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THE SINGLE «DE LA COLÈRE À LA HAINE»

SPLIT BRAIN releases "DE LA COLÈRE À LA HAINE," 27th september, the first single and music video from the metal album "ÉCRASÉS PAR NOTRE HÉRITAGE," available at the end of October.

Between chiaroscuro and psychological tension, SPLIT BRAIN takes us on a descent into hell, the passage from anger to hatred.

"What can make us tip over? A broken promise? A dream turned into a utopia?" asks Rémi, lead singer of SPLIT BRAIN. "Sharp riffs, a heavy drumbeat, and vocals full of anger convey this state of mind. While the melodic and almost dance-like bridge seems to bring relief, it’s only to explode further. Has hatred taken control?"

The video, directed by Kévin Merriaux (Freehowling, Beyond the Styx, Souffre…), highlights the dark and profound themes addressed in the song, particularly emotional transformation and how anyone can tip over into hatred. The staging is brutal and contrasted, in line with the music and lyrics. It features a main character grappling with his own demons, an individual losing control.

Three key visual elements in the video:

• The drain symbolizes the descent into hell, representing dark and destructive emotions.
• The mirror reflects the different facets of the character, played by the band members, and embodies the confrontation with oneself.
• The mysterious character, representing inner demons, watches and interacts discreetly, intensifying the confusion and loss of control.

Finally, the abstract ending of the video intentionally leaves the door open for interpretation: has hatred ultimately triumphed? Or does this mysterious character embody an unfinished struggle? The viewer is left with this enigma, without a clear answer but with the feeling of having witnessed a universal internal battle.

Kévin Merriaux explains: "The goal for shooting the video 'From Anger to Hatred' was to integrate both the musicians and a powerful storytelling element, to highlight each band member as well as a fictional character, the avatar. The video's aesthetic is akin to a horror movie, with a cold and oppressive atmosphere to enhance the intensity of the music. I focused on close-ups and harsh lighting with bright flashes to create a strong visual contrast, playing on chiaroscuro."

SPLIT BRAIN stands out by using French in a thrash and death metal genre, bringing a unique identity to their creations. Through compositions that are both powerful and melodic, the band explores deep themes such as heritage, individual and collective responsibility, and the evolution of emotions.

De la colère à la haine
Bonheur, malheur
Tout va si bien
Douceur et pleurs
Tout est si bien
On a tous cru à sa fin
Certains y ont vu l’espoir
D’autres ont continué leur larcin
Et quelle surprise on va se décevoir
Tout chambouler pour un nouvel ordre
Quelle ironie, quel beau troupeau
Recentrer nos vies pour un temps si court
Quelle ironie, acte manqué
De la colère à la haine
Bonheur, malheur
Tout va si bien
Douceur et pleurs
Tout est si bien
Du plaisir à la torture
Qui traduit toutes nos peines
De la colère à la haine
Qui gangrène cette imposture

Tout chambouler pour un nouvel ordre
Quelle ironie, quel beau troupeau
Recentrer nos vies pour un temps si court
Quelle ironie, acte manqué

Croître / Mensonge
Croire / Pouvoir
Crime / Savoir
Quel bonheur
Croître / Mensonge
Croire / Pouvoir
Crime / Savoir
Quel bonheur
Tout chambouler pour un nouvel ordre
Quelle ironie, quel beau troupeau
Recentrer nos vies pour un temps si court
Quelle ironie, acte manqué
Tout chambouler pour un nouvel ordre
Quelle ironie, quel beau troupeau
Recentrer nos vies pour un temps si court
Quelle ironie, acte manqué
De la colère à la haine

Lyrics and Music by Rémi Pierre, Frédéric Acx, Nicolas Dijoux, Damien Marchant and Nicolas Jeanneteau - Published by Éditions AMOC

CROWDFUNDING FOR SPACECRAFT

Spacecraft is a the name of a new jazz quintet lead by British composer and double bassist Gary Brunton, inspired by space travel.

Message from Gary Brunton : « Since 2019, I have been leading a series of ORIGINAL jazz projects inspired by travel and various modes of transportation. Following on from the bus with Night Bus and Second Trip, and the train with Trên Dydd and Gwawr, this time, I will take off in a Spacecraft. Let’s continue this journey together. The "Spacecraft" project embodies speed, space, and expertise. I compose specifically for each member of the group, creating forms and rhythmic patterns that stimulate their creativity in improvisation. This quintet brings together charismatic melodies, modern fusion, groove, rock, and fiery improvisations, driven by the exceptional talents of Emma Rawicz, Léa Ciechelski, Benjamin Garson, and Simon Goubert. Together, we will push the boundaries of jazz and deliver a unique musical experience.»

NEW SPLIT BRAIN ALBUM FOR FALL

SPLIT BRAIN presents an innovative fusion of thrash and death metal. The band stands out by using French for their lyrics, which gives their music a unique lyrical dimension and a strong cultural grounding.

The album "Écrasés par notre Héritage" by the French band SPLIT BRAIN delves into a range of deep and varied themes, exploring the evolution of emotions through tracks like "De la Colère à la Haine," which addresses the shift from one emotional state to another, or "Acteurs de notre Déchéance," which questions personal responsibility and the quest for self, offering a reflection on our role in the events of our lives. "Are we actors in our lives or mere spectators in the lives of others?" wonders Rémi, the band's singer and lyricist. The irony of the album's opening track "Il paraît qu’on a déjà tout dit" sets the tone, but SPLIT BRAIN definitely has things to say and to be heard!

“Une fuite en avant” embodies an urgent reaction to adversity, followed by “Et alors on s’élèvera…” which seems to offer hope of transcendence or liberation despite disillusionment. There’s a gentleness to the weighty messages. The melancholy of the instruments is complemented by the almost religious vocals. "Et alors on s’élèvera" as a warning or an inevitability? “Pourquoi ?!!”, the turning point is reached, everyone is involved and will be affected. The soaring guitars sound like sirens warning us, but it’s too late, as the raspy and disenchanted vocals make clear. For a moment, we think we can regain control, but the sirens are already there… "We are condemned"… And we depart, slowly, carried by the bell that seems to compel us to move forward…

The track “Jusqu’à se consumer” marks the inevitable end. It’s over! Life is no more, the violence of the departure is such that it quickly becomes clear that everything has changed. Everything happens so fast, and there’s no going back. Yet, in a moment of lucidity, it’s still possible to take stock. This moment of nostalgia, contrasting with the brutality of the moment, seems frozen in time with these acoustic guitars from another era, completed by an unfiltered, unembellished slam.

With soothing acoustic guitars, the instrumental "Reprendre notre Souffle" offers a moment of contemplative pause.

As the title suggests, the album also reflects on the influence of the past, addressing the repercussions of history on the present and the emotions they evoke, and concludes with a reflection on what we will leave to future generations: "What will they believe?".

Together, these tracks form a meditation on the human condition, individual responsibility, and the search for meaning. As Rémi explains: "As the father of a seven-year-old daughter, I realize how much we are dependent on what we have done before. Our heritage is rich but so heavy."

Recorded with spontaneous live takes and in analog at Studio 180 with Arnaud Bascuñana (Damien Saez, Matthieu Chédid, Les Wampas, United Guitars), the band focused on details, surprises, and extraordinary arrangements. "It was in a climate of serenity that we were able to tackle more complex technical aspects, push more boundaries, and be more daring. The analog recording, often found in Juste Une Trace productions, was chosen to give the sound a very particular texture for death metal," explains the singer.

Through this blend of thrash and melodic death metal, SPLIT BRAIN's album "Écrasés par notre Héritage" layers rage and reflection, melodies and audacity.

FOCUS ON «LE DIVAN»

As its name suggests, "LE DIVAN" (the couch) is a title of the French rock band Bagdad Rodeo. It could be in rotation everywhere and incorporated into many playlists as of June 14, 2024. This title with soft and catchy melodies, offers a biting reflection on the contradictions and challenges of everyday life. That’s a good thing!

“A mercantile happiness, a rent, debts, a semblance of freedom controlled by finance”. Through these first lines, Bagdad Rodeo criticizes materialism and the illusion of freedom in our society. And for once, everything seems really serious.

“Work, country, holiday”: a mantra repeated at will to keep people in a state of consensual bondage, preventing them from seeing beyond the barriers set by the system. However, even in the rare moments of leisure granted, the illusion of happiness in family is only a smokescreen intended to hide the emptiness of our existences. “Formula 1 on Sunday” becomes an opium for the masses, a welcome distraction in a bleak and often meaningless daily life.

The chorus asks essential questions: "We are here and what are we waiting for, what are we doing for a different world?" By questioning our collective passivity and our desire for change, Bagdad Rodeo encourages us to reflect on our actions and our role in society.

With his words, MGR Delatourette, summarizes this antinomy in a poignant way: "Comfort, overconsumption, a semblance of belonging to a social class, success. A well-established scheme that contradicts the logic that obsesses us, for a better and sustainable world. We all want change, a different future, but we always stay, ass on the couch…"

“THE DIVAN” is a metaphor for our immobility in the face of the train. Routine takes us away from our deepest aspirations.

And what about this addiction to alcohol and drugs, these crutches on which we rely to bear the crushing weight of our meaningless lives? “A little alcohol to hold, to pass the time”, but basically, what do we have to hope for from a society that keeps us under control?

Here we are, contemplating the distressing picture of our lives stifled by boredom and conformity, wondering what we really expect. “To dream of a different future”, of a world where freedom is not an empty word, where happiness is not conditioned by our ability to consume and obey the dictates of capitalism.

Despite our aspirations and dreams, we remain there, motionless, glued to a couch, unable to get up and challenge the system.

"LE DIVAN" is a protest rock song that will also appeal to fans of Souchon, Devo, B-52’s and Rita Mitsouko.

"LE DIVAN", title extracted from «QUATRE - PART.1 - L'Album sans Fin» is the mirror of an era. The composition also reveals a new side of Bagdad Rodeo, more melancholic, almost minimalist, but definitely committed. This is another way to take the pill, gently, more gently than usual.

Lyrics and Music by Ludovic DUFOUR and Christophe SANCHEZ - Published by Éditions Amoc

The photograph of the divan is by Édith Gaudy: famous divan located in Clarksdale

GWAWR, THE DAWN IN WELSH, IS A CAPTIVATING JOURNEY, MEMORIES AND FEELINGS SET TO MUSIC

British double bassist and composer Gary Brunton returns to the forefront with his brand new album, “GWAWR.” This eagerly awaited new album offers a wonderful immersion into the world of jazz, driven by original compositions and moments of palpable emotion.

Accompanied by saxophonist François Jeanneau, drummer Andrea Michelutti, and pianist Paul Lay (Emil Spanyi on three tracks), Gary Brunton once again takes us on a musical journey rich in emotions. Through “GWAWR,” the double bassist tenderly revisits significant moments of his life, drawing inspiration from the beloved Wales.

The album opens with “Fort Steven No.5” a vibrant tribute to a departed friend, skillfully blending modal jazz and funk, reminiscent of John Coltrane’s spirit. With “Tim’s Tune” Brunton earnestly addresses the pain of losing a loved one, demonstrating his resilience in the face of adversity.

Throughout the tracks, “GWAWR” transports us to the streets of Gary Brunton’s childhood in Burnley, through compositions such as “Lansdowne,” evoking buried memories, or “Hawthorne” and “Ramsbottom CC” immersing the listener in the world of childhood games accompanied by the sound of cricket bats.

The album also offers moments of pure escapism, such as “Chant in the Night” an enchanting composition by Sidney Bechet, elevated by François Jeanneau’s masterful playing and Andrea Michelutti’s bewitching drums.

Gary Brunton reveals that “GWAWR” is colored by Wales, where he has lived. This album is also marked by nods, like “What a Dream” the B-side of “Chant in the Night.” François Jeanneau proposed this piece, highlighting Paul Lay’s stride piano playing.

Finally, “GWAWR” concludes triumphantly with “Song for BWB” a “latino”-inspired composition dedicated to Gary Brunton’s wife, Béatrice, perfectly embodying enduring love. Started just after their wedding, it took him 30 years to finish and reveal it.