Laurent Bardainne, Fabrice Martinez, Thomas de Pourquery Drôles de Dames
After travelling round the Earth in the lineup Supersonic, shooting their psychedelic rockets in the largest concert halls and stadiums, these three wonderful French musicians have come together in BMC’s Budapest studio, to set off on a cosmic journey. On their way to an unknown destination, they unhooked every safety belt, and relied solely on their own instinct and experience when taking the musical direction: since they are erudite musicians, this led to completely improvised music which however evokes the feel of having been composed, and contains masses of references to pop culture and jazz. As to what gives drive to their spacedance on the brink of free improvisation, it is contemporary endeavours, ambient experiments, bright synth-pop and unbridled psychedelics. At the same time there is more than a little reflection of emblematic albums such as Miles Davis’s In a Silent Way, or Klaus Schulze’s opus Timewind, and perhaps we wouldn’t be far wrong in detecting even the influence of John Carpenter’s film music or Sun Ra’s retrofuturism (a personal favourite of Thomas’s). None of this is accidental, if we bear in mind something Thomas once said, that ‘music is the only known spaceship, or at least the only time machine. It is stunning. Here it is, before our very eyes: music is able to shorten time.’
Fabrice Martinez – trumpet, flugelhorn
Laurent Bardainne – analogue synthesizer, tenorsaxophone
Thomas de Pourquery – voice, alto saxophone
About the album
Recorded by Viktor Szabó at BMC Studio, Budapest on 14-15 June, 2019.
Mixing: Guillaume Jay at Studios Ferber (Paris)
Master: Viktor Szabó
Artwork: László Huszár / Greenroom
Produced by László Gőz / Label manager: Tamás Bognár
Olasz Sándor - riff.hu (hu)
The album is available in digital form at our retail partners
The launch ramp was in the BMC studio in Budapest, where the trio holed up for a session said to be epic, split between contemplation and exuberance. But for a cosmic trip the propulsion seemed minimal: trumpet and flugelhorn for one, an analogue synthesiser and tenor sax for another, voice and alto sax for the last -- to which is added a battery of effects. The winds murmur or shout, the keyboards are wrapped in blankets, and the voice is unfurls like a mantra, conjuring up SF films, retrofuturism and even the frenzy of Sun Ra. This unleashes a whirlwind that moves in a sphere close to the sacred, where each person commits his sensibility or spirituality – it’s just how you feel it, because this music has the generosity to give free reign to interpretation. By turns harmonious, bitter, malicious, or emphatic, it’s a turbulent journey: humming and shrillness must be overcome, along with spite and torment, before the skies clear in the form of a contemplative coda, to designate the end of the world, or the coming of a new one. Let’s look at it optimistically, in the presence of these extra(ordinary) terrestrials, Fabrice Martinez, Laurent Bardainne, and Thomas de Pourquery.
Translated by Richard Robinson