Roster

Kansas City abrite depuis longtemps une communauté bruyante, sale et imbibée de rock. Vous la trouverez dans les coins sombres des petits restaurants, des ateliers de carrosserie automobile et des salles de concert punk crasseuses. CANYONS, connu pour sa représentation honnête et brutale, en est un pilier de longue date. Pour célébrer cette détermination et cette résilience, le groupe propose une nouvelle version réenregistrée de One Man’s Trash. Cette version réinventée de l’album sorti en 2019 uniquement en cassette et en CD présente ces chansons telles qu’elles ont été conçues : plus fortes et plus robustes que jamais. La session a été enregistrée par le batteur Sean Rehmer et mixée/masterisée par l’ingénieur Nate Abner (ILS) de Portland.

One Man’s Trash est le premier volet d’une trilogie de projets de 9 titres et 20 minutes qui comprend Stay Buried (2020, Knife Hits) et le prochain album Clutter (date de sortie à confirmer). Lorsque le groupe a commencé à travailler sur Clutter, ses membres ont convenu que OMT devait d’abord faire l’objet d’une sortie vinyle digne de ce nom. Les morceaux originaux ont été réenregistrés et une peinture de la pochette originale de David Watt a été commandée. Dustin White s’est chargé de la mise en page du vinyle et c’est ainsi que ce disque peut enfin être honorée.

Un jour, votre groupe ne sera plus actif. Votre salle de concert préférée ne sera plus louée par les mêmes mécréants qu’auparavant. Mais Canyons restera, comme depuis près de 20 ans. Avec ou sans vous.

OMT sortira en vinyle le 19/12/25 via Learning Curve, Mishap, Head Records et TGICRECS. Chaque label dispose de 50 exemplaires.

CANYONS est aussi le groupe de Bobby, le boss de The Ghost is Clear Records.

Kansas City has long been home to a loud, filthy, noise-soaked community. You can find it in the dark corners of hole-in-the-wall slice spots, auto body shops, and grimy punk venues. One long-time staple of this scene is CANYONS, known for their gruff and honest portrayal of their circumstances and the world around them. Canyons has seen countless scenes, DIY houses, and contemporaries come and go, but they’ve lent some treble to each and every one of them.

As a celebration of this determination and resiliency, the band offers a newly re-recorded version of One Man’s Trash. This reimagined version of the cassette/CD-only release from 2019 presents these songs the way they were intended: louder and meaner than ever. The session was recorded by drummer Sean Rehmer and mixed / mastered by Portland engineer Nate Abner (ILS).

One Man’s Trash is the first in a trilogy of 9 track, 20 minute projects that includes Stay Buried (2020, Knife Hits) and the forthcoming Clutter LP (release date TBA). As the band started work on Clutter, they agreed that OMT should first see a proper vinyl release. The original tracks were re-recorded, and a painting of the original cover art by David Watt was commissioned. Dustin White handled the vinyl layout and just like that, this era of Canyons can finally be honored.

One day, your band will no longer be active. Your favorite house show spot will no longer be rented by the same miscreants it once was. But Canyons will remain, as they have for nearly 20 years. With or without you.

OMT is landing on Vinyl 12/19/25 via Learning Curve, Mishap, Head Records, & TGICRECS. Each label has 50 copies.

CANYONS is also the band of Bobby, the boss of The Ghost Is Clear Records.

Les influences d’Headcases louchent clairement du côté Rock US, dans le sillage de Nirvana qui attise leur curiosité pour les groupes des labels Sub Pop, Dischord ou Touch and Go. Très vite, ils digèrent cette culture grunge, noise, indie rock pour y insuffler leur propre personnalité, une couleur que l’on nommera “Jarnac Sound”.

Après un EP en 1999 et deux albums, Headcases s’envole, en 2006, vers les Etats-Unis, à Chicago pour enregistrer leur troisième album “Castaway but blessed”, sous la direction du producteur John Congleton, amarré derrière l’une des consoles de l’Electrical Audio Studio de Steve Albini.

Les 12 titres vont être captés en une semaine, en configuration live. Sans fioriture et avec détermination. Le résultat est puissant, d’une efficacité noisy terrible, parcouru d’émotions rageuses et douces à la fois. Une réussite d’une maturité exceptionnelle pour les trois jeunes hommes d’à peine 24 ans.

L’album, sorti en 2007 sur le label Ascetic Records, n’a pas de temps faible, le groupe est maître de son sujet. Dans la foulée, son label américain permet à Headcases d’accomplir un autre rêve, une tournée de 15 dates aux Etats-Unis.

Headcases’ influences clearly lean towards US rock, in the wake of Nirvana, who aroused their curiosity about bands on the Sub Pop, Dischord and Touch and Go labels. They were quick to digest this grunge, noise and indie rock culture and infuse it with their own personality, a colour that came to be known as “Jarnac Sound”.

After an EP in 1999 and two albums, Headcases flew to Chicago in 2006 to record their third album, “Castaway but blessed”, under the direction of producer John Congleton, moored behind one of the consoles in Steve Albini’s Electrical Audio Studio.

The 12 tracks were recorded in a week, in live configuration. Unadorned and determined. The result is powerful, with a terrible noisy efficiency, full of raging and sweet emotions at the same time. It’s an exceptionally mature achievement for three young men barely 24 years old.

Released in 2007 on Ascetic Records, the album has no slow moments, and the band are masters of their craft. In the process, their American label enabled Headcases to fulfil another dream: a 15-date tour of the United States.

En 2023, il y a tout juste 30 ans, sortait Stop Thinking Start Fighting le premier album de Drive Blind. Avant de crasher la voiture le conducteur aveugle avait assimilé le meilleur de la musique de l’époque : l’énergie du grunge de Tad, Nirvana ou Mudhoney, la rage des riot grrrls de L7 et Babies in Toyland. Il avait aussi incorporé dans son rock calibré 90’ une bonne dose d’électricité tout comme Helmet ou encore Jesus Lizard. Même si les trois premiers albums du groupe ont une couleur plus indie, garage et rock.

Lain Burgess, ingénieur du son au Black Box Studio avait enregistré Super Easy (1994) et Tropical Motion Fever (1993). C’est donc le même studio qui a travaillé sur les bandes originales pour masteriser à nouveau ces trois pierres angulaires de la scène Française.

Dans ces rééditions, proposées pour la première fois en vinyle, vous trouverez des titres rares et des lives, les paroles des chansons et une collections de photos de l’époque imprimées sur la sous pochette en papier.

En 2016 nous avions réédité Be A Vegetable pour les 20 ans de sa sortie. Produire ces trois albums en 2023 est donc la suite logique de notre travail d’archivage débuté par Head Records.

TEMOIGNAGES :

« Je me souviendrais toujours de notre premier contact avec les “Conduit Blindé”. C’était à l’époque (sic) où je tournais avec Condense, en tant que commissaire politique / émissaire à rien. Le lieu : un petit festival dans un bled du sud-ouest profond, organisé si mes souvenirs sont bons, par le fils du maire. Un festival moitié « punk rock » et moitié fête foraine ! Avec des auto-tamponneuses, Michel Delpech en fond sonore, des tortues Ninja et des pistolets à eau. Ou plutôt des mitraillettes et/ou des lance-grenades à eau… Dont les membres des deux groupes s’emparèrent illico pour s’attaquer mutuellement pendant leurs sets respectifs. Et c’est depuis ce jour-là, que le cordon ombilical de la franche rigolade reliant l’Hérault au Rhône ne s’est jamais vraiment distendu. C’est deux ans après cet épisode que les Drive Blind ont fait une halte à Lyon, un dimanche soir en revenant du studio des Forces Motrices de Genève (où Condense avait également enregistré), pour nous faire écouter leur nouvel album sobrement baptisé « Be a Vegetable » ! Et question impact, ce fût un peu le même effet sonique que le Nevermind d’un obscur trio californien cinq ans auparavant : putain de gros son et des tubes imparables. Il y en d’ailleurs un, pas forcément le plus évident, qui continue à nourrir régulièrement mon autoradio aujourd’hui : The Last Temptation Of The Modern Man. Double voix, mid tempo, riffs lancinants… Magnifique ! Depuis ce temps-là (sic, 2e), I’m trying not to sink, mais ce n’est pas facile de trouver quelque chose à quoi se raccrocher. Ou peut-être que si : la reparution prochaine de ce disque en vinyle ! Et vogue les autos-tampons… »
Laurent Zine (Under a Big Black Sun)
« La nouvelle version 2.0 de Drive Blind est une totale réussite. Be A Vegetable est une pépite dans l’univers musical des années 1990. Un des meilleurs albums : noisy, pop, sexy élégant et intelligent »
Virginie & Armand (Sloy)
« Remember the energy, the sharing moments on stage, the laughs, the southern perfect accent… and you need no more reason to smile. »
Loïc Gaonac’h (Seven Hate)
« Drive Blind pour moi c’est lié au camion, la route, les dates, les tournées … Peut-être parce que la première fois où j’ai vu le groupe sur Bordeaux c’était une date improvisée après une panne de camion. Mais aussi comme des parents (ou au moins des grands frères et sœur) de la scène noisy pop française, en tout pour Mary ‘s Child c’était vraiment le cas, une référence évidente. » Jonathan Lamarque (Mary’s Child)
« Parrain de Drive Blind au FAIR, je fus comblé quand 6 mois plus tard, ils me contactent pour que je m’occupe de leur tournée. Un excellent groupe, des gens merveilleux, intelligents et attachants. Une référence, un son dans le monde musical français à faire pâlir les Sonic Youth, Nirvana, Swervedriver, News Atomic Dustbin… »
Christophe Bosc (3C Prod)
J’ai vu Drive Blind pour la 1ère fois au début des années 90, au regretté Jimmy de Bordeaux. J’avais alors vaguement entendu parler d’eux, mais sans plus, et j’en avais un peu rien à faire, vu que j’étais là ce soir pour écouter et voir the Afghan Whigs, dont ils assuraient la 1ère partie. La taaaaaarte ! Afghan Whigs ont fait un excellent concert, mais Drive Blind se sont surpassés, et nous en ont offert un magistral. Sans les blagues à 2 balles de Pierre et Rémi entre les morceaux, qui nous rappelaient leurs origines françaises et sudistes, on aurait pu nous faire croire sans problème qu’ils avaient traversé l’Atlantique eux aussi, ce qui n’était à l’époque, pas une mince affaire dans nos contrées. Notre amitié fut scellée le soir même, à grand renfort de cervoise frelatée, et nos chemins se sont croisés de multiples fois au cours de ces 90’s où tout semblait si simple. Leur trois EP nous ont bercés et secoués durant toute cette époque, mais Be A Vegetable, en 1996  a véritablement enfoncé le clou. Avec ce disque, ils se sont aventurés là ou peu de groupes français avaient mis les pieds, exécutant l’affaire avec brio, et avec un vrai son digne de ce nom, qu’il me tarde vraiment d’écouter enfin sur vinyle !»
 Luc Magnant (La Charcuterie)
« 1994 marked an important year for A Subtle Plague – 3rd album, new van, no day jobs and our first nine-month maxi-European Tour. To boot, the post-Kurt indie rock world had firmly slithered its way into the roots of the entertainment industrial complex.  It seemed the Continent was awash in a sea of Sub-Pop spawned grunge pirates all flying the flannel flag of convenience. When we first shared a bill with Drive Blind we knew one thing – Drive Blind were different. These young south of France rockers stood out from the crowd by carving their own sonic niche. They had not only mastered the sound of that era but had spun it into there own unique tapestry- throwing in elements of pop, noise and soaring vocal harmonies that could make a Spector smile. The Drive Blind tableau was the stage. They put out every night. Not just flailing passion -which they had in spades- but unique full band coordinated dance moves. Imagine James Brown choreographed by Marcel Duchamp. Live you couldn’t take your eyes off them. Days later you couldn’t get the songs out of your head- you wouldn’t want to anyway. To top it all off they were a blast to go on tour with – gracious, smart and really funny.  (We could have formed a Drive Blind / A Subtle Plague comedy-improv group.) We were honored to share stages with them in Germany and France. To this day they have always remained Family and hold a big place in our humble, little history of Rock’n Roll. »
Pat & Benji (A Subtle Plague)
« Je trouve rien à dire sur Drive Blind, ils étaient trop parfait, une perfection qui engendrait l’inaccessibilité, comme quand j’ai rencontré Nirvana, je ne savais pas quoi dire ! D’ailleurs ils étaient Nirvana pour moi et heureusement, eux sont tous encore vivants et je ne perds pas espoir de les rencontrer un jour ! Love ! »
Patrick Sourimant (The Skippies)
« Les Nîmois commençaient leurs concerts par « On s’appelle Drive Blind et on fait du heavy metal ». Derrière cette grosse blague trompeuse, le groupe délivrait une puissance de feu digne du genre cité, une décharge d’adrénaline jouissive et sans concession. L’album « Be a vegetable » est une patate chaude, un concentré de colère doublé d’une beauté singulière.
Une bombe incendiaire qui nous anéantis, comme ce fut le cas en 1996 pour ce groupe majeur, détruit en plein vol. »
Max Well
« A la grande époque où les groupes devaient se revendiquer d’une “famille” musicale, Drive Blind appartenait à toutes, ou presque. Grunge, Hardcore, Noise ou shoegazing, j’y retrouvais le meilleur de ce que j’aimais alors. Ils étaient aussi doués que gentils, on voulait leur ressembler, même avec l’accent chantant. »
David Lespes (Mary’s Child)
« Dans “High Fidelity” Rob Fleming fait des top five. “Be a Vegetable” est dans mon top five. Mais pas seulement dans mon top five des albums, il est dans le top five de ma vie. C’est un disque que je ne peux pas écouter distraitement car dès les premières notes de “Fear” je me retrouve à Genève, entre les Jardins et l’Usine où j’ai assisté à son enregistrement, je me rappelle toutes les scènes sur lesquelles j’ai découvert les morceaux qui le compose, concert après concert, je suis au volant du Ford Transit rempli d’instruments et de T-shirts gagnés par Michel. À chaque morceau je ressens la même émotion, celle ressentie ce soir-là, chez Nico, au retour d’une tournée avec Moonstruck, quand j’ai écouté le master pour la première fois. »
Galfi Guillaume Favreau (Seven Hate)

In 2023, just 30 years ago, Stop Thinking Start Fighting, the first Drive Blind album, was released. Before crashing the car, the blind driver had assimilated the best of the music of the time: the grunge energy of Tad, Nirvana or Mudhoney, the riot grrrl rage of L7 and Babies in Toyland. They also incorporated a good dose of electricity into their 90’s rock, just like Helmet or Jesus Lizard. Although the band’s first three albums had a more indie, garage and rock feel.
Lain Burgess, sound engineer at Black Box Studio, recorded Super Easy (1994) and Tropical Motion Fever (1993). It is therefore the same studio that worked on the original tapes to master these three cornerstones of the French scene again.

In these reissues, offered for the first time on vinyl, you will find rare tracks and live performances, the lyrics of the songs and a collection of photos from the period printed on the paper sleeve.
In 2016 we reissued Be A Vegetable for the 20th anniversary of its release. Producing these three albums in 2023 is therefore the logical continuation of our archival work started by Head Records.

TESTIMONIES :

My first encounter with Drive Blind was seeing them at the notorious death trap, cellar venue of the LE PHYLACTERE, Montpellier, Summer 1991. Having been introduced to drummer JD, a few weeks earlier, he said I should come along and see his new band play. JD was clearly enthusiastic about music and very excited about his new band, so a whole group of us went along and I thought it would be… Well, I didn’t really know what I thought before seeing them actually play…
I had been active playing in and around the London music scene since 1977 and had just moved to Nimes at the point of the Grunge explosion from the States and the rise of Creation records in London, with their roster of bands, Jesus and Mary Chain, “shoegazers” Ride, Lush, Slowdive, sub grunge outfit Swervedriver et al. I witnessed at close hand my friend, Andy Ross, curate the A&R signings of the more pop heavy Food Records, – Crazyhead, Zodiac Mindwarp, Jesus Jones, Voice of the Beehive and he’d just signed Blur on my leaving London.
I was sure, between both labels, they had pretty much signed enough of the happening bands in the UK to make me believe I wouldn’t see much else around that time to impress, especially coming down to La Midi. British snobbery about French bands is legendary, truly unfounded and lamentable. (I apologise on behalf of all British rock snobs).
However, I was not prepared for what happened that night at Le Phylatere…
I cannot imagine how anyone of us in that cellar could actually breathe on that hot night as the place was rammed full but the biggest surprise and joy came when Drive Blind fired up their amps, took up their weapons of musical destruction and launched into their opening instrumental salvo. The place went nuts and the scorching sound coming from the band raised the room temperature to paint peeling, critical levels.
My jaw hit the floor as they shredded through the number with an energy and fury I hadn’t seen since early punk days. I then shrieked with child-like glee as Pierre and Remi turned their backs to the packed room and, still playing their guitars full throttle, ran backwards into the crowd, knocking people over, spilling drinks, causing mayhem! They demonstrated a petulant confidence beyond expectation. This certainly was NOT shoegazer!
They continued to play a blistering, super powered set of songs enhanced by the sheer chemistry of all members. JD’s insane Keith Moon like drumming, Remi’s accomplished and sometimes psychotic guitar work, Pier’s rich, impassioned rock voice and Mathieu’s (bass player at the time) solid, confident delivery, all constituted a tight, serious, uncompromising, noise.
After that gig, the single thought that stayed with me was that this was four guys who knew exactly what they are doing and why they are doing it…  They were functioning on a level beyond just a bunch of mates, having a laugh, playing to their friends on a Saturday night.
Despite all the hundreds of concerts; famous or non-famous bands, I’d been to, from the mid 70s to now, it is still one of my all-time abiding, memorable and favourite gigs. The warmth, (literally and creatively), the sound, the energy, the intensity, the competence, the power exuded from those boys, made it apparent Drive Blind were a serious force to be reckoned with, but seriously good fun too. Also, I think importantly, there was a collective intelligence between the four members giving DB a smarter, creative edge over many other bands.
I was sold. I was won over. I was touched. I was in Love and I did whatever I could to get near this band, to contribute to their future, to have something to do with the journey they had embarked upon.
They already had a first single release “Charlatan”, so there was an in built purpose to their mission. Along with my video making friend, Adriana Capano, we set about planning and drawing up ideas for an accompanying video. Although a promo for Charlatan never transpired, some months later we did end up making an on the road documentary, travelling with the band, me as roadie, Adriana as Video documentary maker.
In the new year of 2001 Mathieu left Drive Blind (I still don’t know why?) to be replaced by Jack (former band mate of JD’s in the Bohemians) who proved formidable on bass and it was this line up that defined the band for a good 2 years or more to come.
In that time Remi and Pierre found their voices and crafted their songwriting skills, producing a prolific number of powerful, uncompromising, infectious rock pieces that were a match for any well-known contemporary bands at the time. They released 2 albums, a mini CD, a few more singles and gigged extensively, building up a considerable underground following. It took me a while to realise, en France, most rock music was “underground”.
I spent as much time as I could with Drive Blind, loading and offloading gear from van to venue, setting up amps, overseeing sound-checks, offering advice if I could, assisting Fred their manager in any way I could simply because I believed in them and I wanted to see them play as often as possible. It’s a rare thing when it happens… Like I said, it was love…
It is no exaggeration to say that I had some of the happiest and most satisfying times of my life, being involved with Drive Blind.
One spectacularly childish but hilarious moment –  the rotten food fight between sound engineer Jako, on the back seat of the bus and Fred, at the front, on the long haul home from Clermont Ferrand to Montpellier. Not quite sex, drugs and rock and roll but still one of the funniest things I’ve ever experienced.
Drive Blind reached a point where they were incapable of turning in a bad gig, their onstage energy, musical delivery and performances grabbing even the most lethargic of audiences and shaking them out of their stupor. They were already stars before the rest of the world knew, reminding anyone who saw them what the truth and refined essence of Rock n’ Roll should be. The frustration for me was knowing full well that if Drive Blind were from London, Manchester, Liverpool, Glasgow, any UK city, Creation Records would have snatched them up instantly!
For the record… I did tell Andy Ross at Food Records, about them and he did ask me to keep him informed of progress… Which I did, but there was always that psychological distance and mental disconnect between London and The South of France. As if it were some unbridgeable gap between Camden Town and Mars! It’s Ironic that when Milk returned from their French tour, they were also raving to Food Records about Drive Blind … Ho-Hum!
An exceptionally memorable gig was in Rennes opening for The Teenage Fan Club, the same weekend they finalised details to record with Rennes based indie label, Black et Noir. The climax of that gig was Drive Blind’s particular rendition of The MC5s “Kick Out The Jams”, deteriorating into chaos as they proceeded to smash their guitars and kick over the drums in full Who style. The crowd went mental. This was Drive Blind at their best, outwitting and out-performing the indie stars from the UK. Indeed, standing in the wings, I turned to Norman and Steven of The Fanclub who just gawped, wide eyed at the total carnage playing out onstage, wondering how they were going to follow this insanity…
There’s video of it somewhere. At the end of the documentary, I think?
I spent the next day, travelling in the van, reconstructing Remi’s guitar from all the rescued parts ready for that night’s Bordeaux gig.
They were incredibly intense, incredibly close, incredibly emotional times. But, alas, all good things must come to an end and after a couple of years circumstances forced me to return to England. It was whilst back home, I received the news that Jack and JD were leaving the band. I was shocked at first but came to trust their reasons. (I still see JD in London, to this day where he plays for London outfit Atomic Suplex). However, being replaced by Karine (from Moonstruck) on bass and the phenomenal Nicolas on drums, Drive Blind continued with a vengeance with a new, tight, heavier sound, finally recording their last Album, “Be A Vegetable”, for PIAS.
I was very honoured to receive a phone call from Remi asking me to come out to Geneva to sit in on some of the recording sessions. They flew me out where I was set to work going through their lyrics, making sure they had translated from French to English with the correct intent. I gave them 10 out of 10 and a gold star. That was a wonderful, memorable, if not freezing week and it was a privilege to watch them work on the album.
The next incredible surprise came when they called and asked if I’d conceive and direct the video for the single release. PIAS gave us a not too bad budget and me and some friends managed to make a Video, filmed in London and even though the band do appear in it, they were not in the city at the time. That was surreal but typically Drive Blind…
That was the last thing I was able to do for Drive Blind in their mad five year life, before they finally imploded… Until they asked me to write this, twenty years later.
There is always a place in my heart filled with Drive Blind…There is also a hole in my heart caused by their absence… It has been an honour, a joy and a privilege to have been a small part in the Drive Blind universe and as I sit here writing this, as a middle aged married man, in the home counties of England, I sometimes can’t help think it was all some glorious dream…
But then I seem to remember someone once sang – “Dreams are our own movies…”
Roger Payne

TELOS est un groupe de cinq musiciens de metalcore sombre avec un son chaotique, combinant des éléments de mathcore et de sludge.

Depuis la sortie de leur premier album éponyme, acclamé par la critique en 2016, le groupe s’est illustré comme l’un des groupes les plus innovants et agressifs de la scène hardcore danoise.

Leurs concerts chaotiques sont souvent comparés à The Dillinger Escape Plan et leur son comme un croisement entre The Locust, Converge et Fear Before The March of Flames.

TELOS a effectué plusieurs tournées en Europe et partagé la scène avec des groupes tels que This Gift is A Curse, Hexis et Plebeian Grandstand.

TELOS is five-piece blackened metalcore band with a chaotic sound, combining elements of mathcore and sludge.

Since the release of their self-titled, critically acclaimed debut album in 2016, the band has excelled as one of the most innovative and aggressive bands on the Danish hardcore scene.

Their chaotic live shows are often compared to The Dillinger Escape Plan and their sound as a cross between The Locust, Converge and Fear Before The March of Flames.

TELOS has toured Europe several times and shared the stage with groups such as This Gift is A Curse, Hexis and Plebeian Grandstand.

Avec cet album Latitude 60° Low sorti en 1999, nous sommes nombreux à avoir découvert Shovel en dehors de la Suisse. Favorablement accueilli par la presse spécialisée jusqu’à atterrir sur la scène du mythique live quotidien de Nulle Par Ailleurs. Grâce à cet album, Shovel en 1999 et 2000 sera programmé énormément en France ce qui leur vaudra un nombre incalculable d’aller-retour avec la Suisse mais aussi de l’usure parmi les 5 membres jusqu’au split à l’été 2000. Shovel avec ce coup de maître malgré son passage éclair, avait toute sa place au milieu de l’excellente scène hardcore post-hardcore Suisse mais aussi Européenne en réponse aux gros calibres Américains sans avoir à rougir. Latitute 60° Low contient un bon nombre de coup de semonces hardcore nerveux, sauvage, rageur et à la production directe signée par le jeune en devenir Daniel Bergstand. Mais ils savent aussi calmer le jeu par moment pour apporter d’autres facettes, plus à fleur de peau et d’autres tonalités à leur musique. Ce qui fait que les 14 titres pour 54 minutes se passent sans temps mort et on en redemande. Ça paraît si simple quand c’est bien fait.

Latitute 60° Low même vingt ans après, on l’écoute toujours avec plaisir. Il ne paraît ni poussiéreux ni daté de par ses qualités de compositions, d’interprétations et l’intensité insufflée. Dans les discussions maintenant encore, si il est question de Shovel, tout le monde est unanime sur l’impact et la qualité de cet album.

C’est pourquoi remettre en lumière cet album est un acte fort et lui donner la chance de sortir pour la première fois en version double vinyle est une évidence. Le binôme d’inséparable Franck le batteur et François le lead guitariste qui sévissent ensemble depuis Eastwood, ensuite dans Houston Swing Engine et l’actuel Hey Satan nous ont alloué leur pleine confiance pour mener à bien ce magnifique projet. Pour se faire le remastering est passé entre les mains du pape Suisse des musiques amplifiées Serge MORATTEL pour un son de guitares plus massif, une batterie plus percutante et un chant plus présent encore. La fin de la tracklist en face D se voit bonifier de 2 titres présents sur l’album mais paru initialement sur l’EP Birth en 1997 dans des versions un peu différentes.

With this album Latitude 60° Low released in 1999, many of us discovered Shovel outside Switzerland. Favourably received by the specialized press until landing on the stage of the mythical daily live of Nulle Par Ailleurs. Thanks to this album, Shovel in 1999 and 2000 will be programmed a lot in France which will bring them an incalculable number of round trips with Switzerland but also wear among the 5 members until the split in summer 2000. Shovel with this master stroke in spite of its lightning passage, had all its place in the middle of the excellent Swiss but also European hardcore post-hardcore scene in answer to the big American calibers without having to blush. Latitute 60° Low contains a good number of nervous, wild, raging hardcore tracks with a direct production signed by the young up-and-coming Daniel Bergstand. But they also know how to calm the game at times to bring other facets, more on the skin and other tones to their music. What makes that the 14 titles for 54 minutes pass without dead time and we ask for more. It seems so simple when it is well done.
Latitute 60° Low even twenty years later, we still listen to it with pleasure. It does not seem dusty nor dated by its qualities of compositions, interpretations and the insufflated intensity. In the discussions even now, if it is question of Shovel, everyone is unanimous on the impact and the quality of this album.
That’s why bringing this album back to light is a strong act and giving it the chance to be released for the first time in a double vinyl version is an evidence. The inseparable duo of Franck the drummer and François the lead guitarist who have been working together since Eastwood, then in Houston Swing Engine and the current Hey Satan have given us their full confidence to carry out this magnificent project. To do so, the remastering was done by the Swiss pope of amplified music Serge MORATTEL for a more massive guitar sound, a more percussive drumming and a more present vocal. The end of the tracklist on the D side is enhanced by 2 tracks present on the album but initially released on the Birth EP in 1997 in slightly different versions.