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February 2022

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Might be the second time a member of a band I love is proven to be a sexual predator. Whew, who would have guessed. It is however easy for me to brush it away as these accusations have never targeted my favorite member, which in both cases, had distanced himself from the accusee long before the allegations came out, either through a very public dispute that led them to not speak to each other for nearly a decade, or by giving him a silent treatment during group activities and never mentioning him ever again once the band was formally disbanded. Not to brag about how moral my idols are : no one is moral, especially not celebrities.

My 53 year-old fave is also infamous for ruining the career of his ex-girlfriend, to the point her bands’ sophomore album never got the critical praise it deserved, eclipsed by the aftermath of her breakup, and my fave painting her as the cause of all his troubles. Eventually, her band broke up in 2001, and she declared on the same year that she « never wanted to make music ever again ». Probably a bad for a good, as she lend her remaining instruments to the woman who would become the most important British artist of the 2000s, and would co-write her breakout song in 2003. (Hint : ya-ya-hey, ya-ha-yaaa.)

So, is there a truly moral celebrity ? The answer is no. Because in spite of the deification process celebrities go through, they remain people. And normal peopel are deeply flawed as well ; it’s just that even with social media, there is little chance that the entire world will ever be exposed to their dark side. Commoners can choose to hide their private life if they want, but for celebrities, the rare ones who remain extremely private usually do it to keep a mysterious facade, that is considered more profitable, especially in an age of manufactured relatability (I would however object that relatability is really used as a marketing tool, likely because I do not care about Western pop celebrities)

Greek gods, unlike the almighty god of Christianity, were in no means good people, which is supported by the amount of sexual conquests of Zeus. The Greek god is a god that can be feared, and more often creates horros than wonders. Hence why their rituals of worshipping were begging them to be clement, rather than to be helpful. The Christian God, however, is no longer feared, except in some American Protestant organizations that are closer to sects than to realy worshipping churches. Catholics tend to pray God for protection, not to beg him to not punish humans.
What is teh relatiosnhip with fame ? As I mentioned above, celebrities are treated as god-like entities by media and commoners alike. They can’t be defailing. Their appearances should be perfect at all times. They should be moral, in supporting the « right » causes, using their influence for « good ». The quality of their work that made them known in the first place is a secondary quality in the age of social media. Celebrities are no longer praised for their skills, aside by critics that are often paid by their label or their agency to write raving reviews. People no longer become famous for their talent ; they become famous for being slightly above than average people. And giving clout and power to slighy better than average people, or even talented people, rarely is what they need.

Many will resolve to addictions, anxiety, anorexia, depression, self-harm, suicide ; many will see their preexisting flaws, such as their attirance for young people, or their greed, grow to an extent they’ve lost what makes them human in the first place : their empathy. Fames is a monster-making factory. Hence why it feels like celebrities, more than regular people, seem to have unmoral behaviors.

So, is there a solution to stop ruining talented people ? Putting an end to celebrity culture will not happn overnight. First of all, we must accept that our faves suck. The punks had a point when they told us to kill our idols : metaphorically, we must kill the unsullied image we have of them. Our fave suck because they are human, just like us, and even ourselves, as people, have done horrendous acts in one point of our lives, despite what high-and-mighty puriteens on Twitter might believe. There is no fixed victims, no fixed bullies ; we can all occupy one of these roles at different points of our lives. This is also why we can feel compassion for celebs who have debilitating mental health issues, and call them out at the same time for having despicable public or private behaviours. It could happen to any of us. By doing so, we can also stop talented peopel from ruining the lives of other humans. I don’t believe that sexual assault solely stems from privilege ; if it was the case, domestic abuse rates would not be so high within same-sex couples, or cases of domestic violence within upper-class families would hardly be heard of. It is a playing factor, indeed, especially in grooming cases. However, not all famous people are predators, in spite what the Pizzagate loonies might claim. It is first and mostly a matter of power.
Saying that we must get rid of power is a very childish and idealist thing to claim, obviously. But we, as commoners, give celebs too much power. Even quote-tweeting a media article about someone we hate, or « ratio-ing » them, is already giving them power, by inflating their retweet and like numbers, and maximising chances of people who haven’t been exposed to them before to know their name. As Gaga explained already in her own words back already in 2008, there’s no such thing as bad buzz : in the end, people still talk about you, making the job of your PR team at your place. Scandal and outrage are amazing promotion tactics ; just check how R.Kelly’s streaming numbers have skyrocketed after her got convincted for sex trafficking, and how Kanye West gave Marilyn Manson a mainstream exposure he had never gotten before right after his ex-partners (notably accaimed actress Evan Rachel Wood) have revealed he is not just playing with Nazi imagery, and also an alleged rapist.

Does this means people can’t accuse celebs of abusing them ever again ? Of course not. Everyone should name and shame their rapists, their groomers, their assaulters and their bullies. However, we shall believe them, even when they are telling us that our perfect semi-god celeb is actually a horny pedo who doesn’t understand consent. We are allowed to listen to their music, just, do not promote it. The only perks of streaming not paying artists correctly is that, at least, you can listen to a terrible person’s work without remunerating them. Do not go see them live. Do not buy their merch. Pirate it. Unfollow them , never share their social media posts. Only support the band’s individual endeavors. Accept no apology. Treat these celebs the way you would treat a real person in your entourage that has been called out for similar crimes. We won’t stop bands from enabling abusers within their line-ups, but we can stop ourselves from enabling abusers. And before raving over this « unproblematic band » to « stan », let’s keep in mind that every human is faulty, and celebs have a bigger risk of developing immoral behaviors due to the poer they are untrusted with.
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✧ Wolf Alice - Blue Weekend

This could be as well titled « The Mystery of Wolf Alice ». At first sight, the band ticks all the boxes of the average British indie rock piece of the 2010’s : art-school educated Londoners signed under Dirty Hit, led by a blonde white woman, that take inspiration from every single impactful alternative band from the three past decades. The result could be bland, heard a bazillion times before. Yet for some reason, Wolf Alice always manage to make it work perfectly.

2015’s My Love is Cool managed to blend perfectly the sounds found across the Atlantic during the 90's, but turned it into haunting religious anthems, giving us one of the greatest rock albums of the past decade, while 2017's Visions of a Life was a moodboard of contrasting genres that came to be thanks to what probably is the band’s greatest aspect : Ellie Rowsell.
Recalling the last time a more phenomenal singer led a rock band takes us back to four decades ago, in the days of Siouxsie and The Banshees, Cocteau Twins, The Sundays, or The Sugarcubes. Ellie is amazing in the sense that she's reminescent of Siouxsie, Elizabeth Fraser, Harriet Weeler and Bjork all at once. She is in complete control of her machine, and this gets even more evident in Blue Weekend, where she gives her best performance to date in the last single, « How Can I Make It Okay? », that retains ther eerie signature on a structure borrowed to 80’s power pop ballad. And you’re warned : that entire album is Ellie’s playground : she screams (« Play The Greatest Hits », she howls, she sings, she speaks (« Smile »). Meanwhile, her musicians master whatever music genre they want to try out. In that sense, Blue Weekend is like an upgraded version of Visions of a Life, where music fans, no matter their affiities, will all find at least one song they like among the tracklist. All of this without ceiding to the sirens of lowest-common-denominator pop gimmicks like many of their British counterparts did in the past.



✧ Arca – KiCK ii / KiCK iii / KiCK iiii / KiCK iiiii

It’s not an exagerration to say that Alejandra Ghersi is one of the greatest music mastermind of our times. Heiress of a long dynasty of pionering transgender musicians, she’s been an unavoidable producer during the past decade, as she was behind Kanye West’s Yeezus, FKA Twigs’s LP1, or Bjork’s Utopia.
Since, the « dona » came out, and allowed herself to take more space as a musician, by releasing music on her own, cumulating last year with her most accessible work to date, KiCK i, an anti-pop latin album that got the gays from around the world shaking their quarantined asses. This release did not sustain our thrist – neither it drowned out Arca’s undying inspiration.
This is how the Barcelona-based musician released four albums in the span of one chilly week of December. Basically, there’s room for everyone, hence why the five albums are reviewed all at once.
Last year's KiCK i is a hit factory. There's Nonbinary, a powerful coming out anthem and flawless album opener, the dreamlike electronica of Time, the experimental reggaeton of Mequeterfe, Machote and its vocal exeprimentations, La Chiqui, that has acquired "legendary" status since the death of the unrivaled Sophie, and KLK, an ode to Spanish-language music, and No Queda Nada, a dreamy ambient track, used since in countless movies and shows.
In Kick ii, Arca has fun with vocal manipulations, that surprises even more her audience with the addition of Sia’s vocals (in what probably is her most interesting musical contribution in a decade) and of BoyzNoise, serial remixer, adopted child of the 2000’s french touch scene, and producer of Lady Gaga & Ariana Grande’s «Rain On Me ». And you know what ? It’s cohesive.
In Kick iii, Arca embraces her newfound identity in a chaotic and abrasive soundscape. « Violently euphoric », as she said. And you know what ? It’s cohesive.
In KiCK iiii, she reunites with her close mates of Cardpusher and PlanningToRock to « queer out the universe », and invites Shirley Manson (of Garbage fame) and cellist Olivier Coates for her big celebration. And you know what ? It’s cohesive.
In KiCK iiiii, Arca returns to her ambient roots with piano tunes and a collab with Ryuichi fucking Sakamoto, just to sell that she’s the real deal. And you know what ? It’s cohesive.
You get the story. Arca is phenomenal in the sense that she’s bringing an entirely new generation of people into experimental music. She’s making it cool, accessible, and yet, doesn’t compromise the experimental nature of her work. A true icon.



✧ Sopico – Nuages


As an emerging French rapper in the Golden Age of French Rap, two choices belong to you : copy the hitmaking formula of Jul or Soprano by releasing back-to-back dancefloor tunes, or go down the trap road that’s been taken a dozen of times before. Oddly enough, very little place is given to rappers with an experimental sound, while the alternative rap scene was unanimously celebrated two decades ago : Grems, La Caution, TTC or Svinkels were the most succesful examples. A sign of revival was spotted in Disiz La Peste’s Disizilla in 2017, but did not receive the attention it deserved. Last year, Laylow’s Matrix homage MEGATRON sweeped the scene by surprise with his hyperpop-inspired vocal glitches and electronic beats ; this year, Sopico’s indie-rap maelstrom Nuages takes the spot.
The match of indie rock and rap seems now ike an usual occurrence for english-speaking audiences ; in the past decades, huge hip-hop names like Kid Cudi, Lil Peep, and xxxTentacion did not shy away from integrating rock-based riffs into a quintessentially trap beat. However, Sopico’s approach to rock-rap fusion is completely different, as he hardly takes any inspiration from emo or hardcore punk like his American counterparts : his approach is more acoustic, less noisy. An acoustic side that doesn’t come as a surprise after checking his credentials.
If you have watched "The Eddy" on Netflix, you may remember the bassist-rapper Tarif : he was played, and pretty obviously based, on Sopico, who’s as well a keen guitarist and drummer. At a time where computer music took over the hip-hop scene, seeing an artist who still believes in physical instrumentation is truly refreshing. That’s ultimately what makes Nuages so great : by coming back to the basics, the Parisian is ultimately leaving the groundwork for the rap scene to diversify itself, by taking inspiration from instrument-based genres that have been ignored by mainstream audiences and artists alike. No surprise here that Sopico describes himself as the fusion of legendary 90’s bands Nirvana and Wu-Tang Clan ; his revengefulness and nostalgic outlook on life is definitely reminescent of the working-class slackers of the 90’s, who may have found an heir in a dude born in 1996.




✧ Yves Tumor – The Asymptotical World EP

The reason why this article revolves around releases rather than albums is simple : I could not picture writing an introduction to my favorite albums of the year without Yves Tumor, as their music became extremely important to me on a personal level over the past year.
Many musicians have cae out as non-binary over the past decade, ranging from Demi Lovato to Christine and the Queens, to Sam Smith or Ziyoou-vach’s Avu-chan. However, while I can only applaud fellow non-binary people coming out publicly, I could rarely connect to their music. But that was before hearing Yves Tumor’s "Gospel For A New Century". It was chaotic, sweet, warn, cold, catchy, effortlessly unique, nostalgic, psychedelic, energizing, it was based on Evangelion, there was nothing to nitpick at here. It left me hungry for more of that musician
I talked about Arca earlier and how her music oozes confidence, and power, how she does whatever she wants without ever seeming messy. The reason I love Yves Tumor is the exact same. A few years ago, they were hailed as the successor of their label’s creator, Aphex Twin, but they could as well be the Genesis P-Orridge of this century (they’d be delighted at the comparision, that being said) just like they could be a rebirth of Prince, or completely change our expectations of pop music like M.I.A. did a few years ago. Their possibilities seem infinite, and it’s not this EP that’s going to make me believe otherwise.
First, they go for what seems to be a tribute to the genius (yet unfuriatingly underrated) AR Kane in « Jackie », the lead track, spiritual successor of GFANC, with a glam rock twist on it. « Crushed Velvet » probably is the most accessible song of the tracklist, delving in the current pop-punk revival trend, while still keeping an eerie quality to it thank to the reverbed vocals. Think Fall Out Boy meets Chapterhouse.
« Secrecy Is Incredibly Important to the Both of Them » may as well be the result of an ecstasy-infused Molchat Doma recording session. « Tuck », my personal fave, probably was one of the tracks they wrote for Ecco2K, but ventures into witch house territory thanks to the addition of Agnes Gryczkowska’s gloomy lyrics, and alluring screams (Alice Glass, anyone?). Then, the industrial-rock of «...And Loyalty is a Nuisance Child », and the hardcore punk inspirations of « Katrina » serve as the closer and climax of a goddamn-fucking-great EP.



✧ Bryan’s Magic Tears – Vacuum Sealed.

Yes, we, as French people, have always sucked at rock music. Our biggest rockstar was a variété singer from Belgium – this says enough about how much we’re illiterate about that genre. It did not stop us from birthing some amazing « coldwave » post-punk bands, such as Marquis de Sade, Frustration, or Trisomie 21, or having our own new wave scene, with artists such as Les Rita Mitsouko, Niagara, Taxi Girl, and more recently Her or Grand Blanc. The influence of blackgazers Alcest also stemmed a renowned interest in shoegaze sounds, however, rarely crossing the borders of the closely gurded metal scenes.
Therefore, Bryan’s Magic Tears are complete Unitentified Musical Objects amongst the french scene. They don’t give a shit about making frightening bass lines or funky synths… They’re making the kind of music you’d hear in a Gregg Araki film. Music For The Slackers. There’s nothing new or very original about their sound, but you have to admit they completely nail the mix of the solar beats from the Madchester era with Pavement’s lo-fi ethos and infectious energy, especially for a band whose members were toddlers back then, and who emerge from a country that has historically overlooked these both genres. Add some reverbed vocals, and there you get a heartfelt tribute to everything that made the 90’s so awesome. A group to watch closely.



Honorable mentions : PvP (ZOC), Sometimes I Might Be Introvert (Little Simz), Sensational (Erika de Casier), Seventeen Going Under (Sam Fender), Paradigmes (La Femme).
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