Musique

Les Trans Musicales have once again turned our perspectives upside down

From December 7 to 11, 2022, the 44th Rencontres Trans Musicales de Rennes took place under a radiant sun. Throwback to a week of celebration and music.

The 44are Rencontres Trans Musicales de Rennes will therefore have taken place in polar cold, but under a blue Californian sky. Better still, the carnival and the smells of churros were making a comeback on the Charles-de-Gaulle esplanade which faces Liberté, the city’s performance hall located a stone’s throw from the center, giving the landscape the look of a pocket square Bryan’s Magic Tears album cover. We will even have the opportunity to see our friends decant a few cans at the penalty shootout, even if, white cabbage, we will not leave with the jersey of the France team.

Last year, we remember that, in extremis, the annual meeting of music aficionados from the four corners of the globe was able to be held in a context of stress linked to the return to the pace of health restrictions. This had not prevented him from meeting some eminent artists, in the forefront of which Simone’s Andrea Laszlo (for a last scenic round before hanging up the gloves) and WU-LUwhich will release a few months later one of the most explosive albums of 2022.

So, what’s new for this new edition? From the creation of Zaho De Sagazanwhich will not have been our cup of tea, wandering through the halls of the Parc Expo, under the beatings of techno (Vanilla), post punk (Porchlight) or completely hybrid (the mini Korg mixed with the traditional instruments of the quintet Nana Benz from Togo), the Trans will have been true to themselves. Narrative.

Day 1, Thursday December 8

Here we are in Rennes, one day after the outbreak of hostilities in the UBU hall, where Ariel Tintar, Danielle Ponderthe French of strange society – cradled from an early age by the kraut languors of Can – and Medline. On the strokes of 4 p.m., a hair in the fluff, we find Phat Dat on the stage of l’Étage, at Liberté. We had followed the course of the Lyonnais from afar, they who had challenged us with the inaugural title of their first EP, CultureShock, released in 2019. The quartet makes up for a slight lack of charisma on stage with an undeniable mastery of pop language – guitar, bass, drums, keyboard –, wonderfully transcribed in concert. Their first album Flowersreleased this year on Catapult and Another Record, brings together a wide range of groovy sounds, mixing exotica instrumental tracks (Striking Second First), pop songs with Beatles choirs (The Mighty Sea) and clever arrangements. A great way to open a festival day.

Later, we go to République to catch the C6 line, direction Air Libre, the theater of Rennes where the traditional creation of the Trans is played five evenings in a row. This year, it’s the turn of Zaho of Sagazan to stick to it, after Lujipeka last year, Lous & the Yakuza before him, or even Jeanne Added, Fishbach, Aloïse Sauvage and a certain Stromae in 2010. In recent years, the influence of Stromae has been a little feeling too much about French song for our taste, especially about the music of Zaho de Sagazan, 22-year-old singer-songwriter, undeniably gifted, even gifted. However, the work of the singer will not be reduced to these subsidiary considerations, these going back no doubt further, to Brel or Barbara.

The creation of the Trans always has something sacred, a decorum that obliges us, a kind of aura that can sometimes confuse the critical tracks, especially when we add to that a passion – sometimes tearful – which seems to be unanimous. We guess how hard it takes to put on, most often in record time, a show that holds up, with a catalog of songs that could fit into a matchbox.

Thus, formally, Zaho de Sagazan’s creation suffers no criticism: the staging is minimalist (two guys perched on raised platforms fiddling with luminescent modular synthesizers as in a spaceship / a piano on the courtyard side / a singer wandering around this space like in a contemporary dance ballet / lighting blowing hot and freezing cold) and the voice of Zaho de Sagazan, breathtaking from start to finish. As such, the pieces played on the piano, close to the microphone, remain the most striking, because the least in tune with an exhausting emphasis for our ears.

So where’s the problem ? Just about everywhere else, and especially in the dizziness inflicted on us by the idea that this return to nervous realism, declaimed and self-centered in French-speaking song, amplified by rollings of “r” as if carried away by the crowd, is no longer and for long been the new standard for healing the living. Remember, for all intents and purposes, that music doesn’t always have to be a catharsis.

Day 2, Friday December 9

Night has fallen over Rennes and, when we leave the metro, our sentences condense into smoke through our lips. We clench our fists in our pockets. At 6 p.m., darkness is already hitting so hard that the flashy neon lights of a fairground drown out the facade of Liberté, Rennes’ cultural complex. In the hubbub that fills the interior, we climb the stairs two by two to land on the Floor, a room transformed into a carnival by Hippie Hooray. Arriving from Montreal in a cowboy hat and boots, in a long black coat concealing superb sequined underpants and in opaque tights that will soon fall off, the singer (Cédric Minelli, for those close to him) unpacks his hoarse voice on texts à la Dutronc, from whom they stole the title of a 1968 song for the group’s name. The guys pretend not to give a damn but they start straight away, the raw, insane and stretching riffs, emitted by sixties guitars, psychedelic and badly brought up. Everything to please.

The shuttle begins to hum and shake. It’s like going to camp, with the drunk monos and the kids heckling for nothing, with a smirk. Head to the Parc Expo, where gigantic warehouses line the outskirts of Rennes. The cold concrete and the blue lights stick perfectly to the skin of Porchlight, new faces from Brighton. The post-punk factory still works wonders. If you squint, you’d swear you saw Shame’s Charlie Steen on stage. But Porchlight is doing very well without recycling, by inscribing on the glossy paper of punk according to bizarre and oblique sounds, which inevitably end in dementia.

After an excursion toAkiradiscreet and prodigious DJ from Nantes, we sneak under the disco balls that dot the stage of Satellites, a group from Tel Aviv whose formidable mix of traditional Turkish folk and psych rock gives the sense of the party. Before leaving the Parc Expo for a nocturnal trip through the streets of Rennes, let yourself be embraced by the vaporous show of FifteenFifteen. Like a whispered mass, the collective unites around meticulous gestures and electro essays broken by solid voices or caressed by choirs. The promises are sealed.

Day 3, Saturday December 10

It’s gentrification. We give up the shuttle, and we grab a taxi to go to the Parc Expo. In Hall 3, we just miss the Australian Grace Cummings, but we are there for Puuluup, an unlikely duo formed by Marko Veisson and Ramo Teder, two Estonians playing experimental folk on a talharpa, a kind of rudimentary four-stringed hurdy-gurdy, mixed with more electronic influences. With Duo Ruut, which opens all week at the Aire Libre before Zaho de Sagazan, Puuluup is the second group from Estonia of these 44are Trans Musical encounters. Interesting, but we shift before the end, for a little beating session in Hall 9, the largest on the site, where Baby is delivering a rowdy techno set. The French DJ and activist within the Consentis association, who has gone through the peaceful practice of the violin and dance, has transformed the room into an intimate rave, with her kicks and trance digressions.

Around 12:30 a.m., we arrive in large numbers in the middle of the set of 79rs Gang, in Hall 8. Mardi Gras atmosphere – less the pearl necklaces – for a set that good old Dr. John, emblematic figure of New Orleans, would not have denied. The gang’s “Black Indians” celebrate brass band blues, trance polyrhythm, country-funk guitars and hip-hop. A nice groovy brothel, for a nice ejaculation of dapper colors (you had to see these costumes). End of the set, here we go again for a stroll in the Parc Expo, before retracing our steps, in Hall 8 – after a short passage in Hall 3, the time to applaud the Reunionese Mouvman Ale –, to see the quintet at work Nana Benz from Togo, with this hypnotic mini-Korg that accompanies the incantations of the trio of singers from the Togolese band. Surely one of the best shows of the evening.

After drinking a beer, we pass Place des Fêtes, an ad hoc location, taken over on three evenings by punks in gray parkas from Concrete slab, which have the particularity of pouring a concrete slab at each performance (with a cement mixer, yes). What an idea ! The evening is about to end for us after a last passage Hall 9 where plays None Soundsa Uyghur duo established in Barcelona and masterminds of a techno as radical as their political stances against Chinese power.

Source : BBN NEWS

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