|New Age Music|
by monkglenn on Itunes I have all the other Deep Forest work, but this one surpasses them all. I learned Brazilian Portuguese to write poetry in that language because it is perfectly suited for expressions of transcendent creativity and beauty. I’d say this is the most favorite album I’ve ever listened to in my 64 years! The keyboard magic, the mixing, and reapplications of samples in exact progression, like an algorhythm that perfects excitement and beauty! (Not an Al Gore Rhythm–but, I bet he would like this! Can’t get much greener!) I have given this as a gift over and over, and recommend it. The effects alone are stupendous, but the performance as a whole is a whole piece, like a “La Boheme”, to me! I’m sorta old to be having “groupie” emotions, but I love Eric Mouquet’s work!
|by dfusion on ItunesIt’s apparent that Eric Mouquet still cherishes his Deep Forest musical roots. It carries over into Deep Brasil, but in a more subtle way. This is a great album and I enjoy all the songs! Ceu do Brasil is my favorite!|
|Electronic Music Mall||Indeed the singing throughout the album is performed with a touching sincerity that we have come to associate with Mouquet’s music over the years…Morpheus Music|
|Originaire du nord de la France, Eric Mouquet fut un des pionniers en matière de musique électronique. En 1992 paraît le premier album éponyme Deep Forest dont est extrait ” Sweet Lullaby “, Par une savante orchestration de mélodies pygmées, africaines et mélanésiennes mêlées à des rythmes électroniques modernes, le titre “Sweet Lullaby” world music d’un genre nouveau enthousiasme rapidement le public en France et ne tarde pas à s’imposer dans le monde. Quelques temps après la sortie du deuxième disque du Groupe “Boheme”, Deep Forest sera nominé deux fois pour les prestigieux Grammy Awards Américains, récompense ultime pour ce musicien français qui gagnera en 1995 non seulement un Grammy mais aussi un World Award.
Après avoir vendu des millions d’albums sur les cinq continents, Eric Mouquet Deep Forest nous revient, cette année, avec de nouveaux projets. Deep Brasil et bientot Deep Africa. (TV5)
|celestial-voices.blogspot.com||Their sound has been described as an “ethno-introspective ambient world music|
|New age music||At the end of the year I will not be surprised to find this album on my top 5 list of 2008. Perhaps at the very top|
|Deux musiciens du Nord-Pas-de-Calais vont faire l’histoire de la world music made in France, avec leur albums et leurs collaborations fructueuses. Eric Mouquet est un compositeur, et producteur né en 1960. Michel Sanchez (né en 1957) a une formation de jazz d’abord à l’accordéon, puis de classique, au Conservatoire de Douai (à 15 ans) à l’orgue classique. Il étudie trois ans le classique au Conservatoire de Paris, avant de se mettre au service d’un registre musical hétéroclite en tant qu’arrangeur et compositeur. L’histoire de Deep Forest commence à la fin 1991, lorsqu’Eric Mouquet et Michel Sanchez mettent en commun leurs passions pour la musique ethnique et leur sensibilité pour la musique dance européenne. Avec des samples de musiques du monde entier, et notamment des chants traditionnels (pygmées, chants de gorge, etc.), ils créent leur propre style, réunissant ethnologie et technologie. Ils travaillent ensemble sur ce qui deviendra leur sésame pour une large diffusion, avec le single « Sweet Lullaby» qui utilise des chants des îles Salomon, issu de la collection Occora, de Radio France. Le titre Sweet Lullaby entre au Top 50. Une publicité d’une marque connue (Loreal Ushuaia) utilise ce morceau comme support. Cet impact immédiat au printemps 1992 prépare le terrain pour leur premier album éponyme, Deep Forest, paru chez Celine Music / Synsound en juillet 1992 qui parait en juillet de cette même année. L’album sera nominé lors des Grammy Awards 1993 dans la catégorie meilleur album World, ainsi que pour le clip de Sweet Lullaby par MTV.
Le disque connait un succès énorme, avec des ventes qui s’élèvent à plusieurs millions d’exemplaires. Il est double disque d’or en France (200.000 exemplaires vendus), et disque de platine aux Etats-Unis. Peu de temps après, l’album World Mix adapte les titres les plus réussis de l’album au format des clubs, comme son nom l’indique.
|Le deuxième album de Deep Forest, Bohème, sort en 1995 dans 35 pays sous le label Columbia. Bohème tire son nom du voyage effectué par Eric et Michel au travers de l’Europe jusqu’aux confins de l’Asie pour enregistrer divers chanteurs, dont le chanteur hongrois Marta Sebestyen. Marta’s Song est en effet une grande réussite artistique de cet album. Il sera remixé des quantités de fois. C’est le moment de la consécration pour les deux frenchies. En plus des disques d’or qui tombent comme des feuilles mortes en automne, le disque est récompensé (enfin) par un Grammy Award dans la catégorie World Music. C’est la première fois qu’un groupe français se classe si haut au pays de Michael Jackson.
Ils récoltent également le titre de groupe français ayant vendu le plus de disques à l’étranger, en 1995 au World Music Awards. C’est à cette époque-là que le groupe collabore avec Peter Gabriel (le créateur du WOMAD, le premier mouvement World Music, en 1980) pour faire un titre bonus sur la bande originale du film « Strange Days ». En 1995 toujours, le groupe accompagne Youssou N’Dour aux Francofolies de La Rochelle. En juin 1996, Deep Forest assure le concert de clôture du Sommet des chefs d’état (G7) aux côtés de l’Orchestre national de Lyon. Ils partent ensuite en tournée en Europe de l’Est jusqu’en Océanie (ils sont très populaires en Nouvelle-Zélande, en Australie, ainsi qu’au Japon). Sur scène, Deep Forest compte trois claviéristes, et une demi-douzaine de chanteurs pour reproduire live la trame des productions de studio. Le trac de Michel Sanchez fait que cet exercice est particulièrement périlleux.
Un an plus tard, Eric Mouquet et Michel Sanchez assurent pour TF1 l’obligatoire tube de l’été de 1997 en réalisant « Alane», la chanson du camerounais Wes, qu’ils produisent également. La chorégraphie spectaculaire du clip (avec sa spectaculaire figure du serpent) est signé Mia Frye. Le titre reste au Top 50 pendant plusieurs mois !
The two producers who are Deep Forest are folklorists with keyboards and samplers and visions of one world. Instead of traveling back-country roads and recording native singers on their home turf, they comb the world of recorded music and sample the natives; and instead of presenting them as they are, they mix and match them and supply the beats themselves. Following a debut that was based on Pygmy music from Central Africa, BOHEME scans the landscape of Eastern Europe and Asia for the exotic sounds of throat singing, cantorial chanting and Hungarian folk melodies. Add in ambient dance tracks and keyboards blips, and you have Tuvan techno.
The star voice on BOHEME belongs to Transylvanian singer Marta Sebestyen, whose records are sampled on some tracks and who sings directly on others. On “Bulgarian Melody,” the producers drop out the beats altogether to showcase her mesmerizing, folk-ish throat singing. “Deep Folk Song” is a sprightly, accordion-based folk dance, spiced with high, otherwordly vocal chants; it tips the balance, momentarily, away from techno and toward the local culture. “Cafe Europa” stretches the album’s landscape to include an American Indian chant, and the seamless way it merges into the techno beat suggest Deep Forest’s true message: that two very different local cultures might just be parts of one much bigger culture.
Much like Deep Forest’s debut album, Boheme is a combination of club music and worldbeat. While the album is certainly danceable, it works better as trance-inducing mood music, although it isn’t quite as consistent as the debut. ~ Stephen Thomas Erlewine
|La troisième œuvre de Deep Forest (Deep Forest III) s’intitule « La Comparsa » (1998) et emprunte des couleurs et des rythmes des Caraïbes, et de Madagascar. C’est l’occasion de retrouver Wes précédemment cité, ainsi que Ana Torroja et Abed Azrie. Le single Madazulu connaît un écho favorable, classé N°1 au Japon.
Eric Mouquet travaille aussi avec la violoniste Catherine Lara entre 1999 et 2002. Deep Forest assure aussi le générique de la série animée français intergalactique Malo Korrigan. Les collaborations du groupe ne s’arrêtent pas là : le groupe a travaillé avec Cesare Evora, Jon Anderson, Joe Zawinul, pour citer les plus connus, ainsi que des artistes nippons et chinois. Enfin, un album Live, « Made in Japan » (1999), enregistré à Tokyo, condense tous les succès sur scène. Le groupe est très populaire là-bas.
En 2000, le groupe compose la BO du film Le Prince du Pacifique, d’Alain Corneau. L’album “Pacifique“, qui emprunte des thèmes au film, sort chez Sony Music.
|Puis, c’est une évolution musicale qu’effectue le duo de nordistes en 2002, avec un album aux sonorités plus rock et moins électro, Music Detected, ou figure l’artiste indonésienne Anggun, l’Américaine Beverly Jo Scott et Angela McCluskey. Depuis cette époque, le groupe s’est séparé, chacun travaillant de plein accord sur sa propre carrière solo. Le groupe a vendu au total plusieurs millions d’albums. On a pu entendre le single Sweet Lullaby dans une série de vidéos de Matt Harding, le danseur globe-trotteur, popularisées par Internet. Depuis quelques années, Eric Mouquet travaille avec Josh Groban et a composé plusieurs chansons pour ses albums à succès Closer (2003) (7 millions d’albums vendus) [Remember when it rained et Never Let go] et Awake (2006) (plus de 4 millions d’albums vendus) [Awake et Machine pour Herbie Hancock au piano]. En juin 2008, il créé le label Deep Projects, qui a pour vocation de regrouper ses carnets musicaux de voyage sur les quatre continents (Deep Africa, Deep Brasil, etc.). Revue de presse extraite du site “En attendant Jarre“|
|DEEP FOREST EMERGES WITH
A SUNNY SOUND The Orange County Register, Calif.By Cary DarlingThe English ultra-pop group Swing Out Sister released an album called “It’s Better to Travel” a few years ago, but it’s French musicians Michel Sanchez and Eric Mouquet who have turned those words into jet-age musical philosophy.The pair roams the world sampling and recording various rhythms for its world music/pop aural collages released under the name of Deep Forest. The duo’s first album, a self-titled effort from 1992, mixed the music of central African pygmies with modern electronics. It spawned a global hit, the sublime and transporting “Sweet Lullaby,” and sold more than 1 million copies in the United States, a high-water mark for an album considered world music.A second set, “Boheme” from 1995, which blended Eastern European folk music and contemporary dance beats, wasn’t as well-received but managed to go gold (500,000 sold) in the United States. Now, the twosome is back on more familiar territory, blending the music of Africa and Latin America in “Comparsa” (Sony/550 Music). If “Boheme” possessed the sylvan darkness of a Transylvanian forest, “Comparsa” radiates an equatorial sunniness.“After the second album, we decided to make separate trips,” Sanchez recalled by phone from New York. “I went to Cuba, (Eric) went to Mexico and Belize. We did that not only for artistic reasons but for the tourism aspect. We brought with us some DAT recorders.”However, upon returning to their home base in northern France, they felt something was missing. A musicologist friend happened to pass along a tape of music from Madagascar and they realized it had what they were looking for. Sanchez had been especially intrigued by the strains of Africa evident in Cuban music and when he heard the Madagascar tapes, he could sense the connections.“We saw common points between Cuba and Madagascar and we felt could make something strong,” he said. “We wanted to do something different from the second album.”The two traveled to Madagascar and “Comparsa” includes the presence of Mama Sana, a 100-year-old Malagasy who died before the album was finished, and Bantu griot Wes Madiko. “I had maybe 25 different tapes and I found them to have an incredible variety of styles,” Sanchez recalled. “When I heard Mama Sana, she was very old but had an incredible amount of energy and she was singing like a 50-year-old woman. I really liked the fact that she was singing very uptempo songs and improvising with traditional chants.”Another guest on the album is better known to Western audiences. Joe Zawinul, keyboardist and driving force behind the groundbreaking jazz fusion group Weather Report, plays on the track “1716.” “He did a concert in the north of France and, after the show, we decided to meet Joe,” Sanchez said. “He saw us and said: `Wow! It’s Deep Forest. How are you? I like your music. I’ve been influenced by you guys on my new record, “My People.” ‘ So we asked Joe to participate on a song for our new record. Heagreed to do that. We sent the demo to Joe, and he sent it back with his part. He said, `My fee would be that you would participate on my next record.’ I hope he won’t forget that.”Yet for all of Deep Forest’s fans in the West, not everyone is so enthused. The pair is constantly accused of rhythmic globe-trotting, plundering from cultures without understanding them, for an audience of would-be yuppie sophisticates which tipples white wine and keeps The Gipsy Kings’ bank account full.England’s Q Magazine, in a recent review of “Comparsa,” said: “Here and in Europe, there seems to be an insatiable appetite for this sort of politically correct piffle. Why don’t people just send (money) to (humanitarian organization) Oxfam? At least that way the real stars of Deep Forest might get a decent reward for their efforts.”Even more scathing is Benin-raised, French-based Afro-pop performer Angelique Kidjo. In a 1996 interview with the Register, she lambasted Deep Forest by saying: “What did they do? Because they are white, they think they can steal sounds from people?”In his defense, Sanchez says Deep Forest is all about mixing and is not meant to supplant traditional music or culture. “The more I discover about traditional musicians, the more I’m convinced that a lot of them are willing to share their cultures,” hesaid. “We were invited to Bath (England) to Peter Gabriel’s studio and there we met hundreds of traditional musicians from all over. Everybody was playing with everybody and improvising songs. It was very moving for me. It’s a parallel experience and allows people to discover unusual things and it can help traditional music stay around.”With each of its albums, Deep Forest donates a portion of its proceeds to charitable organizations that deal with the cultures represented on that disc.As if to prove Deep Forest isn’t only about being sequestered in a studio putting sounds together, Sanchez and Mouquet have put together a touring group and an eight-city American trek should take place in the summer. Two years ago, a swing through Australia and the Far East proved successful. “We did every song without any sequencers. There are 12 people in the band playing live, and we reconstructed every song to be able to improvise onstage,” he explained.In terms of the next album, Sanchez isn’t sure where Deep Forest will journey next. “What is really interesting for us is the common points among cultures,” he said. “It’s not just a question of finding another country but about mixing. We have some ideas about Asia, but everything can change very quickly.”Cary Darling can be reached via e-mail at carydar(at)aol.com, by telephone at (714) 953-7866, by fax at (714) 542-5037 and by mail at P.O. Box 1626, Santa Ana, Calif. 92711-1626.(c) 1998, The Orange County Register (Santa Ana, Calif.).Visit the Register on the World Wide Web at http://www.ocregister.com Distributed by Knight Ridder/Tribune Information Services.——————————————————————————–
ALBUMS: WORLD MUSIC
Third album from Deep Forest’s self-described “sound reporters”–Eric Mouquet and Michel Sanchez–is a joyous technicolor explosion of synth-sculpted dance rhythms, and a vibrant contrast to its more monochromatic predecessor, “Boheme.” Their sampled, performed, and remixed tunes–with global influences almost too numerous to distinguish–feature such guest stars as Joe Zawinul, Syrian vocalist Abed Azrie, and Mexican rocker Ana Toroja of Mecano. In a striking set that makes Deep Forest sound more actual and less virtual, highlights include the great Afro-pop hooks and undulating horn charts of “Noonday Sun,” the naive melody and rich vocal harmonies of “Green And Blue,” the massive grooves and raging choral refrains of “Forest Power,” and the rumba-flavored call-and-response of “Radio Belize.”
Edited by Paul Verna
Right under the sun
Since 1992, Deep Forest has devoted itself to making us discover the world’s treasure of ethnic chants. Their latest album “Comparsa” proves Deep Forest’s extraordinary mastery of the sampling technique.
It’s no surprise if the names Eric Mouquet or Michel Sanchez don’t sound familiar to you: Deep Forest is more famous abroad than in France, with about three million albums sold throughout the world! Nevertheless, six years of hard work and sample collecting has attracted attention to the northern duo. Big stars like Peter Gabriel, David Byrne and Ryuishi Sakamoto showed their admiration for Deep Forest. Still, the discretion that honors them remains unaltered, and it is with much kindness and simplicity that they accommodated us to touch upon the subject of “Comparsa”, their new sun-coloured album.
Keyboard: After Africa for the first album and Eastern Europe with “Bohème”, you turned your sight towards new horizons for the new album?
Michel Sanchez: Most of the tracks are duos between ethnic singers from Cuba and Madagascar. During our journeys, we found a great similarity between chants of those regions, both conveying ideas of joy, rhythm and dance. The idea to mix them forced itself upon us.
Keyboard: This album is rich in meetings.
MS: I went to Cuba with a friend who is drummer and who knows many local artists. Thanks to his contacts, I met a lot of happy people, living for music and willing to share their culture. Right away, I made them aware of what we were going to do with the samples. I feared some reluctance, but didn’t encounter any!
EM: In Mexico, I also met Jorge Reyes, the famous drummer. Given his perfect knowledge of studio work, the idea of having him in our place in France was natural. Obviously, we didn’t proceed that way for all the people. The result would have been too artificial. To record them in their environment seemed more judicious.
Keyboard: What about your collaboration with Joe Zawinul, a musician that you seem to like a lot?
MS: What is crazy is that Joe doesn’t want any remuneration! He just wants us to be on his next album!
Keyboard: “Comparsa” sounds more “world music” than the first two albums. Did you use more ethnic instruments?
MS: Compared to “Bohème”, the tracks are more built like songs: voices are omnipresent, maybe at the expense of the instruments.
Keyboard: How did you sort the samples?
MS: Timbre takes first place over all other aspects! I remember having some problems in Cuba. I had recorded a singer with a magic and deep voice, but that was not always matching the melody. Back at the studio, I asked myself what I was going to do with it. Finally I worked with the best sample and reworked it. The result turned out to be great: the timbre of the voice and the emotion that sustains it are definitely there! We often have to find compromises.
Keyboard: What devices did you use?
MS: I have a fault that costs me quite a lot. Since a don’t like to use a synth in a multitimbral mode (I prefer to keep the Preset’s original effects, rather than to add external post processing on the performance), i need a lot of devices….
Keyboard: What are your expectations concerning electronic instruments?
EM: I am very interested in the VLI as well, especially since the release of the VL Visual Editor: right from the start, it’s possible to get interesting sonorities that can be refined in the synthesizers. Obviously, it is monophonic, and we would appreciate to have the same features in stereo… The new arpegiators are also very charming, but given their complexity, they are not very easy to use and their programming lacks user-friendliness.
Keyboard: Do computers have a great role in your music?
Keyboard: What do you think about the new generation of musicians, passionately interested in electronic experimentations?
MS: Further more, this new wave has big influence: the musical ideas, sometimes a bit extreme, are re-used by all kind of musicians. We see singers and bands change their sounds, adding some saturation to their voices… showing their will to leave the beaten tracks of rock and international variety!
EM: This experimental aspect reminds me of the 60’s.
Keyboard: Can you picture yourselves doing an album without electronics?
MS: I think we have to insist on the fact that we are synth players, especially now that many artists want to go back to more acoustic stuff. Technology will offer us such wonderful instruments that, if we can be the first to use them, we will not miss the chance!
Keyboard: The universal language of your music helped you to cross borders. But, in concrete terms, how is your musical philosophy judged throughout the world?
MS: Before this live experience, people often talk about the relaxing music of Deep Forest. But as we started the tour, we quickly noticed that the public was moving and dancing! I think that people enjoy that alternation between rhythmic techno where dynamics are exploding, and some more acoustic and melodic moments that are more intimate.
EM: We had a lot of success everywhere. The craziest concert was definitely the one in Japan!
Keyboard: So you have been touring everywhere but not in France. Why?
Keyboard: You are interested in film Soundtracks. Why did you not follow in this direction?
Keyboard: Do you have any solo projects?
EM: Currently, I am working on the new album of Abed Azrie, a Syrian singer with a beautiful deep voice. He would like to record in my studio. This acoustic project involves western musicians – a string quintet – and eastern artists – an Egyptian drummer, and an oud player… I have two or three more projects but only dealing with production.
Keyboard: For each album release, you make a generous gesture for a charity. Which one did you choose for “Comparsa”?
thanks to C-Real for providing us a copy of this interview, to Florian Seka for the translation, and Pierre Jacquot for giving us a scan of the magazine cover.
GLOBAL MUSIC PULSE
The latest music news from around the planet FRANCE: What do the members of Deep Forest do when they are not recording for themselves or touring? They record and play for other musicians. Last year the French duo of Eric Mouquet and Michel Sanchez collaborated with Peter Gabriel, performed a set with Youssou N’Dour during the Francofolie festival in the city of La Rochelle, and remixed songs for Cesaria Evora–the highly praised singer from the African island of Cape Verde. Now, Deep Forest is taking it one step further. Keyboard player Sanchez has just composed and produced an album in his home studio for Cameroon artist Wes Madiko. The album will be released this fall on Sony Music Entertainment’s new Saint George imprint. Global Music Pulse had the chance to hear some tracks, and while it has some glimPaes of Deep Forest’s work, Sanchez has melded his style with the brilliant singing of Madiko, whose voice has some of N’Dour’s pitch and feel. The recording is in a free-style form, opening the door to improvisations. Madiko performs incantations in his native language, Bafou, with Sanchez building sounds around his voice. Madiko will be on the road this fall with Deep Forest in Australia, among other countries, doing the pygmy-tribal vocals that feature heavily in Deep Forest’s work. Deep Forest will then go back to the studio to cut a new album, tentatively set for release next April. Mouquet and Sanchez have been traveling in Latin America these past months, and their new work should bear inspiration from this region. ISRAEL: The revival of traditional Arabic and Turkish music in recent years by a new generation of educated musicians has attracted wide attention throughout the Arab world. Performances of this almost forgotten musical heritage require highly sophisticated techniques performed by individual virtuosos. An album titled “Oriental Art Music” by the Ziryab Trio, released in Israel on Nada Productions, provides an opportunity to indulge in the richness of this classical Eastern music. The trio, led by oud (Arabic lute) player Taiseer Ilias, was founded to give a deeper expression to oriental classical music and is the most recent to emerge and capture the imagination in this field. The other members of the trio are Naseen Dakwar on violin and Zohar Fresco on rig (tambourine), with the addition of Ema Nuel Mann on bass and Avraham Salman playing ganoun (Arabic zither) on some tracks. The live set features ensemble compositions by 19th- and 20th-century composers such as renowned Turkish composer Jamil Bey Tanburi (1871-1916) and the Egyptian Muhammad Abdelwahab (1902-1991). Genres like the samai–a Turkish rhythmic structure identical to the Western classical rondo in its format–and the classical Turkish longa seem to concentrate Ilias’ vitality and physical strength. Another form of music found on the set is taqsim–a nonmetric instrumental improvisation. Despite the technical disadvantages of live recording, the trio’s performance is expressive and startling. U.K.: Yunchen Lhamo was given her name by a Buddhist holy man. It means “goddess of melody and song.” She was born and raised in Tibet, and her spirituality and her voice were nurtured by her mother, grandmother, and aunt. She left her spiritual home seven years ago on a journey that has seen her perform her interpretations of Tibetan hymns for the United Nations and religious and world leaders, and she has attracted praise from a wide range of artists, including Crowded House’s Tim Finn, who has written a song for her. The Australian Record Industry Assn. honored her set “Tibetan Prayer” as 1995’s best world music album. Her first U.K. release, “Tibet Tibet” on RealWorld/Virgin, is a collection of Buddhist devotional and celebration songs, prayers, and chants delivered with haunting grace over a minimum of accompaniment, with the exception of the final song, “Gi Pai Pa Yul Chola,” which uses a full orchestra. “Since I arrived in the West, I have seen so many people searching to understand the spirituality that exists within them,” Lhamo says. “People need to find this within themselves, to tap into it whatever way they can, explore it, understand it, and make it strong. I hope in some way people will find this album inspirational in that sense.” She recently gave acclaimed performances at the world music festival WOMAD in Reading, England, and at the Tibetan Day celebrations at London’s Alexander Palace, which was attended by Tibet’s spiritual leader, the Dalai Lama. AUSTRALIA: It is not surprising that the Divinyls aroused the interest of Charley Drayton, a member of Keith Richards’ X-Pensive Winos and one-time contender for Bill Wyman’s spot in the Rolling Stones. Their guitar pop has a similar irresistible swagger. Drayton initially collaborated on tracks for movie projects that included “Sleepless In Seattle” and “Super Mario Brothers” before producing the bulk of the Divinyls’ new CD, “Underworld” (BMG). The multi-instrumentalist has also joined the Divinyls on current Australian dates. “Underworld” took four years to emerge, the delay due in part to their exit from Virgin and a protracted dispute last year between BMG and the band’s manager at the time. “This is a hard business to be in,” says singer Chrissie Amphlett, whose appearances onstage in a schoolgirl tunic date back to the early ’80s, when she formed the act with guitarist Mark McEntee. “The trick is to make sure that all these feelings are directed into the music. As I grow older, I deal with my anger a lot better.” Dates are planned in the U.S. and Europe, where the Divinyls have toured since 1983 and where a deal is being brokered for “Underworld.” By EMMANUEL LEGRAND, MUHAMMAD HIJAZI, JON CROUCH AND CHRISTIE ELIEZER
EDITED BY JOHN CROUCH
THEY were more concerned with the music. So much so that they thought of a name for themselves only when their debut album was to be released.
A new album has been planned for the first half of next year. This time, Sanchez said, the focus will not be on any particular country.
“It is a surprise,” he said, apologising repeatedly for his “bad English”.
“We want to work around different countries in the world and try to find a common point,” he added.
The common point between him and friend-cum-musical partner Mouquet is the desire to make music. They are not concerned about the commercial aspects of making records, although Deep Forest, the album, has sold more than two million copies worldwide.
Sanchez had known Mouquet, 35, for more than seven years, working in the studios in France, before they decided to join forces to make an album.
While Mouquet had “learnt music by himself”, Sanchez was trained classically in the accordion, piano and classical organ. He attended the Conservatory of Paris for three years before “a very big lack of money” forced him to leave and take on “a lot of different jobs in music”.
That was in the past and now, he sees it all as a blessing in disguise.
For the future, he added, he and Mouquet would like to collaborate with more artistes from different countries, “and to avoid so much sampling”.
“It is important for us because we support really traditional music. We don’t use recipes to make easy money.”
Eric Mouquet (left) and Michel Sanchez.
LOAD-DATE: June 5, 1996
A Small World After All. But Is That Good?By Jon Pareles
WHEN DEEP FOREST’S “BOHEME” won this year’s Grammy Award for world music, the purist in me groaned. With typical reflexes, the Grammy voters had chosen an album made in the exotic reaches of France, under the primitive conditions of a digital recording studio and steeped in the rarely noticed traditions of disco, house music and European rock. As the members of Deep Forest wrote in liner notes, “native melodies” were simply “raw material, an opportunity to mix, cross and blend.” If this was world music, it was from a virtual world, where geography is warped by the click of a mouse. Call it small-world music.During the 1990’s, small-world music has been humming in more places: at clubs, in television commercials with glimmers of Andean panpipes and Balinese gamelans and, as proliferating releases suggest, in homes. Small-world music has spawned specialty labels, including the determinedly eclectic Quango (distributed through Island), which has concentrated on collections, and Sub Meta (distributed through Caroline), the latest imprint of the category-busting producer Bill Laswell. Labels that generally release more ethnographic world music, like Real World, have been putting out electronics-laced hybrids; so have jazz labels.Where it was once noteworthy when a musician like Youssou N’Dour, from Senegal, would sing alongside Peter Gabriel or Paul Simon, it’s less of a novelty now when Nusrat Fateh Ali Khan, the master of Pakistan’s devotional qawwali music, teams up with Eddie Vedder on the “Dead Man Walking” soundtrack or makes an album with the English electronic musician Michael Brook. Marta Sebestyen’s voice, which provides much of the “raw material” of Deep Forest’s “Boheme,” also appears on Towering Inferno’s “Kaddish,” an album about the Holocaust. Usually, Ms. Sebestyen records traditional music from her native Hungary, but on her new album, “Kismet,” she also sings Irish, Greek and Indian songs.I’m a diehard fan of world music from specific places and times, music that grew out of local traditions and survived while sustaining its heritage. Part of my attachment is probably sentimental: an idealization of the exotic and primitive and rare, and a willingness to ignore the paradoxes of listening to a jungle-healing ritual, on a CD, to escape the pace and commercialism of music-as-usual.Big-world music provides reassuring visions of community: places where music is produced for local occasions and where the languages in the songs, verbal and musical, are widely shared, even if I don’t know them. For musicians, world music shows endless ways to construct melodies and rhythms, scales and structures, and it continually redefines virtuosity.
Once a sound is recorded, it’s abstracted from its original time and space, and that makes it available for any new context that can sneak past copyright lawyers. It’s no longer a wedding song or an age-old lament; it’s just another chunk of information. The first rock musicians to turn that knowledge into an album were probably Brian Eno and David Byrne on “My Life in the Bush of Ghosts” in 1981; they surrounded Lebanese, Algerian and Egyptian singers with new rhythm tracks. Fifteen years later, their experiment is the foundation of a genre. Snippets of Arabic and Tibetan chant, of the vocal polyphony of Corsicans or Central African pygmies and of the drums of Brazilian carnival bands or Moroccan healers can all be heard floating across the electronic soundscapes of recent releases.
I was suspicious of “My Life in the Bush of Ghosts” w