{"id":32686,"date":"2020-11-13T08:44:51","date_gmt":"2020-11-13T13:44:51","guid":{"rendered":"https:\/\/panm360.com\/interviews-panm360\/le-couleur-quand-tout-concorde\/"},"modified":"2020-11-13T09:14:50","modified_gmt":"2020-11-13T14:14:50","slug":"le-couleur-quand-tout-concorde","status":"publish","type":"interviews","link":"https:\/\/panm360.com\/en\/interviews-panm360\/le-couleur-quand-tout-concorde\/","title":{"rendered":"Le Couleur: When everything fits"},"content":{"rendered":"\n

Photo: Gabrielle Demers<\/em><\/p>\n\n\n\n

With this third full-length album, the second since the Montreal trio found itself on the Montreal label Lisbon Lux, Le Couleur have decided to \u201copen up the couple\u201d, as its members like to say. After some twelve years as a m\u00e9nage \u00e0 trois, the synth-pop band wanted to change its formula by inviting several musician friends to participate in the album. The result was beyond their expectations, breathing new energy into the band. The fruit of its musical frolics in the studio, Concorde<\/em> flirts with myth, loss, and death in a sexy, bewitching, and very aesthetic sound universe. There\u2019s a bit of Michel Colombier in there, some David Holmes, Sparks, Air, and Stereolab, among others. PAN M 360 spoke with the trio \u2013 drummer and tinkerer Steeven Chouinard, his partner and singer Laurence Giroux-Do, and bassist Patrick Gosselin \u2013 on the eve of its webcast performance at the CCF.<\/p>\n\n\n\n

PAN M 360: <\/strong>Tell us about the concept of Concorde<\/em>, because there seems to be one!<\/p>\n\n\n\n

Steeven Chouinard:<\/strong> Concorde<\/em> was the first song we made for this record. Our music always comes before the lyrics. So Pat and I recorded the piece and then Laurence wanted to write something related to the Concorde. She was fascinated at the time by that plane and the tragedy that ended its history. <\/p>\n\n\n\n

Laurence Giroux-Do: <\/strong>We felt that the whole aesthetic of Le Concorde was in line with the image we wanted to give to the record, that slightly vintage but at the same time quite futuristic side, the beauty of the object, the myth, the dream, the sensuality…<\/p>\n\n\n\n

SC:<\/strong> It was still a sexy plane! It wasn\u2019t ordinary, travelling at almost twice the speed of sound on top of that. So, from there, we started to compose other songs. The second one we did was \u201cL\u2019Aube du 3e soleil\u201d, and given the mood of the song and what we heard in it, what it inspired us, that\u2019s when the words came. It\u2019s quite cinematographic, our stuff. In fact, for this record, we were also influenced by images, more than by other bands; a lot of porn films from the \u201970s like Emmanuelle<\/em> and Bilitis<\/em>, the sensuality of Francis Lai\u2019s music for example, Gainsbourg… All this slowness, this sensuality, this little lo-fi side that is also present in these films. So we realised that it was tragic, that it talked a lot about death and absence… That\u2019s a bit like the concept of the record, without it being too explicit or too personal.<\/p>\n\n\n\n

LGD:<\/strong> Take \u201cSilenzio\u201d, for example. This piece refers to the death of a mafia man who was shot, who didn\u2019t respect the omerta. \u201cOiseau sauvage\u201d is about a schizophrenic… So the record revolves around death, myth, and absence, those are the three main themes of the album. There is something fascinating about how we see death and how we see ourselves dying, I think. <\/p>\n\n\n\n

SC: <\/strong>We\u2019re all afraid of it, but we\u2019ve realised, having a four-year-old daughter with whom we watch cartoons, that there are several ways of seeing death. In the animated film Coco<\/em>, they talk about the Day of the Dead in Mexico, which is a very festive and colourful event. It gives another perspective on our perception of death in our society.<\/p>\n\n\n\n

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