." He smirks. "I dunno if it'll be popular, though."

That's because, even as he strives to be taken seriously, he can't help treating things as a joke. Art Brut's first album featured a song called My Little Brother, so, he says, "I've been joking with people about writing My Little Sister for a while, but I've actually gone and written it now. I see her and she's having loads of fun and I'm just jealous of her and of being 16."
Leonie Cooper

Hear them: Art Brut's first album, Bang Bang Rock'n'Roll is available on Fierce Panda; www.myspace.com/artbrut

Pull Tiger Tail
In short: it might be pop, it might be punk

They look a little like a chiselled boy band, but Pull Tiger Tail have already served their apprenticeship in the nether reaches of indiedom. The trio previously made up three-quarters of John Peel favourites Antihero, and before signing to B-Unique, the label of choice for indie crossover success (Kaiser Chiefs, Ordinary Boys), had released a limited-edition single, Animator. The style - cemented on follow-up Mr 100 Percent - is punchy, catchy and ever so slightly off-centre guitar rock, harking back to new wave.

Too shiny to be in the grotty indie bracket, but too hard-edged to be purely pop, the group stands out from their indie peers, and frontman Marcus Ratcliff has the looks to appeal to fans not normally found in scuzzy pub venues. A new single is due in March and a debut album in the summer, so expect PTT to be one of the sounds of this year's festival season.
Leonie Cooper

Hear them: www.myspace.com/pulltigertail

Guardian Unlimited © Guardian News and Media Limited 2007