A Love Supreme
I will do all I can to be worthy of Thee O Lord.
It all has to do with it.
Thank you God.
Peace.
There is none other.
God is. It is so beautiful.
Thank you God. God is all.
Help us to resolve our fears and weaknesses.
Thank you God.
In You all things are possible.
We know. God made us so.
Keep your eye on God.
God is. He always was. He always will be.
No matter what…it is God.
He is gracious and merciful.
It is most important that I know Thee.
Words, sounds, speech, men, memory, thoughts,
fears and emotions — time all related…
all made from one…all made in one.
Blessed be His name.
Thought waves — heat waves-all vibrations –
all paths lead to God. Thank you God.
His way…it is so lovely…it is gracious.
It is merciful — thank you God.
One though can produce millions of vibrations
and they all go back to God…everything does.
Thank you God.
Have no fear…believe…thank you God.
The universe has many wonders. God is all.
His way…it is so wonderful.
Thoughts–deeds–vibrations, etc.
They all go back to God and He cleanses all.
He is gracious and merciful…thank you God.
Glory to God…God is so alive.
God is.
God loves.
May I be acceptable in Thy sight.
We are all one in His grace.
The fact that we do exist is acknowledgement
of Thee O Lord.
Thank you God.
God will wash away all our tears…
He always has…
He always will.
Seek Him everyday. In all ways seek God everyday.
Let us sing all songs to God.
To whoma all praise is due…praise God.
No road is an easy one, but they all
go back to God.
With all we share God.
It is all with God.
It is all with Thee.
Obey the Lord.
Blessed is He.
We are from one thing…the will of God…
thank you God.
I have seen Godd–I have seen ungodly–
none can be greater–none can compare to God.
Thank you God.
He will remake us…He always has and He
always will.
It is true–blessed be His name–thank you God.
God breathes through us so completely…
so gently we hardly feel it…yet,
it is our everything.
Thank you God.
ELATION–ELEGANCE–EXALTATION–
All from God.
Thank you God. Amen.
20110119
Why Angil and the Hiddentracks are not Sacem-registered
I chose not to be a registered member of Sacem because I did not have to. Sacem is a private syndicate (with a public service mission, but still); so legally speaking, nothing obliges anyone to be a member. This is far from a well-known fact; many young musicians believe that they must be registered, whereas it is totally OK to release records in France without being a member of Sacem. Anyway, the French law has always been very protective with copyrights (well, the French equivalent, "droits d'auteurs", which actually has a slightly different definition), so if ever my songs were "stolen", I am pretty sure I would be well protected by the law, and would not need any help by Sacem.
Many French musicians and labels also think they have to pay SDRM to release a record (SDRM means "Mechanical reproduction rights"). SDRM was actually created by... Sacem, and once again, it is not illegal to release a record without paying these rights. Which is good news, by the way, as these rights are exorbitant. You're supposed to get your money back after a few months (actually, about 80% of it), but this is still a huge amount of money to pay (depending on the total length of your album). In other words, I can't afford to be a member of Sacem, neither can We are Unique!
Basically, I am not registered because I do not believe in a financial interpretation of "droits d'auteurs". To me, copyrights and money do not have to be related. Sacem was created after an incident at a bar in March 1847 - three famous composers refused to pay for their drinks, because the owner of the bar had musicians play their compositions without giving them any retribution. The three composers won a trial, which led to the creation of the syndicate. What was at stake then is what lies at the core of the Sacem way of seeing things. All members are supposed to agree with the three composers' attitude - you play my stuff, you owe me something.
I don't agree with that. Had I been in the same situation, I would have thanked the owner of the bar for playing my songs, payed for my drinks, and left. To me, the broadcasting of my songs is not an end in itself, it is just a means. Who knows, one of the bar attendees (or, by extention, website visitor, venue spectator, radio listener, whatever) might want to know my music after what they've heard? They might even buy a CD, or a ticket for our next show. Or set up a show themselves. Broadcasting is just a segment within a much more complex set of interactions and causal connectives. It is a branch in a rhizome...
I must admit, though, I have the luxury to make such a statement because I am not trying to earn a living from music. I obviously understand and support my musician friends who are trying hard to do music as a job, so I am not against the existence of Sacem. On the other hand, there are many scandals surrounding it.
Everyone (including Sacem-registered artists) admits that the distribution system is very obscure. Registrations earn Sacem €600 million a year! Yet those who get the most are the best-selling artists... And if you are an independent young artist who has just been aired on a national radio show, you'd better call them and make sure they got your name (although Sacem has 1,400 employees who are supposed to work on this).
Sacem also has control over many so-called independent financial help systems in France (the Fair, Adami, even some festivals). They won't admit it officially, but if you are not Sacem-registered, you're out of the game, or it is much more difficult for you to be supported, at best. I know it, because this is what happened to us in the past, and will surely keep happening.
Finally, Sacem CEO Bernard Miyet has been in the grip of financial scandals. He's been using the Sacem credit card on personal vacation, for example, and the salaries of Sacem executives are outrageously high. The European Union is getting suspicious, I wouldn't be surprised if Sacem was dismantled, or at least reorganized, in the next few years.
MM
Many French musicians and labels also think they have to pay SDRM to release a record (SDRM means "Mechanical reproduction rights"). SDRM was actually created by... Sacem, and once again, it is not illegal to release a record without paying these rights. Which is good news, by the way, as these rights are exorbitant. You're supposed to get your money back after a few months (actually, about 80% of it), but this is still a huge amount of money to pay (depending on the total length of your album). In other words, I can't afford to be a member of Sacem, neither can We are Unique!
Basically, I am not registered because I do not believe in a financial interpretation of "droits d'auteurs". To me, copyrights and money do not have to be related. Sacem was created after an incident at a bar in March 1847 - three famous composers refused to pay for their drinks, because the owner of the bar had musicians play their compositions without giving them any retribution. The three composers won a trial, which led to the creation of the syndicate. What was at stake then is what lies at the core of the Sacem way of seeing things. All members are supposed to agree with the three composers' attitude - you play my stuff, you owe me something.
I don't agree with that. Had I been in the same situation, I would have thanked the owner of the bar for playing my songs, payed for my drinks, and left. To me, the broadcasting of my songs is not an end in itself, it is just a means. Who knows, one of the bar attendees (or, by extention, website visitor, venue spectator, radio listener, whatever) might want to know my music after what they've heard? They might even buy a CD, or a ticket for our next show. Or set up a show themselves. Broadcasting is just a segment within a much more complex set of interactions and causal connectives. It is a branch in a rhizome...
I must admit, though, I have the luxury to make such a statement because I am not trying to earn a living from music. I obviously understand and support my musician friends who are trying hard to do music as a job, so I am not against the existence of Sacem. On the other hand, there are many scandals surrounding it.
Everyone (including Sacem-registered artists) admits that the distribution system is very obscure. Registrations earn Sacem €600 million a year! Yet those who get the most are the best-selling artists... And if you are an independent young artist who has just been aired on a national radio show, you'd better call them and make sure they got your name (although Sacem has 1,400 employees who are supposed to work on this).
Sacem also has control over many so-called independent financial help systems in France (the Fair, Adami, even some festivals). They won't admit it officially, but if you are not Sacem-registered, you're out of the game, or it is much more difficult for you to be supported, at best. I know it, because this is what happened to us in the past, and will surely keep happening.
Finally, Sacem CEO Bernard Miyet has been in the grip of financial scandals. He's been using the Sacem credit card on personal vacation, for example, and the salaries of Sacem executives are outrageously high. The European Union is getting suspicious, I wouldn't be surprised if Sacem was dismantled, or at least reorganized, in the next few years.
MM
20110116
20110106
We Are Unique's Supporting Members recommend ONE 2010 release! (5)
Jeff:
Dark Night Of The Soul, Danger Mouse & Sparklehorse
Stéphane :
Seu Jorge
Dark Night Of The Soul, Danger Mouse & Sparklehorse
Stéphane :
Seu Jorge
20101222
We Are Unique's Supporting Members recommend ONE 2010 release! (3)
Côme :
"Fallen House, Sunken City", B. Dolan
"Fallen House, Sunken City", B. Dolan
20101220
20101024
20100429
20100425
Angil par Richard Robert
ANGIL & THE HIDDENTRACKS – THE AND
Des transmissions de pensées, des partages de sensations, des combinaisons d’affects, des croisements de voix et de regards, des mélanges de souffles et de gestes… Voilà ce qui se joue dans The And, le troisième album d’Angil And The Hiddentracks. Après le joyeux branle-bas sonore et poétique d’Oulipo Saliva, la société musicale réunie autour de Mickaël Mottet revient à un songwriting plus limpide, plus immédiat, laissant la part belle à la mélodie. Sauf qu’il se trame toujours autre chose derrière les interactions instrumentales et la très humaine mécanique des fluides qui soudent ce petit monde.
The And pousse un cran plus loin une magie qui était déjà à l’œuvre dans Oulipo Saliva : il transforme tout ce qui fonde la beauté d’un rendez-vous collectif comme celui-ci en matière vibrée, en onde de désir, voire en pure décharge émotionnelle. Dans l’art pas si simple de l’écoute mutuelle, les membres d’Angil ont franchi un palier supplémentaire. Enregistré live en studio dans la lumineuse quiétude de l’été 2009, The And traduit en lignes musicales les contours d’un espace chaleureux, d’un cercle amical qu’agrandissent les présences passantes de voix complices – Françoiz Breut, Raymonde Howard, Jim Putnam (Radar Bros), Laetitia Sadier, Half Asleep, Emma Pollock… Il capture l’incandescence d’un moment de partage forcément unique, forcément fugace, forcément intense.
The And a quelque chose d’un instantané ; mais c’est un instantané qui ne manque pas de perspective, de profondeur de champ. Un bloc brut de présent dont le passé, apparaissant maintes fois en filigrane dans les textes de Mickaël Mottet, dessine l’ombre portée, le juste prolongement. Un présent que la chaleur du souvenir vient sans cesse éclairer. The And est ce disque où de bonnes âmes, unies par la mémoire de multiples expériences communes, se rassemblent comme si c’était la dernière fois, comme si c’était là l’ultime trace qu’elles allaient abandonner dans ce monde.
Ce disque aurait pu s’intituler The End, mais il s’appelle The And. Peut-être parce qu’entre un mot qui trace un lien (and) et un mot qui annonce la fin (end), Mickaël Mottet a préféré choisir le premier. Sans ignorer que toute forme de lien – entre aujourd’hui et hier, entre soi et les autres – est la plus belle fin à laquelle puisse aspirer une vie d’homme.
Richard Robert
Des transmissions de pensées, des partages de sensations, des combinaisons d’affects, des croisements de voix et de regards, des mélanges de souffles et de gestes… Voilà ce qui se joue dans The And, le troisième album d’Angil And The Hiddentracks. Après le joyeux branle-bas sonore et poétique d’Oulipo Saliva, la société musicale réunie autour de Mickaël Mottet revient à un songwriting plus limpide, plus immédiat, laissant la part belle à la mélodie. Sauf qu’il se trame toujours autre chose derrière les interactions instrumentales et la très humaine mécanique des fluides qui soudent ce petit monde.
The And pousse un cran plus loin une magie qui était déjà à l’œuvre dans Oulipo Saliva : il transforme tout ce qui fonde la beauté d’un rendez-vous collectif comme celui-ci en matière vibrée, en onde de désir, voire en pure décharge émotionnelle. Dans l’art pas si simple de l’écoute mutuelle, les membres d’Angil ont franchi un palier supplémentaire. Enregistré live en studio dans la lumineuse quiétude de l’été 2009, The And traduit en lignes musicales les contours d’un espace chaleureux, d’un cercle amical qu’agrandissent les présences passantes de voix complices – Françoiz Breut, Raymonde Howard, Jim Putnam (Radar Bros), Laetitia Sadier, Half Asleep, Emma Pollock… Il capture l’incandescence d’un moment de partage forcément unique, forcément fugace, forcément intense.
The And a quelque chose d’un instantané ; mais c’est un instantané qui ne manque pas de perspective, de profondeur de champ. Un bloc brut de présent dont le passé, apparaissant maintes fois en filigrane dans les textes de Mickaël Mottet, dessine l’ombre portée, le juste prolongement. Un présent que la chaleur du souvenir vient sans cesse éclairer. The And est ce disque où de bonnes âmes, unies par la mémoire de multiples expériences communes, se rassemblent comme si c’était la dernière fois, comme si c’était là l’ultime trace qu’elles allaient abandonner dans ce monde.
Ce disque aurait pu s’intituler The End, mais il s’appelle The And. Peut-être parce qu’entre un mot qui trace un lien (and) et un mot qui annonce la fin (end), Mickaël Mottet a préféré choisir le premier. Sans ignorer que toute forme de lien – entre aujourd’hui et hier, entre soi et les autres – est la plus belle fin à laquelle puisse aspirer une vie d’homme.
Richard Robert
20100405
20100304
Sail home
New song up on our Myspace page: "Sail home", featuring Jim Putnam.
Sail home
“We’ll sail home by moonlight, another honeymoon.” (F.W. Murnau)
The fabric will come loose and sever from the loom.
The aching, the thrilling, I’m sure will be gone soon. We’ll head home.
Your phone’s on in your dress; my number’s the top one. It dials as you walk; I answer and listen to the world from your pocket until your credit’s gone. Come back home.
I guess there is someone, I guess you’re with him now. I don’t blame him for making weapons; I blame him cos he digs art. Well I dig dignity; though I’m digging my own.
The nosebleeds, the sick days, the memories, us fighting. It’s a big house; it’s our house. Our fences. It’s burning.
The couples on small boats all waving and shouting. Here’s Ringo; here’s Captain; and the band’s still playing. We can’t hear their music; it’s the waves, it’s the wind. It’s an old film
“We’ll sail home by moonlight, another honeymoon.”
We’ll head home.
Sail home
“We’ll sail home by moonlight, another honeymoon.” (F.W. Murnau)
The fabric will come loose and sever from the loom.
The aching, the thrilling, I’m sure will be gone soon. We’ll head home.
Your phone’s on in your dress; my number’s the top one. It dials as you walk; I answer and listen to the world from your pocket until your credit’s gone. Come back home.
I guess there is someone, I guess you’re with him now. I don’t blame him for making weapons; I blame him cos he digs art. Well I dig dignity; though I’m digging my own.
The nosebleeds, the sick days, the memories, us fighting. It’s a big house; it’s our house. Our fences. It’s burning.
The couples on small boats all waving and shouting. Here’s Ringo; here’s Captain; and the band’s still playing. We can’t hear their music; it’s the waves, it’s the wind. It’s an old film
“We’ll sail home by moonlight, another honeymoon.”
We’ll head home.
20100223
The And
Our new album The And will be out in May 2010!
We recorded it last summer, live at Ohmnibus Studio (St Etienne, France) as a full 10-member band. The record was produced and mixed in the old way, with references to some 1960s LPs we love (by the likes of Otis Redding, Nina Simone or Miles Davis).
Guillaume Long and Nancy Pena have just finished drawing the cover.
20091230
Hidden List - Top fivers
Gérald (We are Unique's boss):
YO LA TENGO Popular songs
JERRI
B R OAD WAY Gang plank EP
TOP 2009, 12 disques qui ont compté pour moi.
VIC CHESNUTT At the cut
Album testament (toujours avec les géniaux membres de Silver Mont Zion et Guy Picciotto de Fugazi) puisque Vic vient de nous quitter le 24 décembre dernier, après une énième tentative de suicide qui a malheureusement réussie. Il va me manquer terriblement. Après Kurt Cobain, Jeff Buckley, Elliott Smith, la musique perd encore un de ses plus grands songwritters.
JEFFREY LEWIS & THE JUNKYARDS ‘Em are I
Avant, Jeffrey c’était le bordel, de l’antifolk avec des pépites mélodiques égrainées au long de ses disques. Désormais avec ce nouvel album, Jeffrey, c’est un des plus grands, des tubes à gogo, héritier de Robert Pollard, Jay Mascis et autres Stephen Malkmus.
THROW ME THE STATUE creaturesque
Deuxième album, plus produit que le premier, mais toujours aussi bon, de ce groupe digne héritier de Guided By Voices. C’est léger, pop, lo-fi et classieux, bref ils me mettent la pèche et je les aime pour ça.
YO LA TENGO Popular songs
Prenez une bonne dose de I can hear the heart beating as one et de Summer songs, et vous aurez une petite idée de ce nouvel album. Soit du très bon YLT, variés, avec de la pop, de la bossa, du folk, du noise. Un groupe essentiel.
PJ HARVEY A woman a man walked by
Moins personnel que White chalk, car enregistré avec John Parish, ce nouvel album de la belle Pj comporte son lot de belle chansons énervées et d’autres expérimentations. Une des plus grandes chanteuses en activité.
JERRI
Je suis chauvin, oui et alors ? Je vous emmerde. Jerri, c’est avec 0°, l’un des meilleurs disques sorti en France cette année. Et comme souvent avec nos sorties, malheureusement pas très bien compris par le public.
0° des étoiles plein les yeux
Je suis très fier de ce disque, d’avoir aidé Nicolas Tochet de faire un si beau premier long effort. Des participations superbes (Angil, Cascadeur, Le Chapelier Fou) et des morceaux qui marquent longtemps au fer blanc. Vivement la suite, mais avant ça, vivement le nouveau Melatonine…
DANGER MOUSE & SPARKLEHORSE Dark night of the soul
Danger mouse n’arrête jamais ses collaborations, et avec Mark Linkous, ce disque est un joyeux bordel pop où se croisent plein de stars en tout genre. Mention spéciale à Casablancas qui impulse la chanson pop de l’année pour moi.
GREAT LAKE SWIMMERS The lost channel
Un excellent groupe folk canadien, dont ce nouvel album présente une patine proche d’un Automatic for the people…rien que ça, vous imaginez donc le niveau.
Why? s’écarte de plus en plus du hiphop pour se rapprocher de la pop. Mais toujours barrée la pop, quand même.
THEMSELVES Crowns down
Dose One et Jel are back ! Putain que c’est bon !!! Vous voulez du bon hiphop oldschool mais aussi novateur ? Allez y !!!
B R OAD WAY Gang plank EP
Nos amis les Broadz s’éloignent de plus en plus de la musique abstraite et cinématographique de leur début, pour se rapprocher d’une efficacité pop industrielle organique imparable. J’espère pour eux que le grand public sera enfin au rendez-vous, ils le méritent.
Hidden List - Top fivers
Rémi :
Bill Callahan - Sometimes I Wish We Were An Eagle
Diving With Andy - Sugar Sugar
Lhasa - Lhasa
Lightning Dust - Infinite Light
Sharon Van Etten - Because I Was In Love
Bill Callahan - Sometimes I Wish We Were An Eagle
Diving With Andy - Sugar Sugar
Lhasa - Lhasa
Lightning Dust - Infinite Light
Sharon Van Etten - Because I Was In Love
20091228
Hidden List - Top fivers
Manu :
69 : Novo Rock
Animal Collective : Merriweather Post Pavilion
Arctic Monkeys : Humbug
B R OAD WAY : Gang Plank
Be My Weapon : March/2009
Belone Quartet : 1802
Bill Callahan : Sometimes I Wish We Were An Eagle
Black Lips : 200 Million Thousand
Coconut Records : Davy
Danger Mouse & Sparklehorse : Dark Night Of The Soul
Deerhoof : Offen Maggie
Ego Twister Movie Ruiners
Health : Get color
Jerri
Mansfield.TYA : Seules au bout de 23 secondes
N.A.S.A. : Spirit of Apollo
Sonic Youth : The Eternal
Them Crooked Vultures
Tortoise : Beacons of Ancestorship
Zéro Degré : Des étoiles plein les yeux
Best live shows:
Action Beat
Animal Collective
Health
Part Chimp
Themselves
20091221
2009 Top 5
Mickaël (Angil & the Hiddentracks) :
1. Broadcast and the Focus Group (http://futurecrayon.blogspot.com/)
2. Rain Machine (http://www.anti.com/artists/view/70)
3. Mos Def (http://www.myspace.com/mosdef)
4. Qwel & Jackson Jones (http://www.galapagos4.com/)
5. Cate le Bon (http://www.catelebon.com/)
1. Broadcast and the Focus Group (http://futurecrayon.blogspot.com/)
2. Rain Machine (http://www.anti.com/artists/view/70)
3. Mos Def (http://www.myspace.com/mosdef)
4. Qwel & Jackson Jones (http://www.galapagos4.com/)
5. Cate le Bon (http://www.catelebon.com/)
20091203
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