Fantastic Mister Zguy
Support: Côme Ranjard
Promoter: GM EDITIONS
Doors open: 7:30pm
Start at: 8:00pm
The album "Épopée Cool" was mixed in New York by Daniel James Goodwin (Kevin Morby, Devo, Bob Weir...). This epic follows, like a Truffaut film, the amorous adventures of a heart both in love with the absolute and beset by doubt. The perfect sentimental cocktail for songs that compete with elegance and charm to be enjoyed without moderation or temperance.
Fantastic Mister Zguy
Ghislain Chavanne was born about thirty years ago in the 15th district. He signs with L'ÉpopéeCool, his fourth album which is a real pleasure. The album is a mix of colorful postcards and sweet bills, vacation memories and dreams of distant horizons. It mixes disheveled rocks, tender ballads, nostalgia and the fury of living in the moment. All this is accompanied by a dressing that underlines the versatility of a musician who takes in his account all the compositions but also all the instruments, except the drums.
Mister Zguy (pronounced Zgaille) juggles with sounds and times with an intelligence that has become rare in these times when the abusive use of computer programming and the systematic recourse to software seem to exempt many of them from any research, or even from the slightest competence. As a result, his approach has the gift of seducing the ear while refreshing the memory. In the manner of a high fashion stylist, he is a master in the art of choosing the right sound materials and the best correspondences, of choosing the color of a keyboard, of a synth according to a guitar, and of making contemporary what he borrows from the past. All this on this carefree mode, falsely vain, which makes the eternal charm of the Parisian Titi.
It is however well and truly in the waters of the Hudson River, the Thames or the Mersey, and not in the Seine, that his musical roots were first drank. When his older brother Mathieu, a rock fan, introduced him to the Rolling Stones, the Beatles and the Velvet Underground, Ghislain changed his world and his priorities. He starts to run the record shelves of the stores, locks himself in his room to tinker in self-taught covers that he manages to record via Garage Band. In 2015, the chrysalis accelerates when on a chord sequence borrowed from the Gorillaz, he sticks lyrics of his composition. The track, titled I Want Take You For Someone Else, is now approaching 2 million streams on Spotify and features prominently on a debut EP, "Shrimp Fishery," released in 2015. Initially adept at home recording, he invested a real studio from which will come out three albums in a row, "King Shrimp" in 2019, "Queen Shrimp" in 2020 (the shrimp fishing parties in Norman- die of his childhood have obviously left traces!) and "États D'Ames" a year later where he abandons the language of Shakespeare for that of Francis Blanche. A favorite album on FIP, awarded three stars in Rolling Stone, the album marks a turning point in a career that is now embellished with film soundtracks and synchro for renowned brands such as Hermès or Citroën.
This leap in quality finds its full measure in L'Épopée Cool. Mixed in New York by Daniel James Goodwin (Kevin Morby, Devo, Bob Weir...) this epic follows, like a Truffaut film, the amorous adventures of a heart both in love with the absolute and beset by doubt. Between La Peau Douce and Baisers Volés with something of Polnareff from L'Amour Avec Toi. The perfect sentimental cocktail for songs that compete with elegance and charm to be enjoyed without moderation or temperance. With Mister Zguy, the "pop song" resuscitates in us this so cute sin that the ambient cacophony had seriously put to sleep: the greed. There are "love apples" to crunch on like La Louve, Alter Ego and Le Monde Polychrome with its "return to innocence" tropism like Jonathan Richman & The Modern Lovers. And the "cotton candy" pieces like Dance With Me which stick deliciously to the palate, the lips, the chin. There are those like Mon Ami Fantastique where the picture of a lost paradise is reconstituted, or never found, that of travels and fantasized embraces. There is the nocturnal reverie of Au Balcon de l'Insomnie haunted by the reminiscences of a love gone up in smoke. There is Un Petit Tu Me Manques where the memory of promises never kept is enough to restore the flavour of a happy adolescence, but one that has been buffeted on the heart side. If Ghislain shows himself to be so unconditional of analogical sources, it is to better mark his territory: that of an assumed romanticism that he knows how to make shimmering by his science of the sound polychromy and contemporary by his sincere and distraught quest of the eternal great love.