The Stimuleye is back from summer hyper-hybernation.
After a galloping transatlantic spiral of frenzy, we lay exhausted for days on various shores around the globe. Meanwhile, not entirely lazy, some of the Stimuleyes danced away in Watermill or invented a bookclub of a new, performative kind, shuffling readings of MANHUNT, STILETTO and Jackie Collins’ masterpiece THE STUD into a new, exciting bootleg. But more about that later.
During this hot days another Stimuleye project rushed through printers rotation: a collaboration with Marina Abramović featuring Freja Beha Erichsen photographed by René Habermacher for POP magazine.
Freja Beha Erichsen and Marina Abramović, both posing with Marinas "mini-me" and wearing GIORGIO ARMANI Photography by René Habermacher
The Fall Issue will feature 2 covers with Marina and Freja and an inside story with exclusive interview, plus a limited edition hardback showing Marina’s death mask. Some of our fellow readers might recognise another co-star: yes, it’s Daisy the Boa which we met in Manchester, in an attempt to strangle the alter ego of Marina, her “mini-me”.
Coming soon to the newstands, the new POP is investigating this time THE REDEFINITION OF THE LADY. As Ashley Heath, its publisher puts it:
“POP has been exploring the notion of a very particular kind of modern fashionable woman. But it’s shifting all the time in such an interesting way. There’s a very liberated, new-world perspective to it and I think Marina Abramovic taps into that. She’s a figure who will only continue to grow in influence I believe. You hesitate to use the word ‘icon’ these days, but Marina and Freja are both resonant female role models at a time when lowest common denominator so often rules the day”
POP's Special edition Hardcover with Marina Abramović's death mask and "mini-me" wrestling with Daisy. Photography by René Habermacher
MARINA CREDITS: Styling Isabelle Kountoure , Hair by Chi Wong at Julian Watson Agency using Shu Uemura Art of Hair, Make-up Yannis Siskos at Effex using Giorgio Armani Cosmetics, Photography Assistance Jonathan Flanders & Hannan Jones, Digital Remastering The Stimuleye, Snake Wrangler David Steward for Creature Feature, Production Lynsey Peisinger for The Stimuleye
FREJA CREDITS: Styling Isabelle Kountoure, Hair Peter Gray at The Collective using Shu Uemura Art of Hair, Make up Romy Soleimani at Management Artists, Manicure Tracelee Percival at Vue using Priti NYC, Model Freja Beha Erichsen at IMG New York, Casting Angus Munro at AM Casting, Streeters NY, Photography Assistance Cesar Rebollar, Fashion Assistance Jodie Latham, Stephanie Waknine, Rebecca Sammon & Michaela Dosamantes, Digital Technician Dilek Islidak, Digital Remastering The Stimuleye, Set Design Anne Koch at CLM NY, Production John Engstrom at Scheimpflüg Digital, Shot at Eagles Nest Daylight Studios NYC
Our discussion with Julie, Jean-François and Tanguy, moves to touring — an essential element to the success of YELLE — and the need for a record label in 2011…
Yelle in Marios Schwab FW 2011. By René Habermacher, styling Ines Fendri, make-up by Akiko Sakamoto.
When you play live, do you try to add other things visually, like with the Katy Perry tour for which you’re opening ?
JEAN-FRANÇOIS: Well as opening act we have actually less means on the Katy Perry tour!
JULIE: Normally we’re 6 on tour, with the sounds, the lights, the stage, but on Katy Perry we’re just 4.
Also we don’t give our whole show away, it’s more of a teaser — anyway we know Katy Perry is following up with 4 trucks so there’s no use trying!
JEAN-FRANÇOIS:: We want to make our show stronger, so we have these suspended drums which are very visual, the logo, which is new – an inverted Peace sign. We like bringing in new elements, whether they cost 20 euros or 2000, but we’re not in a fantasy of something crazy. However from the beginning we’ve wanted to make one-off shows, like with a choir, big ensembles…
You were also mentioning new lights for your tour ?
JEAN-FRANÇOIS: We found this guy for lights, we were looking for a long time for someone who would bring something to our live performances,
someone who’s creative on his own but open to our ideas…
TANGUY: We need that extra, because we’re coming a second time around but without huge means, we want to make a show with songs we’re proud of — lighting is really the little ‘plus’ that we can bring.
So would you want to make a “live” music video to show people who don’t know how you perform ?
TANGUY: We thought about it at the end of the last tour, with all that footage [shot by “Ce Jeu” director Yoann Lemoine],
JEAN-FRANÇOIS: We just haven’t been able to edit it yet… we could have done as a single, but not for the first single of the album — but we’ll do it eventually.
"Ce Jeu" music video by Yoann Lemoine. Photo by Antoine Asseraf.
I still have a hard drive somewhere saying YELLE with all your tour footage, I was asked to help edit it “when I had time”, I was really into it but documentary editing takes so. much. time.
JULIE: And you can’t do just one hour per day, you need to really get into it…
JEAN-FRANÇOIS: Even us, we don’t even feel like going back in there right away, you kind of need to put those images aside and let them rest, but we would like them to show them at some point.
It looked like an amazing experience.
JEAN-FRANÇOIS: There were some beautiful images…
Trailer for the 2008 Yelle world tour, by Yoann Lemoine.
What’s your idea of the role of the record label, since you started without one and were without one for this album, you also released things without a label in between albums…
JULIE: We learned a lot from the time we had at Source, good things, bad things, some things we didn’t want to do the same way again, it was evident for us that we had to make our own structure, to get even more freedom.
JEAN-FRANÇOIS: To sum things up, on the first album we had ideas but not the means, now we have both!
For the first album you worked with Pierre LeNy, acting as an artistic director of sorts…
JEAN-FRANÇOIS: Yes Pierre brought a lot of ideas, a lot of contacts, a network, in fashion, which made it a lot of easier, now we’re the art directors, it’s the next level.
Second music video for "Je Veux Te Voir".
How was that experience of remaking the video for JE VEUX TE VOIR – doesn’t it feel strange ?
JEAN-FRANÇOIS: That was a flashback [a lot of time had passed since the original release of JE VEUX TE VOIR]. First of all we hate the first music video for JE VEUX TE VOIR, we hated it as soon as we made it.
But you’re not always in a position to say no to a label who’s invested, we still hate the fact that it has so many million views!!
The new video was made with Nicolas Benamou following the experience with Michael Youn, it’s the work of a label, who feels there’s a second life to give to a single,
it was so strange for YELLE, when they first brought the single to radios, they didn’t know what to make of it, but once they had gotten used to it it was ok… it’s really the work of the record label.
So are you at ease with that freedom ? Talking to Roísín Murphy who has done many things herself over the years in terms of styling and ideas for music videos, she was still happy to have worked with an art director on OVERPOWERED, to sharpen the image.
JEFF: We’ve never felt forced, we’ve never had the record label pressuring us, at first we were a bit naive, everyone’s nice, we were just happy to do things, and except for that first video we enjoyed everything we did.
We’ve always been masters of our image, but of course somethings get out of hand, get bigger than you expect them, doing things by ourselves is exciting, it makes us feel more responsible. the DIY style is very stimulating, you want to defend your project even more because all the choices are yours.
Of course it becomes 100% of your life! So when you say “I’m going to relax, i’m going to the beach” you’re not really relaxing because you’re thinking about what you could do. But that’s the case with everyone who’s a freelance or has their own company, it’s an obsession!
Work becomes a luxury.
It’s not work, it’s not labor, it’s energy!
YELLE — Julie, Jean-François and Tanguy — burst onto the music scene in 2006 with their UFO bubble-gum-techno-rap “Je Veux Te Voir”. Since then they’ve collaborated with the likes of Katy Perry, Crookers and Robyn, and seduced audiences all over the world. They’re basically the first French-singing band to achieve international success since the Rita Mitsoukos. Now they return with their second album, SAFARI DISCO CLUB.
For this 3 part interview, René Habermacher shot Julie exclusively for THE STIMULEYE wearing the new MARIOS SCHWAB Fall/Winter 2011 collection. Styled by Ines Fendri, Make-Up by Akiko Sakamoto.
Yelle in Marios Schwab FW 2011. By René Habermacher, styling Ines Fendri, make-up by Akiko Sakamoto.
ANTOINE ASSERAF: Let’s talk about your new album first, SAFARI DISCO CLUB, there’s an immediate visual concept from the name to the album and on to the double music video…
JEAN-FRANÇOIS aka “GrandMarnier”: Actually it’s something that was not there to start with but added at the end. We found the name SAFARI DISCO CLUB very late into the process, at the last minute almost. We thought we should keep things simple, find 2 tracks from the album to start with.
The most inspiring track in terms of visual adaptation was SAFARI DISCO CLUB. This double-theme made us naturally think of Jean-Paul Lespagnard [whose styles had inspired the CE JEU video] and his penchant for double-themes, for juxtapositions. So we discussed it with him, with some references such as the final scene of Luc Besson’s SUBWAY, in explorer mode.
The only thing I remember about this film is Isabelle Adjani’s punk “fuck you” dinner scene…
JEAN-FRANÇOIS: It turns out that Julie’s hair in the video is not far from Isabelle Adjani’s, but that’s pure coincidence…
But the explorer look, that was something stuck in my head — it’s a bit why I started to get into music: I was such a big fan of Jean Reno playing the drums in the subway as a kid, it left an impression on me. So this final scene where they play music dressed like explorers was the starting points for Jean-Paul to work from…
So, do you feel that this SAFARI DISCO name applies to the album as a whole ?
JEAN-FRANÇOIS: It definitely gives a tinge — from the moment we had the title, we listened to the tracks differently, you hear the percussions more. The word “safari” also brings the meaning of “discovery,” which works because we had applied ourselves to making all the songs very distinct. We feel very much part of the compilation generation!
It all works out in the end, but once again it wasn’t thought out that way, we made the songs really one by one.
Safari Disco Club album cover by Grégoire Alexandre. Styling by Jean-Paul Lespagnard.
There are some African vibes in the title track and on LA MUSIQUE…
JEAN-FRANÇOIS: There is a percussion side, coming from the live… Julie has a Tom Bass, we have these suspended drums, we really base ourselves on the percussions for the live show, constructed a bit like a DJ set, with transitions — that really rubbed off on the way we composed for this album.
TANGUY “TEPR”: We didn’t want to copy anything, it’s just a slight tinge, nothing too ‘in your face’…
JEAN-FRANÇOIS: On SDC itself, the most obvious thing in terms of inspiration is the guitar gimmick which is almost Zouk.
Both LA MUSIQUE and SAFARI DISCO CLUB are very instrumental tracks, very percussion-driven, you’re in a sonic trip with words just guiding you on your way…
JEAN-FRANÇOIS: It’s less constructed.
JULIE: Less of a traditional song format.
JEAN-FRANÇOIS: The voice is used more like an instrument, on POP-UP it was more spoken.
TANGUY: Julie’s way of singing changed, not in a calculated way but gradually while writing — it was very spoken and broken on POP UP, on SAFARI DISCO you find this style only on one track really: COMME UN ENFANT. We wanted to try new things.