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    IL COLORE DEI SOLDI
    In the Beretta family, Code of Honor is to be observed. Especially the gangsters’ one, and they make sure it is. The merciless Mafioso clan has to avenge the offense inflicted by an opposing “famiglia”. Guns are loaded and tires ready to screech... A sanguinary vendetta is about to explode.

    L'OCEAN
    There is a man whose only mistress is the sea, trapped in a dilemma between his need for the ocean and his life on dry land, haunted by the reminiscence of the wicked waves that keep calling him constantly.

    PLURABELLA STRIKES AGAIN
    Plurabella, righter of wrongs with generous curves, sneaks her body into the dark like a cat on a hot tin roof. There she is, burning rubber in her sports car. This femme fatale won’t be stopped until she’ll get hold of you.

    THE NAKED BATH
    Jacinthe and Iris, two beautiful young girls, frolicking naked in the misty water, are disrupted by an attractive young man whose name could be Narcisse. A Hamilton-like nefarious tale.

    LOS IMPOSTORES
    In Spain, two longtime friends, both crooks and seducers, enjoy their fast life: from dirty tricks to hold-ups, goofs to kidnappings. The adventures of these two fortune hunters lead them from custody to the bed of young women falling under their charm.

    VIRUS FROM OUTER SPACE
    Run for your life ! An unknown space virus contaminates animals from the zoo. They are being changed into monsters with harmful super-powers. Led by a gigantic sex thirsty hippopotamus, those animals are about to spread panic in the city.

    By Georgina Tacou & Fred Pallem
    credits


    Bass Guitar, Acoustic Guitar, composition & arrangements – Fred Pallem
    Drums, Percussion – Vinz Taeger
    Flute, Keyboards, Saxophone – Rémi Sciuto
    Trumpet, Flugelhorn – Fabrice Martinez, Michel Feugère
    Trombone – Daniel Zimmerman
    Bass Trombone – Lionel Segui
    French Horn – François Bonhomme
    Guitar – Ludovic Bruni
    Keyboards – Vincent Taurelle

    Artwork, Photography By – Sylvain Gripoix & Fred Pallem
    Recorded and mixed by Pierre Luzy at Studio Etlanuit, Montreuil, France in September 2010

    Produced by Music Unit

    ℗&© 2010 Morning Bell / ZZ Productions

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LISTEN: soundcloud.com/le-sacre-du-tympan


Attachez vos ceintures, laissez-vous aller et montez le son. Un peu plus de dix ans après avoir monté son big-band flamboyant, voici que Fred Pallem revient nous offrir un quatrième voyage aux croisées du jazz, du rock, de la pop et des musiques de films hantées de belles cylindrées. Après un premier album éponyme, fanfare honorant les influences d'Ives et Mingus, un "Retour", vrombissante course poursuite toute de cuivre sertie puis une "Grande ouverture", album anniversaire avec des hôtes tels que Sébastien Tellier et Piers Faccini, c'est aujourd'hui à la tête d'une formation de dix musiciens - une épure qu'il souhaitait pour aérer sa narration - que Pallem évoque le cinéma de genre qui le passionne depuis l'enfance.
« Cet album a été pensé comme une B.O. sans le film, avec la volonté de convoquer des images. C'est un album pour tripper, se faire son propre scénario. »
De thrillers italiens aux séries Z d'après-guerre en passant par la gaudriole érotico-franchouillarde des nanars français des années 70, Pallem invoque ici le cinéma qui l'a nourri. « Le cinéma est ma première passion. Enfant, je découpais les encadrés sur les films dans les journaux télé et les collais dans des cahiers. Mes films d'enfance sont "Mon nom est personne", "Jason et les argonautes", "Les 7 mercenaires" et "La folie des grandeurs" ! Puis j'ai vu tous les James Bond, les Bébèl, les Pierre Richard. Mon père avait les cassettes des B.O. de François de Roubaix, que j'adorais. "Le vieux fusil" m'a fait un choc. Encore aujourd'hui cette musique me trouble profondément. »
Une vendetta ritale aux relents de poudre (Il Colore dei soldi), un ragtime comico-lubrique (Le Bal des soubrettes), en passant de l'érotisme soft d'une Emmanuelle Hamiltonienne (The Naked Bath), aux vixens de Russ Meyer qui auraient flirté avec celles de la Blackploitation (Plurabella strikes again), Pallem impressionne par les compositions et l'orchestration. Des titres à la fois audacieux, singuliers sans jamais être hermétiques, sexys sans vulgarité, drôles sans grand-guignol, menaçants sans lourdeur, mélancoliques sans tristesse, enflammés sans pompe, délicats sans mièvrerie, d'une élégance folle.
Jamais là où on l'attend, il étonne et ravit avec une ballade maritime où pointe le ressac du souvenir à travers la brise d'une belle traversière et l'appel du large apporté par des synthés qu'il a voulu plus nombreux que sur ses précédents opus (L’Océan), des camaraderies élégantes et canailles à la Amicalement Votre (Los Impostores), une indolente flûterie à la belle étoile (Summer 74). Sans oublier les monstres assoiffés de sexe de série Z, avec le "Virus from outer space" saturé de Moog et Rhodes.
Le principe de plaisir éclate partout, sous une structure ciselée au bistouri, avec une grande générosité. Des flûtes poursuivies par des hordes de guitares, des cordes gonflées comme des voiles, des complaintes de cuivres irritées et cinglantes. De la haute- voltige et l'oeuvre d'un cosaque.
De sérénades en cavalcades, "Soundtrax" est un aller-simple qui vous emmène là ou vous ne pensiez plus aller, de vertigineuses voltes-faces en échappées belles d'un grand écran rêvé. Pallem nous fait relire, à sa sauce, l'histoire de la musique et du cinéma, avec légèreté, intelligence et plaisir.

*****************************************************************************************

Ladies and gentlemen, please fasten your seat-belt, sit tight and turn up the volume. A little more than ten years after the reunion of his blazing big band, Fred Pallem is back, indulging us with a fourth trip at the crossroads of jazz, rock, pop and “vintage sports cars-haunted” soundtracks. After a first eponymous album, a fanfare paying tribute to the influence of Mingus and Ives, then a “Retour”- a roaring chase set with diamond-like brass ensembles, then a “Grande Ouverture/Grand Opening”, anniversary album with such guests as Sébastien Tellier and Piers Faccini, Pallem evokes today the Genre Cinema, his passion since childhood, with a ten piece band – a refinement dedicated to the clarity of the narration.
“This album has been conceived as a soundtrack without a movie, with the deliberate intention of calling up images, and making you wander and compose your own scenari.”
From Italian thrillers to post-war Z movies, to 70’s typical French erotic second-rate comedies, Pallem evokes the cinema he grew up with. “Cinema was my first passion. As a child I used to cut up articles on films from TV magazines and paste them in notebooks. My favorites were “My Name Is Nobody”, “Jason and the Argonauts”, “The Magnificent Seven” and “Delusion of Grandeur”! Then I saw all the James Bond movies as well as films starring Jean-Paul Belmondo and Pierre Richard. My father had François de Roubaix’s soundtracks on tapes and I loved them. “The Old Gun” particularly struck me. This music still deeply fascinates me today.”
From an Italian vendetta with a smell of gun powder (Il Colore dei soldi), to a lustful ragtime comedy (Le Bal des soubrettes), to the soft erotism of a Hamilton-like Emmanuelle (The Naked Bath), to Russ Meyer’s Vixens flirting with Blaxploitation heroines (Plurabella strikes again), Pallem delivers amazing compositions and arrangements, original and daring yet never abstruse, sexy but not vulgar, funny without ever overplaying it, threatening without heaviness, melancholy yet never sad, fiery but not pompous, emotional without soppiness, displaying a tremendous elegance.
Always showing up where you least expect him, Pallem surprises and delights the listener with a seaside ballad filled with the backwash of memories piercing through the breeze of a beautiful flute, or the call of the sea brought up by the synthesizers he wanted more present here than in his former works (L’Océan), elegant crooks friendships in a “Persuaders” manner (Los Impostores), a languid flute under the stars (Summer 74). Not to forget Z movies sex thirsty monsters, in a “Virus from outer space” loaded with Moog and Rhodes.
The pleasure principle bursts out everywhere with a great generosity, behind perfectly chiseled structures. Flutes chased by hordes of guitars, strings ensembles swollen like sails, irritated and biting brass moans. A Cossack’s work of wizardry.
From serenades to stampedes, “Soundtrax” is a one-way trip that brings you where you thought you would never go anymore, from breathtaking U-turns to grandiose vistas of a silver-screen dream. Pallem makes us travel through the history of music and cinema, with grace, intelligence and pleasure.

credits

released May 6, 2017

Bass Guitar, Acoustic Guitar, composition & arrangements – Fred Pallem
Drums, Percussion – Vinz Taeger
Flute, Keyboards, Saxophone – Rémi Sciuto
Trumpet, Flugelhorn – Fabrice Martinez, Michel Feugère
Trombone – Daniel Zimmerman
Bass Trombone – Lionel Segui
French Horn – François Bonhomme
Guitar – Ludovic Bruni
Keyboards – Vincent Taurelle

Artwork, Photography By – Sylvain Gripoix & Fred Pallem
Recorded and mixed by Pierre Luzy at Studio Etlanuit, Montreuil, France in September 2010

Produced by Music Unit

℗&© 2010 Morning Bell / ZZ Productions

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