Passe SAMEDI - Santa Teresa 2018

Nick Murphy

One half of UK production duo Bassheads, along with Desa Murphy.

In October of 2012, July Talk celebrated the release of their self-titled, independently released debut album before a couple hundred bodies crammed into the claustrophobic, low-ceilinged confines of Toronto's legendary Horseshoe Tavern. Three years later and roughly 20 tours later, they were playing a homecoming date at Ontario's WayHome Festival for tens of thousands of ecstatic souls shouting the words of their songs back at them. Sure, a lot had changed in the interim: Their debut record had become a staple on modern-rock radio, earning the band a gold record in Canada and a Juno Award for Alternative Album of the Year, while worldwide deals with Island, Polydor and Universal had spread the good word overseas. But one fundamental quality of July Talk's performances had remained unchanged: the jugular-seizing power of their confrontational, sensuous rock + roll. Whether you're experiencing it in the dingiest basement dive or the biggest festival field, a July Talk show makes you feel like you're part of some secret-society congregation. It's a gathering of kindred spirits united by a desire to escape the institutional pressures and LED distractions of our daily lives to reconnect with something real—a primal, fiercely physical remedy for mind-numbing, glassy-eyed smartphone addiction.

When it came time to draft the action plan for album number two, July Talk turned to the only focus group that mattered: those sweat-soaked fans slithering up against one another to lose their minds and morals at the band's electrifying concerts. That's the space where the blinding contrasts in July Talk's music—Leah Fay's crystalline communiqués vs. Peter Dreimanis' three-cartons-a-day bark; greasy southern blues vs. urbane new-wave cool; sexual tension vs. cathartic release—collide with thundercloud force, and their new record, Touch, represents its perfect, lightning-in-a-bottle distillation.

"It was easy to create a vibe and sound direction for the new record," says Dreimanis, "because we literally just looked at our live show and what was fun about it, what kind of people came, and what sense of community you felt in the room. We've never been about drawing the stage line—that was our mandate from the beginning, and with our live show, we're really about breaking that down so that we're in the room as much as our audience. We wanted songs where we can grab people by throat and show them something unique—the kind of songs that feel incredible in a sweaty room."

"Thematically, Touch has been inspired by our human experience over the past few years, just as much as our time spent as a band on the road." Fay adds. "Touring constantly provides a strange view of the world because you're in transit more often than you're still. We became sensitive to the varying reactions we'd get from any given audience depending on the cultural norms and politics of a place. Because humans love to categorize in an effort to understand, Peter and I were often perceived as these opposing forces, representing "light vs. darkness", "female vs. male", "sweet vs. scary" blah blah blah, with each of us just dying to get a word in edgewise. These types of assumptions had a massive influence on the way we wrote the lyrics for this album because we knew we didn't want to feed into that sort of boring archetype. We became drawn to the idea of what it actually means to be a living breathing human. It's messy and visceral and unpredictable."

"It seems to get easier every day to disconnect from the people around you," Dreimanis observes. "Leah and I started to see human touch as this pure thing—this antidote to a world that had become obsessed with mirrors and screens. We became fascinated with that moment where two bodies can actually touch and experience each other honestly. There are so many substitutes for that now, there are so many ways you can get a lesser version of that feeling elsewhere. And that's terrifying. You're always able to keep that slight amount of distance from actually having a face-to-face, eye-to-eye conversation with somebody."

"When you're touring, you have very fleeting and sometimes vacuous relationships with people outside of the band," adds bassist Josh Warburton. "It puts you in a perfect mindset to start looking at the various technological interactions we have and see them in a different, potentially dehumanizing way."

On Touch, human connection becomes a full-contact sport: Dreimanis and fellow guitarist Ian Docherty power songs like "Ask You" and "Johnny + Mary" (not a cover of the namesake Robert Palmer classic) with punked-up aggression, while the glam-rock stomp of "Beck + Call" (featuring guest growls from throat-singing phenom Tanya Tagaq) showcases the wrecking-ball swing of Warburton and drummer Danny Miles. And throughout it all, Fay holds court in the fray with a switchblade-wielding swagger she only hinted at on the first album. If that record channeled the blues, this one's all about the bruise. And that in-your-face immediacy was further encouraged by the album's producer, Ian Davenport, tapped for his work with kindred spirits Band of Skulls.  

"There was a real warmth to the records he had made," Warburton explains. "You could identify the personality of the performers in the songs. Sometimes, you can get fairly automated when recording on computers. Ian encouraged us to not use any click tracks, and we did very limited overdubbing. Generally, we would just track a song until he was up in the control room dancing. He had this little captain's hat on, and if he was up actually physically moving and dancing, you knew you were onto something."

For July Talk, that collaborative spirit goes beyond recording—it's crucial to the very way the band presents itself to the world. Warburton and Dreimanis come from a filmmaking background, while Fay boasts a contemporary-dance and performance-art pedigree; together, those multi-disciplinary skills have yielded a visual aesthetic every bit as striking as the band's music. ​"Because our experience extends outside of music, we're always working as​ a collective," Dreimanis says. "We want everything created under the July Talk moniker to come from the same place."

That philosophy extends from the stark, black-and-white videos, to the mugshot-style photos, to the brutalizing ballet of Fay and Dreimanis' onstage interactions, all of which serve to reinforce the fuck-or-fight showdown at the core of July Talk's signature songs. Touch continues to play up that dynamic, as the lascivious "Lola + Joseph," the dirty-disco grind "Push + Pull," and the bittersweet, smoke-ringed serenade "Strange Habit" revisit the sort of dialogue-driven, pop-noir narratives that drove first-album favourites like "Guns + Ammunition" and "Summer Dress." But true to the album's communal intent, Fay and Dreimanis' relationship here isn't so much "he said"/"she said" as "we said," whether the two singers are taking the piss out of macho misogyny over the "Passenger"-styled shuffle of "Like a Man", or skewering coked-up, self-absorbed hipsters on the searing "Johnny + Mary."

"The easiest thing to write about is heartbreak and exes and failed love," Fay explains, "and I feel like we covered that on the first album. Time passes and your worldview expands, and suddenly injustices are pissing you off more than the thought of your ex-lover. You notice one messed up thing about the way society functions and suddenly realize how deep-seated close-mindedness and a lack of communication are at fault for almost everything wrong with the world. It's like, we can only do so much and get so far by staring at each other, engaging in a two-way yelling match and letting our egos duke it out on stage every night. We can shed more light, and connect with more people while facing outwards standing side by side, listening just as much as we speak… or sing, in this case."

"It all comes back to that community we feel in the room when we play," Dreimanis adds. "I'm constantly drawing on the moments I've seen in rock 'n' roll that changed my life forever. Like, I remember walking into the Starlite Room in Edmonton when I was underage, and the door guy let me in to see the Constantines play, and it was the same way people talk about going to church for the first time. It was the most powerful thing I had ever seen. I felt the same way the first time I saw Iggy Pop. When I step out on stage, I want to make people feel alive and like they're in a very special place and provide them with a little hope and faith in rock + roll and its power as a borderline religion."

And you'll find no more persuasive sermon than Touch's closing title track. As the song steadily builds from desolate dissonance into a raging, piano-pounded anthem, Dreimanis and Fay reassert the album's key mantra in no uncertain terms. "We get so tired and lonely," they declare with gospelized gusto. "We all need a human touch." It's a reminder that no Snapchat selfie is a substitute for an intimate conversation, that no emoji provides the warmth of an embrace, that no YouTube concert video can instill that exhilarating feeling of leaping off the stage to crowd surf. Touch is music of the flesh—the product of hoarse-throat howls, bloodied fingers slashed on the fretboard, and sticky bodies pressed against the barricades.

The Voidz

The Voidz (formerly known as Julian Casablancas+The Voidz) are an American rock band formed by Julian Casablancas of The Strokes.

Wolf Parade is an indie rock band formed in 2003 in Montreal, Quebec of musicians from British Columbia. The band went on indefinite hiatus in 2011, but announced its return to recording and performing in January 2016.

Todd Terje (DJ Set)

DJ and producer from Norway.

Training to become a pianist, Olsen enrolled at a local music school, but to his disappointment there wasn't much jazz being taught there. Gradually leaving the musical career path, he later moved on to study physics at the University Of Oslo. Growing up in the rural village of Mjøndalen, dance music influences were scarce. However, during the early-mid 1990s dance culture sneaked its way into even the most remote parts of Norway, thanks to The Prodigy and national radio stations filling prime time slots with underground jocks Olle Abstract and Pål "Strangefruit" Nyhus from Mungolian Jetset.

On the more personal level, Terje’s sister was a close friend of the late Tore "Erot" Kroknes, who was known for his releases on Telle Records and his production work for his girlfriend Annie on the classic disco pop single "The Greatest Hit". The tapes his sister brought home from Erot to the young Terje became a major source of inspiration for him. Playing around in his early teens on a cheap PC together with his mate Dølle Jølle, Terje made his first attempts on house and jungle music, which they played from cassette tapes on junior high school-dances.
Olsen reckoned that disco was all a bit silly – until Norwegian disco pioneer Bjørn Torske’s "Sexy Disco" caught his ears in 1999 and inflamed his love for the disco sound. In 2001 Olsen got in touch with Prins Thomas, and was also introduced to Hans-Peter Lindstrøm in Oslo.

Inspired of former UK generation of disco heads, Terje soon began to make is own re-edits of old disco records and moved on to his own productions.

Margaret Osborn (born 23 August 1988), known professionally as Alice Glass, is a Canadian singer and songwriter. She is the co-founder and former frontwoman of the electronic band Crystal Castles. In 2014, she embarked on a solo career.

Behind Rone there is Erwan Castex, french producer of electronic music.

Working originally as a filmmaker, he composes his first music creations between two shoots. His works, going from experimental techno to melodic ambient, soon grab the attention of the the most receptive ears: Massive Attack, Ellen Allien, Laurent Garnier, Pantha du Prince, DJ Hell, James Holden, and furthermore Agoria, who brings him to light in the cult compilation 'At the controls'. The compositions draw the interest of Parisian label InFiné (Apparat, Danton Eeprom, Aufgang, Clara Moto...), that offers Rone a new chance of expression with the long awaited release of the maxi "Bora".

Since then, Rone has been tracklisted in the last Steve lawler and Sasha's album (with Thom Yorke, Matthew Dear and Telefon Tel Aviv).

His own first album, "Spanish Breakfast" is released in mars 2009 (InFiné music).

Tommy Genesis

The smooth-voiced son of two doctors, Darius (born Darius Danesh-Campbell) has zoomed to the upper echelon of U.K. pop music. His debut single, "Colourblind," released on July 29, 2002, maintained the top slot on the British pop charts for two weeks and remained in the Top Ten for six weeks. Darius, who made his stage debut in a kindergarten musical presentation of Peter Pan -- The Musical, at the age of four, was influenced at a young age by the vocal and acoustic guitar sound of Extreme's 1990 hit "More Than Words" and persuaded his mother to buy him a guitar, which he taught himself to play. He wrote his first song as a Valentine's Day gift to a girlfriend. A role in the Scottish Opera Company's production of Carmen at Covent Garden solidified his dreams of a career as an entertainer. Forming a band, Jade, in school at the age of 16, he continued to perform with the band until moving to Edinburgh to study English literature a year later. Darius got his greatest exposure when he was a contestant on the British star-search show Popstars. Weekly appearances on the nationally aired show made him one of Britain's most popular young artists. Although he was offered a number of major-label deals, he agreed to finish his third semester at Edinburgh University before signing a contract. By the time that he finished the school year, however, the momentum had passed and the offers were rescinded. Returning to television, Darius appeared on a similar star-search show, Pop Idol. Following the first audition, he was inspired to write "Colourblind." Darius continued to attract attention with his appearances on Pop Idol. Initially failing to finish in the Top Ten, he continued on the show after a contestant became ill and he was chosen to replace him. He went on to finish in third place. When a friend passed a copy of "Colourblind" to U2 producer and music director of Mercury Records, Steve Lillywhite, Lillywhite was so impressed that he quickly signed Darius to a five-album deal with Mercury Records, via Brilliant 19, which was established solely to release Darius' music. He released his debut album, Dive In, in November 2002, after releasing two singles. His second album Live Twice was released in early 2005.

Jacques Greene

Dance music producer from Montreal, Canada

Ryan Playground

Producer / singer / songwriter / dj

Mélanie Venditti

Clyde

Clyde, is a Derby original. In his teens he was in several local bands, and it's noteworthy that as part of The Underdogs he supported UK chart toppers Dr & the Medics (The Underdogs were much better, even if Clyde's axe was feeding back like a mutha fu**a). Clyde also played an integral role in the setting up of Mantis Recordings, and remixed Atjazz on the first ever release. He made further musical ripples with his remix of Mikeal Fitzpatrick's ‘Wish' on Yellow Productions, and appeared on Mantis again, this time with a shadowy and anxious mix of Kimbu Kimra's ‘Raise the Dead'.

After spending years trying to convince Clyde to give the world more of his distinct style of music, Mantis finally persuaded him to write an album, by bribing him with food and breasts. The debut single 'Serve it Up' featured San Francisco-based rapper Capitol A who's flowing rhymes told a familiar tale of a night out at the club. It certainly struck a chord with many dancefloors, both musically and lyrically, spawning many tracks in a similar vein to hit the club soundsystems.

The debut Clyde album ‘Hyper Reality' is now at long last completed, Capitol A once more stepping to the mic on several tracks including the second single ‘Broken Slang'. Clyde himself has also flexed his own vocal stylings on the album. His voice may be familiar to those who've recently heard Brooks, as Clyde co-wrote and sung tracks on his second album, Red Tape. He is also writing and singing with Rhythm Plate and Atjazz for forthcoming releases.

Tickets

Accès au SAMEDI:  1 grand concert extérieur et le parcours des salles. 
Accès au concert extérieur le samedi 19 mai à 14h - portes à 13h
Accès au parcours des salles le 19 mai (sauf l'église), selon disponibilité. Premier arrivé, Premier servi. Veuillez noter que certaines salles sont 18 ans et plus.

NE DONNE PAS ACCèS AUX SPECTACLES à L'éGLISE 


Saturday access to the festival: 1 great outdoor show and clubland.


*liste artiste à confirmer. Rain or Shine.    


Access to outdoor show May 19 at 2PM (doors at 1PM)    
Access to clubland May 19 (every club except the church). Subject to availability. First come, first serve. Please note that certain venues are 18 years and older.     

THIS PASS DOES NOT GIVE YOU ACCESS TO THE CHURCH SHOWS

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