Orchestre Tout Puissant Marcel Duchamp
It started as a one night stand in Geneva's eclectic and experimental venue "Cave12" with Vincent Bertholet (bass) solidly in charge of operations. The one-time collective evolved into a full blown band only over time and with several changes of lineup. However the ingredients were there right from the start: the forces of free disorder, the pulverised alphabet of rock 'n' roll, the science of contemporary music, the effrontery of punk, the speculative fantasies of intellectual music and remembered facets of popular music. Around Vincent Bertholet's obstinate double bass riffs, Maël Saletes' striking and stumbling guitar lines keep up a hypnotic dialogue. The melodic counterpoint of Aïda Diop's marimba, here voluble and danceable, there more pointillistic, and Mathias Forge's trombone, groove impeccably along on the drumming of Wilf Plum (who we know from the legendary Dog Faced Hermans, a notable influence on OTPMD) whose playing lays down a groove of soul shivers and rhythm 'n' blues syncopation. We'll say no more until we have talked about the majestic singing of Liz Moscarola (violinist and with Bertholet the only remaining original band member) who casts spells, enchants the world as if it were nothing. It's a voice with an infinitely varied register of expression: machine-gun talk over, onomatopoeia pushed to the limits of language, melodies unfurled with a sweet movement or broken jingles. Liz Moscarola is as amusing as she is moving and her absolute naturalness borders on white magic.
Über Orchestre Tout Puissant Marcel Duchamp
It started as a one night stand in Geneva's eclectic and experimental venue "Cave12" with Vincent Bertholet (bass) solidly in charge of operations. The one-time collective evolved into a full blown band only over time and with several changes of lineup. However the ingredients were there right from the start: the forces of free disorder, the pulverised alphabet of rock 'n' roll, the science of contemporary music, the effrontery of punk, the speculative fantasies of intellectual music and remembered facets of popular music. Around Vincent Bertholet's obstinate double bass riffs, Maël Saletes' striking and stumbling guitar lines keep up a hypnotic dialogue. The melodic counterpoint of Aïda Diop's marimba, here voluble and danceable, there more pointillistic, and Mathias Forge's trombone, groove impeccably along on the drumming of Wilf Plum (who we know from the legendary Dog Faced Hermans, a notable influence on OTPMD) whose playing lays down a groove of soul shivers and rhythm 'n' blues syncopation. We'll say no more until we have talked about the majestic singing of Liz Moscarola (violinist and with Bertholet the only remaining original band member) who casts spells, enchants the world as if it were nothing. It's a voice with an infinitely varied register of expression: machine-gun talk over, onomatopoeia pushed to the limits of language, melodies unfurled with a sweet movement or broken jingles. Liz Moscarola is as amusing as she is moving and her absolute naturalness borders on white magic.
Indie Pop, Afro jazz, Art Rock, Post Punk
