Les Hurlements were superb again last night. The sound system is much better at the Corner, but it was less intimate. The Age rejected my review of them though, so you get to read it instead. It’s actually not a brilliantly written piece, so bear with me.
Les Hurlements d’Leo, Ruby’s, Belgrave,Wednesday, March 3; The Corner, March 4.
No album will ever capture the irrepressible energy of a live Les Hurlements d’Leo gig. The band, affectionately known as Léo (the full name can be roughly translated as ”Leo’s heartfelt cries”), consists of eight superb musicians, playing what the publicity dubs ”French gypsy ska”. The trombone, trumpet and saxophone are central to the performance, and the influences take a circuitous route from French traditional chansons to reggae to Madness via Serge Gainsbourg and the polka. The other instruments are two guitars, drums, keyboard, violin, accordion and double bass.
It hardly matters that the band barely speaks English and that the audience speaks little French. The music is unbridled passion for life and the lyrics — from older songs like ”Poêmes”, about a man who gets phone calls from a woman reading poems to him while he lies in bed with his wife, to newer tracks like ”Kaleidoscope”, inspired by the band’s previous tour of Australia — are sung at such speed even high-school French speakers will only catch every fifth word. ”We have fun, anyway,” says Benoà®t, the saxophonist, ”wherever we are.” Unfortunately, the band cancelled scheduled concerts in China due to fears bird flu would subsequently cause problems entering Australia.
The gig at Ruby’s was under-attended and a far cry from the band’s usual haunts. With fellow band Les Ogres de Barback, the group tours Europe with an enormous portable circus big top they call Latcho Drom. The red walls, green drapes and Che Guavara poster at Ruby’s went well with the atmosphere, but the projection of Amelie on a screen behind the band was both unnecessary and distracting.
One of the more bizarre moments of the night was when the gang broke into AC/DC and trumpet-player Pepito launched into a brief cover of ”Highway to Hell” followed by INXS riffs. The last amplified track for the night was the new ”Mon Cul”, layered walls of sound, punk meets soul in a small, smokey, French bar.
As usual, the band played three or four encores, descending into the audience for the last one and playing acoustic renditions of ska classics and original tunes. It’s here that the musicianship of the group really shines: in such an intimate setting, it’s like you’re privileged to be sitting in on a jam session among friends who happen to be musical geniuses. An experience not to be missed.
Les Hurlements d’Leo play Womad Friday 5th and Saturday 6th March and Port Fairy Sunday 7th and Monday 8th March.
(And after last night, I’d now also add to that: This must be the only band that can make a very serious song about Islam, the burka and Israeli PM Sharon danceable.)
What else?
Sometimes Warren Ellis is a sick fuck, and sometimes he’s a twisted genius. This story is brilliant but disturbing as hell (arachnophobes, you may wish to avoid this one).
Just had coffee with Stephan Schultz, a friend of mine who composes soundtracks for computer games and is working on his second score using the Melbourne Symphony Orchestra. I’m putting him in touch with another friend teaching interactive media at the Australian Film, Television and Radio school. I really like being able to do things like that for people.
Also just got e‑mail from my dear old friend Rachel Chalmers, currently living in SF, who is heading down here end of March for a visit. Yay!
Can you tell I’m procrastinating?