{"id":34476,"date":"2025-11-12T11:12:03","date_gmt":"2025-11-12T10:12:03","guid":{"rendered":"https:\/\/elgarajedefrank.es\/?p=34476"},"modified":"2025-11-12T11:19:47","modified_gmt":"2025-11-12T10:19:47","slug":"interview-blind-delon","status":"publish","type":"post","link":"https:\/\/elgarajedefrank.es\/en\/interview-blind-delon\/","title":{"rendered":"Interview: Blind Delon"},"content":{"rendered":"

In 2021, I interviewed Blind Delon as they were going to perform at Ombra. They were one of the first bands I reached out to, as their Discipline<\/em> (Unknown Pleasures, 2019) was an album I really loved, and I wanted to learn a bit more about them. That Sunday, they delivered one of the best performances of that edition of the Barcelona festival, proving that they were not just a studio band. A couple of years later, this time on the VEYL label, they released one of the albums of the year, La M\u00e8tamorphose<\/em>, a complex and bold work in which they move with total ease across a wide variety of styles. Following that album, Jules from the band Cathedrale became the main bassist, although they still count on Coco for some concerts. Speaking of concerts, they will be performing this Saturday in Madrid at the Santuario festival.<\/strong><\/span><\/p>\n

\"\"<\/strong><\/span><\/p>\n

\u2014Mathis: <\/strong>What is certain is that at the very beginning, I had no idea that the project would become what it is now. I come from a family of musicians where we listened to all kinds of music. In the 2000s, my father was part of the electro project Nancy Fortune<\/a>\u00a0<\/strong>and led me to discover electronic music quite young. At home, there was 70s to 90s rock, classical, baroque, film soundtracks, French variety, a bit of everything. I think the idea of founding this project and composing music that I wasn\u2019t really familiar with comes first and foremost from the eclectic culture that my parents passed on to me. When the project started, what I wanted to do was mix my father\u2019s electronic legacy with my love for rock music and instruments. That may also be why Blind Delon<\/strong> is what it is today, a mixture of style, it is something that has remained. At the time I didn\u2019t know we were going to be a band, but what I was sure of was that I wanted to play that music on stage.<\/span><\/p>\n

\u2014How did you start your collaboration with Or\u00e1culo Records?<\/strong><\/span><\/p>\n

\u2014Mathis: \u201c<\/strong>Edouard\u201d was the very first track of the project, produced in my apartment in Toulouse. I was pretty proud of this song because it was made with what\u2019s to hand but when I got it on Soundcloud, I didn\u2019t think it would really be listened to or appreciated. And a few days after posting it, Nico showed up. If I remember right, it was initially about releasing the song on one of their Minimal Signals compilation. But what happened was that the fact that a label was interested in this project so fast and so strongly immediately put me in a frantic state of composition and in a few weeks I produced the other two original tracks that made our first EP. And since, we have often worked with Or\u00e1culo, we have remixed Synths Versus Me<\/strong> (of which we have just learned the death of Vanessa, our deepest condolences), and released several EPs\/songs. This label was there to launch us and we owe them everything, without them we wouldn\u2019t be who we are today.<\/span><\/p>\n

\u2014What happened with Th\u00e9o Fantuz? He left the band, right?<\/strong><\/span><\/p>\n

\u2014Mathis: <\/strong>When in 2017 I decided to start a band, I called on my two friends Coco and Th\u00e9o. With Coco we\u2019ve known each other for almost 10 years, we worked together on many projects, soundtracks for dance shows, a house music project, a progressive rock band, in short, we know each other well and it was obvious that I wanted him with me on Blind Delon<\/strong>. Th\u00e9o was also a very good friend with whom we worked regularly. He ran a techno music label (Longway Records<\/a>) and I managed the same thing on my side (Kolkoz Records<\/a>), so it\u2019s quite natural that I brought together these two people who at the time didn\u2019t even know each other. For 3 years the project worked great at three and we had a lot of fun! But I was the only one who could live more freely and make myself available, since I run a mix and mastering studio.<\/a>\u00a0Coco had a cool job that let him go on tour whenever he wanted, and Th\u00e9o took a bartender job in Toulouse. Unfortunately, it worked less well since his boss was less flexible. We separated from Th\u00e9o in early 2020 after coming back from a long tour of several weeks, by mutual agreement.<\/span><\/p>\n

\u2014Coco: <\/strong>We still see each other obviously, we are not angry at all, but for the band\u2019s organization it was a decision to make.<\/span><\/p>\n

\"\"\u2014You toured and remixed twice German band Holygram. There are no longer active (I think we were the last one who interviewed them). How did you start that relation?<\/strong><\/span><\/p>\n

\u2014Mathis: <\/strong>Hmmm I think we started working with Holygram<\/strong> because of Or\u00e1culo Records\u2026 Their first EP was released on the label a few weeks after one of our and at that time they were looking for artists to remix their music and make a bonus CD. When we first listened to their songs, I must admit that I had a hard time projecting myself hahaha. This shoegaze trend that this EP had did not really speak to me and I wondered about the feasibility of a remix. But rather quickly and thinking about it, we tried to bring this electronic part that they did not put forward at all. And I think that\u2019s what interested them in our work and that\u2019s why we also remixed a song of their second and last record. We brought an electronic and dirty dimension that they didn\u2019t have, and that\u2019s exactly why we shared the stage several times. We felt we were complementary. We would never have dared to drown our guitar sounds in the reverb or even work with a drummer while they were doing it, and they would never have dared to tend to much harder things like techno or post-hardcore when we loved to do it. And then we became good friends, especially with Patrick the singer of the band. We are still in contact, and even if we have not yet managed to make music together, we remain hopeful.<\/span><\/p>\n

\u2014Coco: <\/strong>One of our best time with them was when we played in Cologne, their hometown, two years ago. The KVB<\/strong> was also there, it was a very good time and I think they ended the band few times after that show.<\/span><\/p>\n

\u2014Was it difficult to start playing live in 2017?<\/strong><\/span><\/p>\n

\u2014Coco: <\/strong>At that moment I came back from a study year in Spain and even if I already played on stage with several projects, I was kind of rusty. Intense in every way!<\/span><\/p>\n

\u2014Mathis: <\/strong>I may be the only one who thinks so but I had a hard time starting this project live. I had spent more than a year in my studio composing music, and overnight we were motivated to work, to rehearse, to buy equipment, to adapt our songs to the stage. It was an interesting but very stressful time. Then came our first concert and not least, at the Waveteef Festival. I think we all threw up before we went on stage. Then we did the concert and had a magical evening. But after this, the car we rented died on the way back. Then we chained up with an opening for Frustration<\/strong> the following week. Then in fact it hasn\u2019t stopped since!<\/span><\/p>\n

\"\"\u2014The band released a single Tribute To Genesis Breyer P-Orridge and one of the songs was also released in the UPR compilation. How his music has influenced you?<\/strong><\/span><\/p>\n

\u2014Mathis: <\/strong>I think I came to Genesis through Drew McDowall and Coil<\/strong>, then Psychic TV<\/strong>, then Throbbing Gristle<\/strong>, then Cosey Fanni Tutti\u2019s performances, and then in a lot of other ways.<\/span><\/p>\n

Coil<\/strong>\u2019s\u00a0The Ape Of Naples<\/em> was a musical explosion for me. I remember when I chose it in the 5 CDs that I could borrow with my young member car from my city\u2019s library. It was also the time when my father was working on the creation of MaxMSP patches and on an abstract noise project with a cello and some modular synths. We listened to a lot of Pan Sonic<\/a>\u00a0<\/strong>and abstract things at home. So I discovered Psychic TV<\/strong> quite young but came back to it much later when I founded the industrial techno netlabel Kolkoz Records. It was in 2015 and I absolutely wanted to have an artistic line that mixed dance music and noise. So we signed artists like Bombardier<\/strong>, Drvg Cvltvre<\/strong>, and it allowed us to cultivate a very industrial sound, almost noise. At the same time, I started my mastering studio which is still my current professional activity. I had the impression at the time that we were working on quite new genre mixes and a very special sound, so to cultivate my ear and inspire me finding new artists for the label, I started listening mainly to three styles of music: classic grindcore (but also more recent things like Wormrot<\/a> <\/strong>which is a band I love), Japanese noise rock of the late 80s, and finally noise like Prurient<\/a>\u00a0<\/strong>and obviously… Throbbing Gristle<\/strong>. Even if this is not a major influence of Blind Delon<\/strong>, we often find ourselves in their work when we experience things more noisy or close to sound design. Moreover, when Pedro from UPR proposed us to make a tribute song to Genesis we did not hesitate for a second, and to finish this work and pay tribute to another of his\/her bands that we listened to a lot, we took a track of PTV<\/strong> and released this 7\u201d.<\/span><\/p>\n

\u2014As influences you have named Denier du Culte and DZ Lectric & Anthon Shield. According to you, what were their influences on the music of their time? We are quite familiar with Anthon Shield\u2019s first band, but can you please tell us more about Denier du Culte?<\/strong><\/span><\/p>\n

\u2014Coco: <\/strong>It\u2019s funny that you\u2019re talking about\u00a0Denier Du Culte<\/a>, <\/strong>actually Mathis and I met in Chamb\u00e9ry (Fr) to do a cultural management and music studies, and our sound engineering teacher was Alain Basso, bassist and composer of Denier Du Culte<\/strong>, and also of Phaeton Derni\u00e8re Danse<\/a><\/strong>. He was a great guy, he introduced us to sound design, he taught us some very unconventional sound techniques which we still use, and especially thanks to him we discovered a lot of things like Chrome<\/strong> or\u00a0Sun City Girls<\/a><\/strong>.<\/span><\/p>\n

\"\"\u2014Mathis: <\/strong>We are clearly not the most knowledgeable in this area, but we have always liked to be interested in what others did not listen to. We discovered a lot of things in this way, and the French experimental scene of the 80s is one of them. Why don\u2019t we give enough consideration to its importance on the current scene? That\u2019s another question.<\/span><\/p>\n

Look, in the 70s, Pink Floyd<\/strong> and Led Zeppelin<\/strong> sort of monopolized the scene by leaving aside a multitude of more obscure bands that we wouldn\u2019t remember today without the internet. Medusa<\/a><\/strong>,\u00a0Riff Raff<\/a><\/strong>,\u00a0Elias Hulk<\/a><\/strong>,\u00a0Shinki Chen<\/a>,<\/strong> I will not say that it was the level of the Floyd<\/strong> but it was still the\u00a0bomb! And this is still the case today, in 20 or 30 years we will remember those who had the chance to break through, but we will forget those who did not. I no longer know what principle or concept it is, but it is the question of the emergence of the group. But what we forget is that for an emerging artist, a thousand others sink. The big ones need the small ones, they need to be carried, and I think the work of Michel and Christian and many others has been that one, and it\u2019s in that sense that they\u2019ve been essential at their time.<\/span><\/p>\n

\u2014Coco: <\/strong>Fortunately, we live in a society that pays attention to alternative scenes. Today we celebrate everything and pay tribute to many artists who were not even known in their lifetime.<\/span><\/p>\n

\u2014Talking about Anthon Shield, the band has collaborated with his Black Egg project in the EP, Dancefloor Dummies<\/em>. What can you please tell us of this experience? Was it easy to work with someone who has influenced you?<\/strong><\/span><\/p>\n

\u2014Mathis: <\/strong>Michel is a really great guy, we worked very fast, and it went very well because I think we had a strong common idea for this project. Often in collaborations there is a part of concession that is made so that everyone gets along as best as possible, and things can be done. But there we didn\u2019t need it, Michel brought his ideas, we loved what he proposed, we put ours and the tracks came out in the simplest way. It was a great experience.<\/span><\/p>\n

\"\"\u2014With Pedro Pe\u00f1as Robles, owner of UPR, you have collaborated in a few works, like the single de Blind Delon & HIV+ <\/strong>\u200e<\/strong>Drugs<\/em> and the split with Schwefelgelb entitled<\/span>\u00a0Rubedo Edition.<\/em> What do you find in common between your vision of music and Pedro\u2019s?<\/strong><\/span><\/p>\n

\u2014Mathis: <\/strong>Pedro is the second person we met in the coldwave scene after Nico from Or\u00e1culo and we owe him a lot. In 4 years of friendship, we worked on his label maybe ten times, between albums, EPs, remixes, collaborations, we like to work with him, and we hope it\u2019s reciprocal haha. I think we\u2019re pretty similar about the intention we give to our music. Pedro loves the raw texts thrown on paper, and his words\/voice has a sound that I find very wild, tense. Most of the time we try to bring the same thing in our music. We work on rough and explosive things, penetrating sounds, a kind of controlled violence.<\/span><\/p>\n

\u2014You also produce techno. Can tell us more about this? How was your live with IV Horsemen?<\/strong><\/span><\/p>\n

\u2014Coco: <\/strong>The fact is that we are not setting ourselves a style of predilection. We are rather carried by the intention that we give to our music, between violence, space and black romanticism. This is why when we are asked the question, we answer that our music goes from postwave to synthpunk, because we feel that we do not belong to a particular style. It happens to us to produce more techno things, but it is never without integrating elements of other styles. For example, for the hybrid live we did with Tim from\u00a0IV Horsemen<\/a><\/strong>, we were 4 on stage, Mathis played EBM and electro records, Th\u00e9o and I had some synthesizers and Tim was screaming in his microphone. It was intense and it reflected our state of mind: taxonomy is boring, and nothing prevents us from mixing everything and seeing what it gives.<\/span><\/p>\n

\"\"\u2014Why did you call your first album Discipline?<\/em> Was it a reference to the Festival in Toulouse or to the King Crimson’s album?<\/strong><\/span><\/p>\n

\u2014Coco: <\/strong>It\u2019s a tough question, we love the Discipline Festival and they are our friends but we have to tell the truth and we didn\u2019t call our album like that in their tribute no. Haha<\/span><\/p>\n

\u2014Mathis: <\/strong>I believe this album has this name for 3 reasons: Discipline<\/em> from King Crimson<\/strong>, Discipline<\/em> from\u00a0Electric Electric<\/a><\/strong>, and Disciplines<\/em> from\u00a0Sun Ra.<\/a><\/strong>\u00a0These are three works that we listened to a lot while we were composing the album, and even if we did not draw directly from them, I think we learned an unconscious lesson from these records.<\/span><\/p>\n

\u2014Coco: King Crimson<\/strong> because we always liked their work, it\u2019s probably even the group we\u2019ve listened to most of our lives. It was the album Tony Levin<\/a> joined the band on and he is a bassist that I love and that I am really inspired by. Electric Electric<\/strong> because they\u2019re one of the best post-rock band from the century and what they do is crazy, both complex and accessible, and that\u2019s unpretentiously what we tried to do in our music. And Sun Ra<\/strong> because there is a freedom feeling in his music that has always inspired us.<\/span><\/p>\n

\u2014How did your way of composing\/working change with Discipline?<\/strong><\/span><\/p>\n

\u2014Mathis: <\/strong>We have gone from an amateur composition method closer to home studio to the creation of what is today our working environment and our professional studio. We have equipped ourselves with vintage equipment, a lot of synthesizers from the 80s and instruments of all kinds. In fact, what has changed a lot is that we changed our conception of studio work. We started the \u201clab\u201d mode and it meant equipping ourselves with everything that would allow us to break the conventional and classical ways of making music. Without getting into technical details, we can say that we like to make the sound go from a point A and recover it at a point B, much like everyone else, but here the path that will travel the sound is strewn with doors that we do not usually see there. Sending synthesizers in guitar amps, rhythm boxes in 4 or 5 mixing consoles in cascades. Lots of funny things.<\/span><\/p>\n

\u2014In that album you collaborated with a lot of artists, something that you have done frequently in the band\u2019s career. Do you see music as something collaborative?<\/strong><\/span><\/p>\n

\u2014Mathis: <\/strong>Absolutely! We believe that music is meant to be a meeting place. We like to work with friends, and sometimes with people we don\u2019t even know, just because we like to meet people and discover their universes. That\u2019s why many of our songs are featuring with singers or other musicians. And that\u2019s also why we love to release our music on split format!<\/span><\/p>\n

\"\"\u2014You said that you wanted to do soundtracks, any news about this? Again talking about influences, you cited Francis Lai and Fran\u00e7ois de Roubaix. Could you recommend any special work of any of them?<\/strong><\/span><\/p>\n

\u2014Coco: <\/strong>No news on this side yet. But we still hope!<\/span><\/p>\n

There\u2019s a Francis Lai<\/strong> soundtrack that I like a lot, that\u2019s\u00a0Marie<\/em><\/a>, a biography of a former American beauty queen, wife of an alcoholic boxer, who played a very important role in a parole scandal that was given to prisoners for money in 1977. The beautiful Sissy Spacek plays the role and it is an orchestral work of 1985 whose composition reminds many passages of Joe Hisaichi\u2019<\/strong>s in the films of Miyazaki. In more instrumental work of Francis Lai, there is also\u00a0Madly<\/em><\/a>\u00a0(1970) with Alain Delon and Mireille Darc or\u00a0Les P\u00e9troleuses<\/em><\/a>\u00a0(1971) which is superb.<\/span><\/p>\n

\u2014Mathis: <\/strong>For Fran\u00e7ois de Roubaix<\/strong> it is essential to listen to the soundtrack he made for\u00a0Les Grandes Gueules<\/em><\/a> (1966)! If we talk about our influences in terms of film soundtrack from the 70s, and even if Lai<\/strong> and De Roubaix<\/strong> are surely the two main ones, we must also absolutely mention\u00a0Franco Micalizzi<\/a>,<\/strong>\u00a0Pino Donaggio<\/a><\/strong>\u00a0and Goblin<\/strong>.\u00a0That Italian scene was on fire! As we often explain in interviews, we are children of the 90s who were passionate about a culture that was not the one of their times. We were both fortunate to be born with parents who left us a phenomenal cinematographic legacy, and what rocked our childhood were simply the music of these films. Blind Delon<\/strong> even if it is wild electro-punk project that yell on stage, there are above all love songs, we talk about encounters between characters, bodies, feelings, themes very present in the cinema of the 70s. Francis Lai<\/strong>, for example, was the specialist in love music, and we drew a lot of inspiration from his melodies for our songs. We try to connect this love for happy, carefree and hopeful melodies with the darkness and tension that the following decade and the cinema of the 80s offered us, of which we admire the work of Carpenter,\u00a0David Frank<\/a>or Alan Silvestri<\/strong>. And, of course, everything Howard Shore<\/strong> did for David Cronenberg, the sound design on\u00a0Videodrome<\/em><\/a> (1983) is just a masterpiece. But we could quote our influences for hours! What is sure is that cinema is the main.<\/span><\/p>\n

\"\"\u2014Your last split with Contre Soiree is almost punk. Is this a new direction you plan to follow?<\/strong><\/span><\/p>\n

\u2014Mathis: <\/strong>As we tried to explain above, we do not block on a particular style. So the answer to the question is no and yes. Since we are two in the band, even though COVID kept us from playing for a while, we worked on our sound and developed our music until we realized that we wanted to be able to play on stage everything we produce in the studio. For example, to have composed a record like Discipline<\/em> was a fabulous experience, but it would have been very difficult for us to defend it on stage. So we will continue to produce what we want and what we like, but with the idea that we have to be able to play all this in front of our audience. Why punk? Because beyond the punk style, it is an energy in which we find ourselves. And our next productions will go in this direction. As we often remember, our motto is \u201cPostwave and Synthpunk.\u201d Postwave because we defend a broad vision of synthwave and this is felt in our music, and synthpunk because we have the feeling that it fits both the scenic proposal that we make and the sound that we defend on our records.<\/span><\/p>\n

\u2014Coco: <\/strong>We want to share our vision of the mix that can be operated between synthesizers, rhythm machines, and saturated guitars and basslines. These days we have the impression of being on a really electro-punk vibe.<\/span><\/p>\n

\u2014Mathis, you created the digital labels Kolkoz Records and WITHOUTLIES and Shawarma (three references on cassette). Can you please tell us about your experience running a label? Any plan of releasing something new in the future?<\/strong><\/span><\/p>\n

\u2014Mathis: <\/strong>I will answer the second part before, and the answer is no! Nothing is planned and nothing will be planned. Even if managing several labels was a great experience for me! I met people who are still my friends today, I discovered a lot of artists, I was able to find my mastering studio, work on the music of others, and especially I had the feeling that I was doing something cool. In 2015 when I founded Kolkoz Records it was after a simple observation: what I like about music is the relationship between artists, it\u2019s to see an idea emerge that will be fed by several people at the same time. So I decided to start a label based on the rather amazing model of singles. An artist would produce a track and I would find nine artists who would remix it, and that would be the artistic line of Kolkoz Records. And I had a blast! It allowed meetings that would never have taken place under other circumstances. We try to maintain this mode of operation with Blind Delon<\/strong>. Before we finish our tracks, we always wonder if it would be interesting to involve another person in this. When we release a record it\u2019s often the same thing, that\u2019s why we love to split our release, to mix people, styles, visions.<\/span><\/p>\n

\u2014Mathis, you travelled with DJ Varsovie as Et\u00e9 97 and did a tour across the south of France. What can you please tell us about it?<\/strong><\/span><\/p>\n

\u2014Mathis: <\/strong>The only thing I can tell you is that I will reveal no secrets about the unfolding of this tour. You\u2019d better ask the Prince of Darkness himself!<\/span><\/p>\n

\u2014In the first interview, Mathis, we talked about your parallel projects at that time: from the psychedelic prog of The Ricardo Salienas Oozing Project to the “Gorenoise” project called After Rectal, the electro with Frust, and the ambient\/drone with Le Non-Savoir. Since then, you’ve released an album with Coco as Ricard Destin, formed another project called Le Gang Moutai, and explored a thousand styles: Blackgaze with Corrose, post-punk with Croy, psych\/prog with Ribs Peppersalt, and EBM in Lost Highway alongside Pablo Bozzi…<\/strong><\/span><\/p>\n

\u2014Mathis:<\/strong> And many more! I’ve worked with Coco in Frust<\/strong> and Le Non-Savoir<\/strong>. Unfortunately, I\u2019m running out of time; twenty-four hours a day just aren\u2019t enough. I\u2019ve tried everything I would like to attempt in the last years, and now I feel like I will never finish trying things out.<\/span><\/p>\n

\"\"\u2014We already asked Leroy Se Meurt about their cover of Absolute Body Control that appeared in the Or\u00e1culo album. Why did you choose Figures? Were ABC an influence for you? Are you going to try and see them at Ombra?<\/strong><\/span><\/p>\n

\u2014Coco: <\/strong>Quite simple, we chose a major song to be able to try a minor version. ABC<\/strong> was not a major influence for us but, on the other hand, we have always listened to their music, and we have a special connection with Eric. He mastered a lot of our music, and we appreciate his work, so it was a way of paying tribute to him. For sure we\u2019ll be there!<\/span><\/p>\n

\u2014What\u2019s your favourite Alain Delon movie, as a fan?<\/strong><\/span><\/p>\n

\u2014Coco: <\/strong>La Piscine<\/em>!<\/span><\/p>\n

\u2014Mathis: <\/strong>Le Jour et la Nuit<\/em> from\u00a0Bernard-Henry L\u00e9vy<\/a>.<\/span><\/p>\n

No, it\u2019s a joke, Le Gu\u00e9pard<\/em> from Visconti is one of my favourite.<\/span><\/p>\n

\u2014Do you like other artists like Com Truise, Jichael Mackson or even Tronald Dump?<\/strong><\/span><\/p>\n

\u2014Coco: <\/strong>I\u2019m a big fan of Com Truise\u2019<\/strong>s In Decay<\/em>, I think I listen to it every month since it\u2019s been released. Big Influence here.<\/span><\/p>\n

\u2014In 2021, you released a split with IV Horsemen on Spanish label Soil, right?<\/strong><\/span><\/p>\n

\u2014Mathis: <\/strong>Exactly, we released a 4-tracks split with our friend IV Horsemen<\/strong> on Soil Records, and started working on new project under the name Polatronic<\/strong><\/a>.\u00a0We composed a really cinematic music to pay a tribute to John Carpenter<\/strong> and we decided to launch an alias for all the soundtracks and score things.\u00a0<\/span><\/p>\n

\u2014Coco: <\/strong>We also had a track we made with our friend I Hate Models<\/a> out.<\/span><\/p>\n

\u2014La M\u00e9tamorphose<\/em> was one of my favourite albums of 2023, a really brave work that managed to surprise me with almost every song. What can you please tell us of the composition\/recording of this album?\"\"<\/strong><\/span><\/p>\n

\u2014Mathis: <\/strong>Thank you for that! La M\u00e9tamorphose<\/em> is an album whose composition began during COVID, then that we finished in summer 22. Originally, it was supposed to be an almost instrumental album that should not include any featuring, a bit like a “100% us” one. Then when in January 2022 the health crisis stopped, we talked with our label Veyl<\/strong> and came to the conclusion that if COVID had stolen almost 3 years of our lives, there was no reason why it wouldn\u2019t happen again. And I believe that to fight this idea, everyone needed to make music, and communicate together. So we contacted lots of artists to appear on the record. First long-time friend Poison Point<\/strong>, then artists with whom we have always dreamed of collaborating (Curses<\/strong>, The KVB<\/strong>), and finally artists that we did not even know but in whom we felt that collaboration could be good (Maenad Veyl<\/strong>, Fivequestionmarks<\/strong>). And all these beautiful people accepted our proposals. We compiled the remote voice recordings until summer, then we went in studio to record the demos composed two years earlier. It\u2019s an album definitely more rock and grunge than all our other albums, we cherish a sound that was dirty, that disturbs. We were rather used to experiment on synthesizers and old 80s effects racks, but this time we worked with a lot of amplifiers, an acoustic drum kit (played by Thomas Vasquez-Villegas from the band Novo Skelter<\/strong>), fuzz pedals and various artifices from the world of post-rock and stoner\/sludge. The album was recorded in the studio of our friend from Katcross<\/strong>, an electro-rock duo from Toulouse. Then we mixed and mastered the album at our own studio (Golden Claws Studio<\/strong>). And it was ready!<\/span><\/p>\n

\u2014<\/strong>Instead, Blast<\/em> is less \u201cexperimental\u201d (let\u2019s put it like this), with a more \u201cBlind Delon\u201d sound. Were you thinking in recording an album that was going to be easier to play live or it was the direction that you wanted to take after a risky album like La M\u00e9tamorphose?<\/b><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u2014Mathis: <\/strong>Honestly, I have never thought about it. I don\u2019t compose my albums for logistical purposes or by thinking about how they will be scenographiable or playable on stage. At the time we did La M\u00e9tamorphose<\/i>, I needed to express anger, frustration, reconnect with a rougher sound. For Blast<\/i>, it was almost the opposite! When I composed the album, my daughter was 2 years old and it is by immersing myself in children\u2019s literature that I returned to my young adult readings and rediscovered the work of Manu Larcenet<\/b>, especially Microcosme<\/b> (2014), then Blast<\/b> (2009). And it coincided with a moment when I think I wanted to return to a simple, Cure<\/strong>-ish, more direct sound. If Blast<\/i> is a reference to Larcenet, it\u2019s also directly addressed to my daughter.. Not quite the same mood as the tension and violence that animated La M\u00e9tamorphose<\/i>, you will agree.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u2014<\/strong>In that album you collaborated with Sad Madona, an artist that we recently interviewed. What did you find interesting in his music? He was the support act of one of your shows, right?<\/b><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u2014Mathis: <\/strong>We played with R\u00e9mi in Bern, Switzerland in a superb diy punk venue called Dachstock. At the time it wasn\u2019t long since he started his project and I was touched by his sincerity and the very feverish side of his music, both very strong and assertive. These are love songs, but slaps the face, and in this sense I feel like we have the same approach. So, making a feature with him seemed quite natural to me.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u2014<\/strong>We were at Ombra with Manuel Gonz\u00e1lez in 2021, and he was really enthusiastic with your concert. So, we thought that it was only a matter of time before you played in one of his festivals. What can we expect of your concert at Santuario?<\/b><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u2014<\/strong><\/b>We live in Toulouse in the southwest of France, we are very close to Spain but do not play there as often as we would like. So every occasion is a beautiful moment that we love to spend in this country. We look forward to it!<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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