MARATHON ARTISTS (ENGLAND)

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MARATHON ARTISTS (ENGLAND)

THE LABEL

Marathon Artists is home to some of the most exciting new music in the world.
We are focussed on discovering, developing and breaking amazing artists on a global scale.

Our mission is to create careers whilst never removing art from its culture.
Our passion is to partner with artists in realising their vision, making music heard by as many as possible, for as long as can be. We’re in it for the long run.

As well as its core record label, publishing and management arms, Marathon is powered by a special ability to navigate music’s ever-evolving relationship with​ ​technology, showcased by its own start-up incubator, Marathon Artists Labs.

Marathon is founded by Paul-Rene Albertini, Philippe Ascoli and Jimmy Mikaoui.

http://www.marathonartists.com

https://www.facebook.com/marathonartists

https://www.youtube.com/user/marathonartiststv

 

THE ARTISTS / RECORDS

 

COURTNEY BARNETT & KURT VILE

Un océan les sépare mais ils sont du même bord, celui des rockeurs espiègles. De la complicité entre l’Australienne et l’Américain est né un album épatant.

Ils partagent un goût pour les jeans usés et les tee-shirts flottants, mais plus encore pour un rock à texte, mariant avec brio douce contemplation, observation des autres et savoureuse autodérision. Elle, c’est l’Australienne Courtney Barnett, aux manières de ­joli garçon manqué, au délicieux chant traînant et au jeu de guitare saillant. Lui, Kurt Vile, est un Américain de Philadelphie dont la carrière rectiligne d’artisan song­writer sous influence Springsteen a fait le héros très discret d’un ameri­cana de choix dépourvu d’esbroufe et d’effets. Barnett l’admirait depuis toujours, lui est tombé à la renverse en l’entendant. C’est dire si ces deux-là étaient faits pour s’entendre. Une conversation musicale s’est donc engagée, un titre, puis deux, et, en quel­ques séances espacées à Melbourne, un album a été gravé en toute simplicité. Courtney reprend une chanson de Kurt et vice versa (avec une interprétation en duo du Outta the woodwork de l’Australienne), des reprises s’imposent (de Belly ou de Jen Cloher, la compagne de Barnett) et des titres inachevés de l’un se retrouvent na­turellement complétés par les trouvailles de l’autre. Ça donne, entre autres, Continental Breakfast, joyeux récit countrysant de cette amitié ­naissante mais évidente entre deux continents. Le résultat est un album d’une délicieusement rugueuse fluidité, comme si Neil Young s’était dédoublé le temps d’un de ces albums brillamment expédiés dont il a le secret. Drôle de disque pour une belle rencontre.

Hugo Cassavetti (Telerama)

More infos : http://courtneybarnettandkurtvile.com

CHILDHOOD

‘Universal High’ represents many things to us as a band. It signifies change, both musically and mentally whilst also revisiting influences that confounded our interest in music in the first place. What I think is noticeable is the direct nature of the songs and their influences.

Being surrounded by soul music, classic pop songs and music with any form of groove all my life, these influences began to speak for themselves within these new songs Childhood were writing. They are a lot more deliberate in concept and sound than Lacuna, which I think was an important step forward for the band.

We love what we had achieved sonically and collectively with the first record. However to challenge ourselves to find more about what we wanted from music I think we needed a period of rediscovery and commitment to what really made us tick as music fans and musicians. This record marks an honest appraisal of our commitment to our, I guess, ‘ethereal’ sound but seeks to show that this can be celebrated through other forms of popular music.

Once we realised that we didn’t have to send something out to space and back to get this desired effect, we started realising that soul, pop, the basics had all we were looking for all along in those early days.

More infos : http://www.childhoodband.com

JAGWAR MA

Alors que la scène techno-house n’en finit pas de puiser dans son héritage 90’s, que les rythmiques jungle s’invitent sur les productions dubstep et que le rap de Los Angeles se souvient qu’il a connu son heure de gloire avec le G-funk, on pourra s’étonner que peu de groupes aient tenté de remettre le baggy sound au goût du jour. Ce courant musical, apparu au tournant des années 90 ? Manchester, incarne l’un des moments les plus enthousiasmants de la décennie, quand le rock décida de regarder ce qui se passait du côté des raves, accouchant d’un son psychédélique et groovy magnifié par les Stone Roses, les Happy Mondays ou Primal Scream (bien que ces derniers ne soient pas de Manchester). Un héritage dont Jagwar Ma semble aujourd’hui le principal bénéficiaire. Au moment de la sortie de son réussi premier album, Howlin, en 2013, le groupe australien s’en était pourtant défendu, arguant qu’il était réducteur de les limiter à l’influence Madchester. C’était compréhensible – personne n’aime être cantonné à une case –, et sans doute vrai – on imagine bien qu’ils n’ont pas écouté que ça. Récemment, néanmoins, dans une interview pour le site Stereogum, Gabriel Winterfield, chanteur et guitariste du groupe, a admis qu’on trouvait effectivement beaucoup de références à cette scène sur Howlin, avant d’ajouter que le nouvel album serait différent, son inspiration principale venant cette fois de la soul. Une distinction pas aussi évidente à l’écoute. Si l’on note bien un peu plus de groove et de basses sur Every Now & Then, il est peu probable que ce second album destabilise les fans de la première heure. Démarrant avec un morceau très Stone Roses, censé selon le groupe faire la jonction avec Howlin (“Say What You Feel”), le reste rappelle finalement les deux meilleurs disques de Primal Scream (Screamadelica et Vanishing Point), pour ses inclinaisons dub et surtout cette faculté à superposer une multitude de styles et d’instruments avec panache. Les envolées pop (“Ordinary”) répondent aux cuivres vaporeux (“Loose Ends”), les textures planantes (“Don’t Make It Right”) à des riffs de guitare lourds comme des drops dubstep (“Batter Up”), et on ne s’ennuie pas une seconde tout au long de ce douze titres ambitieux, une nouvelle fois mixé par Ewan Pearson, qu’il serait, malgré ses penchants nostalgiques, injuste de décrire comme une simple madeleine de Proust à destination des quadras. (Gérôme Darmendrail / TSUGI)

 

JEN CLOHER

“It’s self-titled.”  The three-word answer is all that Jen Cloher requires to describe her recently completed fourth album, a letter in triplicate addressed to themes of Love, Music and Australia (the beautiful and the terrible). Jen likes best to tell the truth.

Jen Cloher is the culmination of a period of artistic and personal growth in which the artist took her rightful place as the punk-rock figurehead of Melbourne’s famous DIY music scene. The NIDA Graduate is an outspoken advocate for artist rights and the co-founder of the incredible Milk! Records label (Courtney Barnett, Loose Tooth, Fraser A. Gorman, Jade Imagine, East Brunswick All Girls Choir). Cloher’s fascinating life-story and compelling political voice is enough justification to pay her attention, but it’s the music that will have you returning again and again.

Since 2014, Jen’s regular musical contributions to Milk! Record’s discography of 7″ releases and compilations have been increasingly biting, witty and poetic. It’s fair to say that she was in a purple patch when she put the finishing touches to her stunning new record with engineer Greg Walker amidst the rolling greenery of Jumbunna in Victoria’s Gippsland. The band that first played together four years ago on Cloher’s acclaimed third album, the Australian Music Prize nominated In Blood Memory, are bold and assured, the songs split by Courtney Barnett’s extraordinary lead-guitar and anchored by the rhythm section of Bones Sloane and Jen Sholakis. The record was completed in March 2017 with Tom Schick at Jeff Tweedy’s famous ‘Loft’ Studios in the depths of Chicago’s winter.

VAGABOND

Within the songs of Laetitia Tamko there are infinite worlds: emotional spaces that grow wider with time, songs within songs that reveal themselves on each listen. Tamko is a multi-instrumentalist and a producer, recording since 2014 as Vagabon. On her forthcoming debut, Infinite Worlds, she hones her singular voice and vision with an unprecedented clarity.

“I feel so small / my feet can barely touch the floor / on the bus where everybody is tall,” she sings softly and with caution, as she begin the album with “The Embers.” Driving punk drums pry her song open, exploding it into an anthem that pushes back at entitled people who make others feel tiny. “I’m just a small fish / and you’re a shark that hates everything,” she sings, repeating that line and over and over with strength and power. “I’ve been hiding in the smallest space / I am dying to go / this is not my home,” Tamko starts carefully on “Fear & Force,” before her finger-picked guitar playing gives way to slow-building synth claps and ethereal harmonies. “Mal á L’aise” is one of the album’s focal points, a five-minute meditation of ambient dream pop, featuring Tamko’s usage of samples; some are samples from a Steve Sobs song on which Tamko was featured, enticing the one writing collaboration of the album. “Mal á L’aise” means “discomfort” in French, Tamko’s first language, and throughout the song she works through different meanings of that word: social, cultural, physical.

Infinite Worlds builds upon Tamko’s stripped-down demos that have been circulating online and throughout the independent music community for the past two years. Her Persian Garden cassette, released in 2014 via Miscreant Records, was a lo-fi collection where she embraced a first-thought best-thought approach, making songs that began with just her voice and guitar. But here, Tamko is a main performer of synths, keyboard, guitars, and drums, at times enlisting the work of session studio musicians. This had Tamko channeling the thoughtfulness of her lyricism into her arrangement and production as well. The result is a wide-ranging eight-song collection that’s pleasantly unclassifiable: hypnotic electronic collages, acoustic ballads, and bursts of bright punk sit sideby- side cohesively, all tied together by Tamko’s soaring voice.

“I write a lot about places, archiving my memories in spaces that I used to be in, spaces I am currently in, or spaces I will eventually be in” she says. “Archiving different moments that I’ve been thinking about, have gone through. It’s not always autobiographical though. It could be about different situations I’ve seen people I love in. Or people I don’t know in. I think that comes a lot from being in different environments. Like growing up in Cameroon. There, we are happy with very little. Then moving here and seeing how the culture differs from where i’m from.”

More infos : https://vagabonvagabon.com/

HAZEL ENGLISH

Pour certains, la dream pop est un peu le pipi de chat de l’indie rock, une musique gentillette et apathique, voire neurasthénique, qui peine à maintenir éveillé. Ceux-là devront se tenir éloignés de l’Australienne installée à San Francisco Hazel English et de son songwriting particulièrement candide, renforcé par un discours un brin naïf : «Savoir que j’ai créé quelque chose qui a eu un effet sur la vie de quelqu’un d’autre, m’a soufflée. C’est vraiment chouette d’entendre quelqu’un dire : « Ta chanson m’a aidé cette semaine ».» Pourtant, mièvreries mises de côté, sa musique parvient à trouver l’équilibre étrange qui fait de sa dream-pop une musique hypnotique, entre efficacité mélodique et détachement cool qui projette l’esprit dans un autre espace-temps cotonneux où il se laisse bercer, comme rasséréné.

Vendu comme un premier album, mais regroupant en réalité son premier EP paru en 2016 et six titres inédits, Just Give in / Never Going Home est la synthèse idéale de la musique d’Hazel. Entre les deux groupes de chansons, composées avec l’aide du musicien Day Wave, pas de différence majeure.

On retrouve la même ambiance délicate, les mêmes compositions alanguies caressées par un soleil assez puissant pour plonger dans une torpeur enveloppante. Une douce sensation qui contraste avec une certaine noirceur adolescente des textes, annoncée par des titres comme Love Is Dead ou Never Going Home. Bref, voilà un disque à la force tranquille qui accompagnera à merveille les sessions hamac. (Francois Blanc / Liberation)

More infos : http://hazelenglish.com/

POND

2014 unveiled the full-formed POND and the Northern Hemisphere barely survived. POND supported the Arctic Monkeys throughout Australia and then jumped on the next plane to Europe. There, POND stunned audiences at Primavera Spain + Portugal, UK festival Field Day, and brought the house down, every night, across their UK/EU headlining tour. Touring with Nick Allbrook (Vocals / Guitar / Astronaut), Jay Watson (Drums / Vocals / Dad Jokes), Joseph Ryan (Guitar / Bass / Vocals / Actual spaceman), Jamie Terry (Keys / Good vibes) and with barely a breather between, POND tore through North America, with sell-out shows ranging from one coast to the next, bouncing between countries like a pogo-stick. Pond’s 6th album Man, It Feels Like Space Again hit the shelves January 23 (AUS) / January 26 (UK/EU) / January 27 (US) 2015, with more festivals and headline tours booked around the globe to showcase the new tunes and support this stellar album release.

Man It Feels Like Space Again was recorded in Melbourne Australia and once again mixed by buddy Kevin Parker. The band showcased MIFLSA songs throughout their first headline tour of the US in October. Starting at a festival in Mexico, heading to New England, traipsing through Canada, and back down the west coast, POND pondered, why stop there? After their sold-out Los Angeles Halloween show, POND ventured south to play music festivals in South America, where audiences exploded upon hearing MIFLSA’s hits and partied-hard with the melodious entertainers.

Hailing from Perth, Australia’s POND formed in 2008 after good friends Joseph Ryan (Mink Mussel Creek), Nick Allbrook (Mink Mussel Creek, Allbrook/Avery, Tame Impala, Peter Bibby & His Bottles of Confidence), and Jay Watson (Tame Impala) hit upon the idea of an all inclusive, ego-free collaborative, so the boys immediately recorded their debut album Psychedelic Mango with a little help from good friend Kevin Parker (Tame Impala).

Since the beginning, POND wrote music and produced records faster than a label could release them. POND followed up Psychedelic Mango within months, releasing Corridors of Blissterday, a frenzied effort recorded live with an eight-piece band in 2009. A year later, their third album Frond, a kaleidoscopic classic, dripping with funk and falsetto, loosely inspired by a diet consisting only of Prince and Fleetwood Mac, delighted audiences Australia-wide. Frond’s release finally realised industry attention and praise, solidifying the band and their music in it’s own right. Beard, Wives and Denim, their 4th album, was recorded on a farm a few hours South-West of Perth. Beard, Wives, Denim is a triumph of the eclecticism and good humor that drives POND.

Upon Beard, Wives, Denim release in March 2012, global attention shined it’s light upon the Perth gang. A North American tour ensued, smashing through 31 shows – including 8 at South by South West – where they were one of the most talked about bands of the festival. From there, they returned home to Australia and sold out a national tour before storming UK and Europe, causing NME to tout them as the “hottest band in the world right now” as well as proclaiming Beard, Wives, Denim as “quite possibly the best album released so far this year.”

In August 2013, POND gifted to the world their 5th LP in as many years, Hobo Rocket. Hobo Rocket is 40 minutes of perfectly imperfect emotion, challenging veteran listeners and music reviewers with an evolved and vigorous sound. Singer Nick Allbrook describes the release as the “…kind of mindset of finding our own little place in music, and being more of a functioning band, which is what makes it noisier and denser. This one we went as brutally hard as we would at a show. We wanted the songs to sound loose and live.”

Enthusiasts and music aficionados world-wide agree MIFLSA is POND’s most focused composition to date.  This mirrors their touring efforts, dynamic and enthralling live show, media buzz and essentially, the maturation of a musical career a long time in the making. Maybe it’s not such a bad thing growing up, especially when it’s this much fun!

More infos : http://www.pondband.net

 

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