Artist.......: Rone
Album........: Au Printemps de Bourges
Label........: n/a
Genre........: Electronic
Catnr........: n/a
Source.......: DVBS
Rip.date.....: 2014-05-08
Str.date.....: 2013-04-27
Quality......: 228kbps/48.0kHz/Joint Stereo
Url..........: http://rone-music.com/
track title time
1. Au Printemps de Bourges 59:31
Runtime 59:31
Size 97.15
Release Notes:
Despite the many years still ahead of him, Rone (otherwise known as Erwan
Castex) has already come a long way, being one of the most acclaimed young
French musicians (heÆs just turned 32) on the electronic scene. After passing
his BaccalaurΘat, Erwan was not too sure what he wanted to do for the rest of
his life and took up film studies at university. He looks back fondly on this
most formative period but, when not in lectures, he would assiduously cultivate
his prime passion: music. After obtaining his MA, he started working on film
shoots in various roles (including assistant director, production coordinator
and set decorator) while continuing to make music in his spare time. And then
one day û InFinΘ û spotted some of his tracks on the web (Bora in particular,
which was featured on AgoriaÆs At The Controls mix) and got in touch with him.
From then on, things went very fast: he released his debut EP (2008), performed
his first live show at the Rex Club and released his first critically-acclaimed
album, Spanish Breakfast, in 2009. RoneÆs career had just taken off.
Three years have passed since the release of Spanish Breakfast and now his next
album, Tohu-Bohu, is coming out for Fall 2012 via InfinΘ û a label that clearly
knows the meaning of the word supportive. Tohu- Bohu (hurly-burly) is an
unexpected, even startling title, coming from an artist whose music is in no way
shambolic or garish. He explains : ôOver the past three years, I have met a lot
of people and also been on my own a lot; I have lost myself and found myself
again, working frantically; three years of doubt but enthusiasm too. During that
time, I have learnt to structure the mess inside me.ôTohu Bohuö is a
representation of my own chaos, which I have harnessed, worked my way through
and committed to record.ö And above all, over these past three years û which saw
Rone play live in the most prestigious venues and festivals (from Panorama Bar
to Sonar, not forgetting Dour festival) û two major events occurred: the young
man turned thirty and, after growing up and taking his first musical steps in
Paris, moved to Berlin in March 2011. He feels very much at home in Berlin, a
city he canÆt stop raving about, far from the non-stop party clichΘs. ôIt isnÆt
really because of the music that I moved here, it had more to do with being fed
up with Paris. I stayed in Berlin for a month in June 2009 and had the best time
ever. I fell in love with the atmosphere straight away: an amazing peacefulness,
which you canÆt fail to appreciate when you come from Paris... And sure, I was
able to sample the Berlin nightlife at various parties, but what really appealed
to me was the cityÆs distinctive laid-back attitude. In fact I fell for that
combination of serenity during the day and effervescence at night.ö
A similar kind of feverish calm emerges from Tohu-BohuÆs ten tracks, which
elegantly and consistently navigate between dreamlike electronica, hypnotic
ambient and melodic techno. Peering through here and there are also rhythmic
elements borrowed from hip-hop, the genre Erwan cut his teeth on as a teenager.
No surprise then if High Priest of Antipop Consortium make a vocal appearance on
ôLet ?s Goö. Instead of jumping on the Berlin bandwagon by converting, out of
the blue, to minimal techno or manufacturing a series of Berghain-calibrated
tracks, he decided to stay true to his own tastes and the labels he reveres,
which tend to be more British (including Warp, Ninja Tune and Border Community)
than German. Above all, he tried to write music that would resonate with him
deep down; ôEven though Tohu-Bohu was entirely conceived in Germany, I donÆt
think I have been influenced by any of the music that gets played here, at
Berghain say. But if it had been made in Paris, I think it would be a completely
different album. IÆm always a bit anxious, stressed-out in Paris. In Berlin, IÆm
much calmer, far more relaxed. ThatÆs the kind of influence Berlin has been
having on me, day after day, as a musician. So I was also much more efficient
for the three months or so we were recording: I felt no pressure walking into
the studio and wrote far more spontaneously. I didnÆt feel anything was holding
me back.ö
Tohu-Bohu also saw Rone and illustrator/director Vladimir Mavounia-KoukaÆs
working relationship grow closer: having collaborated on the short film ôLa
Femme α Cordesö (for which Rone wrote the music) and the video for ôSpanish
Breakfastö, they teamed up once again here with æVladÆ creating the albumÆs
entire visual identity. Was it a case of desperately running after the
Gesamtkunstwerk (total work of art)? One thing is certain: Rone pays great
attention to the visual aspect of his music. This is also attested to by his
strong ties with graphic designers crew Studio Fⁿnf, who brought us the video
for track ôSo So Soö, featured on an EP released in 2011. Ties that should very
soon materialise in the shape of an exclusive live sound and image show, to be
first performed in October at the Cultures Electroni[k] festival in Rennes.
On the musical front, although Tohu-Bohu is on the whole decidedly ethereal and
much more dream- than rave-inducing, it isnÆt merely a record to be played at
home, in the secure confines of a lounge or bedroom. Filled with lascivious
languor and gradually built-up crescendos, it slowly but surely induces a
trance-like state, and there is no doubt as to the potential of some tracks
(Fugu Kiss and Parade in particular) to make a serious impression û as the
evening gets going or in the first light of dawn û on non-conformist dancefloors
worldwide, Berlin included.