Dans 20 ou 30 ans, il se peut qu'on parle de Guillaume Marietta comme on parle aujourd'hui d'Arthur Russell ou de Robert Johnson, de ces gens que leurs contemporains ont juste vu passer en coup de vent, sans trop s'y attarder, et qu'on redécouvre sur le tard, au profit d'une anthologie éditée par un label prestigieux ou de témoignages insensés dans un documentaire picaresque.
Mais très franchement, on ne vous le souhaite pas. Parce que vous y perdriez beaucoup. Le mieux serait vraiment que vous n’attendiez pas de vous pâmer devant des archives et de vieux souvenirs et profitiez pleinement de ce que Marietta a à offrir maintenant, tant qu’il en est temps.
Réalisé seul, comme son premier album, mais cette fois avec des logiciels de MAO crackés, Prazepam St. est un disque à la fois plus dense et plus simple à appréhender que les précédents, mais surtout plus ludique. « Je voulais m’amuser, explique Marietta. Construire un monde sombre et lumineux avec mes petites mains et du matériel de récupération, comme David Lynch à l’époque d’Eraserhead » – un des principaux points de repères de l’album. C’est aussi, plus involontairement une synthèse – on y retrouve le côté artisanal du premier album, celui plus flamboyant et ambitieux du deuxième, mais aussi des traces des irruptions stridentes d’AH Kraken, des grandes embardées cosmiques de Feeling Of Love ou du groove magouilleur de Funk Police. Au delà de ces références personnelles, Marietta y a jouté ses influences adolescentes dans lesquelles il s’est replongé durant l’enregistrement – Sonic Youth, Beck, Nirvana, les Beastie Boys, mais aussi Jim O’Rourke ou David Pajo : le titre « Pajo » est un clin d’oeil au guitariste de Slint dont le projet solo Papa M a beaucoup marqué Guillaume.
Dans 20 ou 30 ans, il se peut qu'on parle de Guillaume Marietta comme on parle aujourd'hui d'Arthur Russell ou de Robert Johnson, de ces gens que leurs contemporains ont juste vu passer en coup de vent, sans trop s'y attarder, et qu'on redécouvre sur le tard, au profit d'une anthologie éditée par un label prestigieux ou de témoignages insensés dans un documentaire picaresque.
Mais très franchement, on ne vous le souhaite pas. Parce que vous y perdriez beaucoup. Le mieux serait vraiment que vous n’attendiez pas de vous pâmer devant des archives et de vieux souvenirs et profitiez pleinement de ce que Marietta a à offrir maintenant, tant qu’il en est temps.
Réalisé seul, comme son premier album, mais cette fois avec des logiciels de MAO crackés, Prazepam St. est un disque à la fois plus dense et plus simple à appréhender que les précédents, mais surtout plus ludique. « Je voulais m’amuser, explique Marietta. Construire un monde sombre et lumineux avec mes petites mains et du matériel de récupération, comme David Lynch à l’époque d’Eraserhead » – un des principaux points de repères de l’album. C’est aussi, plus involontairement une synthèse – on y retrouve le côté artisanal du premier album, celui plus flamboyant et ambitieux du deuxième, mais aussi des traces des irruptions stridentes d’AH Kraken, des grandes embardées cosmiques de Feeling Of Love ou du groove magouilleur de Funk Police. Au delà de ces références personnelles, Marietta y a jouté ses influences adolescentes dans lesquelles il s’est replongé durant l’enregistrement – Sonic Youth, Beck, Nirvana, les Beastie Boys, mais aussi Jim O’Rourke ou David Pajo : le titre « Pajo » est un clin d’oeil au guitariste de Slint dont le projet solo Papa M a beaucoup marqué Guillaume.
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