COURCHEVAL (vinyl)

Description

Deliberately unconventional, Courcheval has been the project of Guillaume Cantillon since 2017. While he enjoys working solo, freely, and driven by a strong desire to build his own musical realm, he also has a knack for surrounding himself with talented people. In this regard, the aptly named 'Gymkhana', released in April 2022, immediately laid solid foundations. Yet, initially, Guillaume was frustrated with the result. Too 'normal', a tad too predictable, it was with the help of Benjamin Sportes (Futuro Pelo, formerly Sporto Kantes) that the EP found its definitive shape, the Courcheval touch that Guillaume had longed for but hadn't quite finalized. Simultaneously, the visual aspect, going hand in hand with the sonic and verbal content, was entrusted to talented women. Franco-Moroccan graphic artist Mariyem Moutaouakkil handled the visuals. For the music videos, applied to 'Labeur', 'Danse Courcheval Danse', and 'Éoliennes', director Pauline Bricout took charge. The adventure is underway, and the project's distinct personality encouraged the renowned Upton Park, home to bands like Hyènes and Stuck in the Sound, to express its desire to release the album. This album, which sparsely evokes Beck or De La Soul for its audacity and stylistic blend, or even Gainsbourg for its fluid phrasing, unfolds Courcheval's now validated approach across eleven addictive tracks. On this patchwork of fluid, yet insistent groove, we find a coolness that makes you fall in love immediately (dear Man FooTits, if you're reading this...), instantly conveyed by 'Danse Courcheval Danse!', which incites the first lascivious and decisive hip swaying. Inspired samples, a funkiness boosted by clean class (Da Courcheval), relayed by 'J'avoue' which puts Beck in the water. Textual excellence, troweled on. 'Éoliennes', sung with brilliance and knowing pop-ness, the reverse being equally true. Courcheval is a thoroughbred. 'Zuma', borrowed from Neil Young (I'm kidding Loner, you get it! Courcheval doesn't steal; he creates), winds its way to our senses, which it gently flatters but also endows with delectable sexual excesses. If you follow me, I'll continue; 'Coca Cola Corfou', with its delicate poem, makes you float, Dylanizes you, soothes you, and makes its words shine. 'Labeur', effortlessly, fills you with delightful sounds. From the opus, intoxicating, emerges a relaxation with an inspiration that refuses to dry up. 'Oh mon salaud!' without rushing, marries voices and snatches ours. 'Je te veux Courcheval puis plus rien' - he says it, not me, but still, I love it - does the same, a touch reggae. I surrender, conquered; Courcheval sings about love and gives it beautiful tunes, with that expertise that can only be acknowledged. He goes ragga, and not only, on 'Courcheval! Tu ne m'aimes plus!' He talks nonsense, to be honest, we adore him. So, he plays extra time. For us. 'Golden goal'. Trezeguet, Euro 2000. The Italian on his knees, the listener too. The term is zesty, distinguished, elegant but sulphurous. Courcheval, at the final whistle, captivates and reveals itself, through a series of choices that compel us, seduced, to give it four stars.