My experience as a 27 year old fresh member of 40 year old cultband Univers Zero (Part 1 : Joining for Mexico)

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“How do you feel about becoming Univers Zero’s new keyboardist ?”

Univers Zero

A little more than a year ago I was offered to join then 39 year old cultband Univers Zero. We were in Marrakech, Marocco, on our honeymoon when my bride Susan saw I had a new text message. As I was packing my luggage to fly back home, she told me to quickly come and check my phone, I was going to be happy about what I’d read. “How do you feel about becoming Univers Zero’s new keyboardist ?” was what my friend Dimitri Evers – the band’s bass player and my ex-fellow musician in (S)hhh (my very first band) – had sent me. I called him from Marrakech airport, as soon as I could, very excited.

Soon a few scores arrived for the first rehearsal, on December 18, 2012. I had about a month to prepare. What gave me most trouble was making sounds close to these of a harmonium, pipe organ, and horns, with my Nord Stage’s Hammond organ and synth, and the song Phobia from the album Rhythmix (never performed live before). I was nervous for the first rehearsal but I was ready. I was however going to have to expend my setup to the use of a laptop because it was necessary to have a real good harmonium sound, among others. I hadn’t yet considered it because I simply had never done it before and thought they were looking for self made sounds more than replicas of acoustic instruments. Also I didn’t own a laptop.

After that started the real work : Daniel Denis sent lots of new scores he and Kurt Budé had composed especially for Mexico’s Cineteca Nacional concert with short avant grade silent movies. And I had a whole bunch of new things to learn : a new way to play, a new way to feel rhythms (often two at the same time), a new way of setting up sounds. I had never worked with a laptop on stage before so I had to figure out how to setup the midi system, and change sounds without having to touch the computer. Daniel came to my house once to check out the sounds with me and choose together. I redesigned a few things in accordance with the needs of the music (like expending the harmonium sound to the full range of a piano). And damn I practiced. Constantly. I wanted to master the repertoire to feel completely at ease. And good I did because that seemed to be the expectation : on the first rehearsal already everybody knew their parts almost perfectly. All we worked on on rehearsals for four months before the Mexican tour was musicality and sound. And perfecting what was not perfect. And day after day, I was testing different setups, different sounds. One problem I faced was the impossibility to turn pages on my sometimes 25 pages scores (extremely difficult to learn by heart). So I went out and bought an iPad and a pedal that turns the pages for me… Solved all my problems.
I’d never played with such a professional, nice, dedicated band before. And damn was the music good and the experience rewarding!

Mexico’s Teatro de la Ciudad : first show, soundcheck panic, bass player arrested

At the Teatro de la Ciudad, Mexico

At the Teatro de la Ciudad, Mexico

After four months rehearsing intensely we flew to Mexico for a couple of shows and had a total blast. Here I am for my first show with them and it’s 1) Mexico 2) In the Theater of the City for a lot of people who 3) know the music and I suspect are waiting to see if the change of line-up really was a good idea. Imagine the pressure… I had asked to install our material in the morning so I could make sure everything is ok with the back line and transfer the presets from my laptop to the Nord Stage they had rented for me. Good I did because nothing worked. I had made backup of my presets to load them there, not knowing that the midi settings weren’t a part of it. And I didn’t remember how I did it. I spent a big part of the day trying to fix it, and while I was preparing a stupid B-solution suddenly I hit a button or God knows what I did but everything worked again. I wrote all the settings on paper and finally was able to have a beer with the band. I meditated for an hour before the show and felt astonishingly chill during the whole thing and really enjoyed it. This is extremely fun music to play once you know it. Right after the show Dimitri was arrested for drinking a beer on the street, right outside the backstage. Around us were hundreds of Mexicans drinking cocktails (there was an outdoor cocktail bar). But apparently drinking alcohol on the streets is illegal. Especially if you’re European and the cops think you might have money. He negotiated the price for his liberation and we went back to our hotel.

Mexico’s Cineteca Nacional : avantgarde silent films and dedicated fans

Soundcheck at the Cineteca Nacional, Mexico (pic by Jeremy Trossat)

Soundcheck at the Cineteca Nacional, Mexico

The next day we played in the Cineteca, had a blast again, and in the afternoon new guitarist in the band Nicolas Dechêne and I visited the house of Frida Kahlo which I’d been wanting to see for years, and happened to be right next door. It was a weird, totally unexpected experience, to have to spend an hour after the show taking pictures with fans before we were able to pack our stuff and go celebrate. But I appreciated the devotion of Univers Zero’s audience. Nicolas and I already had a foretaste of that on our first day in Mexico, before our first ever show with the band, when we visited, together with Jeremy Trossat our sound technician, the Ministry of Education where Diego Rivera painted murals for years. Our guide, for some reason, asked us if we were musicians. When we said yes he answered he knew a band from Belgium, it was called Univers Zero. “Is that you ?” We ended up taking pictures with the guy during our visit, while we hadn’t even played with the band once on stage yet!

Day off : No sunblock at Teotihuacan = bad idea

On top of the Pyramid with Nicolas, getting red.

On top of the Pyramid with Nicolas, getting red.

For one of our off days our dear friends Carlos and his son Carlos arranged for some of us to visit Teotihuacan and it’s pyramids. It was amazing but here’s a bad idea for you (don’t try this at home) : meditate and sungaze without sunblock. For weeks after we came back home I looked like a zombie with my face’s skin hanging and disintegrating. Before we flew back, Young Carlos explained to us what Univers Zero’s music meant for him, and how it pushed him to dare to go for his dreams. There you know why you’re doing this job.

In the next episode I’ll you about what happened after Mexico, the recording session and Rock-in-Opposition festival.

UPDATE : Here is PART II !

Cheers,

Antoine

PS : Here’s a video compilation of excerpts from what we did with the avant garde silent films in Mexico :

… and a video of a composition of mine we played at that same concert :

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About Antoine Guenet

As an uncompromising musician, Antoine Guenet has been pursuing his own musical fascinations in complete freedom from the moment he first touched a piano. Quite logically that taste for liberty led him to both study jazz and leave the Conservatory, close to the end of his studies, to explore further what he had to explore. His first official album with his own project comes out in 2012 on New-York based progressive label MoonJune Records, in the form of SH.TG.N, a live album of raw heavy metal mixed with contemporary music and a touch of jazz. This explosive album is received ecstatically by worldwide press and fans. In 2013 he releases another album on MoonJune, with Progressive Jazz sextet The Wrong Object and surprises with his jazzier compositions, his fine and personal jazz piano playing, and the vocal song Glass Cubes (which he sings in duo with his wife Susan Clynes). 2013 is also the year he joins Rock-in-Opposition cultband Univers Zero with whom he tours in Mexico and records an album released in January 2014 on Japanese label DiskUnion. It is also the year he ends a 3-year Residency with Trefpunt VZW, a well-known organization from Ghent, Belgium, for which he presented each year a creation : SH.TG.N was first, followed by AG8tet (a double band divided in two separate stages, playing simultaneously jazzy polyrhythmic songs about the end of the world, with some of the finest young Belgian jazz musicians), and finally Fluxx (live electro/drum'n'bass with a string quartet, about the micro and the macro). As a composer for others he also wrote for French dance company La Locomotive (Yan Giraldou), for the show "Galerie" that premiered in the presitigious Pavillon Noir (Ballet Preljocaj) in Aix-en-Provence. Antoine quickly developed a strong stage experience in a great variety of projects. At only 27 he is one of the new exciting musicians to watch!

One response »

  1. Pingback: My first year with Univers Zero (part 2 : studio and RIO Festival) | C O U P L E of W E I R D O S

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