Gable are one of the most original bands I have seen for some time.
Live the French trios joyful deconstruction of percussion, children’s toys and post rock is captivating. There is a willful innocence and a hypnotic surrealism about what they do as they swerve around off the wall workouts, occasional neo hip-hop sections and hardcore rushes.
The band kindly answered our questions despite the language barrier”¦

Gable myspace

Gable: fascinating French avant gardists – an interview

1. You are the most original band I’ve seen for a long time- how did you end up with that unique sound

Two of us started playing the drums in rock bands, creating a taste for a more individual & spontaneous way of doing music. When one of us started a personal project, the two others encouraged it and wanted to participate in that singularity. We also love to be surprised by one-another, surprised by other musicians.

2. Is there much of a tradition for your kind of music in France

Not that we know about. We listen and use all sorts of musical (and non-musical) traditions, but they mainly are Anglo-Saxon. Perhaps it is as it is in reaction to the French music tradition. There is a great weight of French as a language for songs, it is to directly meaningful and carries to heavy references. It seems easier to use a language more distant to us, that we are more ignorant of.

3. Your music is quite playful- is that important?

We don’t aim for it to be playful, but we aim for it to amuse us when written or played. We are afraid of being boring and being bored. That is very gradually changing, and we are hoping to soon be comfortable with the idea of boring and being bored. It ‘ll make things much easier.
We’ve just looked-up the word “playful” in a dictionary, and it isn’t a translation of we’ll leave it like that. Yes, it is important for us to be playful, in and out of music.

4. There is a great sense of theatre about what you do- is that important

The theatricality is a consequence of concentration, wanting to do as well as we can and wanting to play “very together”, which are necessary for us to play well. Live, there is a song with a mask and a song with a jump, who’s role is more to defuse the musical stereotypicity of those songs. We don’t work to be theatrical and wouldn’t like our concerts to be mistaken for shows.

5. I liked the eclectic mix of styles in your music from quirky pop to hip hop to industrial to Tom Waits to hardcore thrash….is this eclecticism deliberate?

Oh yes, it is, indeed, absolutely, it is, yes. We are fuelled and thrilled by eclecticism. Is it pejorative in English? Nevermind. The answer is still YES. It is again a way of trying not to bore ourselves and the others. One day it’ll all be the other way round. We’ll be tired of eclecticism and will stick to one style and long to become virtuosos.

We hope all this doesn’t sound pretentious or arrogant. If it does, then our Frenchness beat us again.

Meilleures salutations,

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Award winning journalist and boss of Louder Than War. In a 30 year music writing career, John was the first to write about bands such as Stone Roses and Nirvana and has several best selling music books to his name. He constantly tours the world with Goldblade and the Membranes playing gigs or doing spoken word and speaking at music conferences.


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