FRANCOIS MARRY OF FRANCOIS & THE ATLAS MOUNTAINS
Hi François, thank you for taking the time out to speak with us at Musicology and congratulations on the fantastic new album Banane Bleue.
Thank you, it’s great to know some listeners gave it attention, and inner ear affection.
An amazing record and one that needs to have the founding concept of the album firmly embedded in the listeners mind before being able to fully appreciate the nature of the record. Can you elaborate on the Blue Banana Theory that is behind the record?
We recorded it very smoothly with Jaakko Eino Kalevi across three European capital cities. When came the time to find a title I was looking for an expression to sum up : European freedom, electricity vs disconnection and my slow pace life style. An old geography lesson burst back to my mind as I was picturing the recording spots on a European map. In the 80's we were taught at school that nighttime view of Europe from space looks like a Blue Banana, because of the electric lights of conurbations. But mostly I wanted a title that sounds fresh and absurd, because that is how I feel in my life too.
Alternating between French and English, lyrically and sonically do you approach a song with a clear sense of using one language over the other when deciding upon the right pairing to accompany the instrumentation?
No it’s just that the English songs were written back in the time when I was living in Bristol. The first song is in various European languages because I wrote it during an internal trip between various European countries. I pull songs from the air. The surrounding language makes its way in.
Of the many great tracks on the album, Gold & Lips is such an effortlessly eloquent and slowed down piece. Can you elaborate on the subject matter of the track and the scene in which you are describing throughout?
Ah I am glad you pick on that one! It’s one of my favourite too. It reflects the feeling of having a time to rest in a hotel room amongst times of movement. I was on constant tour when I wrote it. My ex-girlfriend rang me up and told me something very light, simple, down to earth and inspiring. Then I opened a book in the hotel room and it said the same thing. Today I cannot remember exactly what she said and what the book was about! But I can remember precisely the feeling of letting light in, and the impression her lips were made of gold from her speech.
Instances where a concept, lyric or sound cannot completely encapsulate the sentiment you are trying to express, the visual medium becomes the bridge. In what ways did the video clip for Coucou add to the song that you wished to convey in the clip?
None of the videos that were ever made on my music fits the images I have in mind. I wish we lived in a time where making visual content wasn’t so important. We loose something precious when we try to picture our feelings. Music is much more accurate way to express our hearts to me. Images narrows the imagination precisely because it imposes images over abstraction. That is precisely why Muslim art is non figurative….but that’s another touchy debate. My songs become something totally different with the music videos. I just enjoy collaborating with filmmakers from a human point of view. And so I let them make up their own vision on the song.I enjoy the video shooting, the dedication of the crew who bring their effort together to create something interesting.
On a technical level can you share with us some of the instruments and electronic equipment you used throughout the album that made the recording a unique one?
There’s a sound called BRENDA , it’s a preset of a Yamaha TX7 synthesizer. Lrenda visits many songs of Banane Bleue & Jaakko uses a Korg MS-20 on every track. There’s a weird vintage Russian drum machine called a Marsh here and there, for the cold vibes. There’s a mandolin from a cretan Lyra on a few tracks, for the sunny vibe. Talking of vibes, There’s lots of Vibraphone on this album too.
What were some of the challenges in putting this LP together and conversely what were some of the greatest surprises you experienced through the writing / recording process for Banane Bleue?
Challenges were to stop hanging out in Berlin parks in August a eating crisps and falafel. It was a very laid back album to create. I didn’t want to think too hard while making it.
You worked alongside Jaakko Eino Kalevi in terms of production and by employing Jaakko’s sensibilities and deft touch, what did you feel he specifically brought to the album that bears his signature?
For me Jaakko was a way to reach a minimalist yet sensitive sound. I knew he would bring his natural elegance in the pot.
As an artist evolving emotionally and musically from album to album, how do you view some of your earlier releases when the person you are today maybe completely different from the person you were when you first put pen to paper all those years ago?
Funny you should say that: some songs on the album were written 20 years ago. And they still feel accurate today. So yes I think I have a connection with my former self, despite the fact body cells are fully renewed every seven years.
Having met and performed with so any different musicians and artists over the years, during that time, has there been any defining moments or words of wisdom that were spoken to you which really resonated with you and in turn altered the way you approach your craft?
Christophe (French singer who died this year) once told me, listen to no-one but yourself. Sounded like a line from an old master in a karate movie. I’m still learning to be more self-confident.
On a personal level what does music give you that nothing else does?
It is the most comforting thing. When I feel anxious playing music soothes me. I fall asleep with a guitar in hand, sometimes it is the only thing that calms my nerves and relaxes my mind.
