RIO 2015 reviews & thoughts

[Trane]

Sunday Sept 20
Alec Redfearn and The Eyesores : Well, I’m not a fan of the accordion (this is Aranis’ major flaw to my ears and Lars Hollmer), and here, we got an earful despite plenty of pedal affects. An acoustic line-up (if you except that he piano was played on a synth), I’ll say that the band is not well-named as the two women in the band (pianist and French horn players) are rather pretty. To be honest, I was still under the AZ effect, so I kind of missed many of the band’s subtleties, and I’ll mostly keep a folk ambiance from the group.

Happy Family : the Japanese band was one of the reasons was I considered coming down, but were not enough an attraction by themselves, until AZ ‘s 44 ½ deal. Yes, the quartet that released the near mythical Tossco album was back, with three of four original members still there, so that had quite a drawing power for me. Well, I would’ve been solidly disgusted driving 2000 kms just to see them, because I didn’t enjoy them at all. Apparently they asked to play the smaller hall, but this didn’t help either (for the reasons stated above). I don’t know if this is a Japanese trait, but I’ve yet to see a modern Japanese prog with any stage presence (Koenji and Ruins don’t convince me either), but these guys were cold and listless, despite a certain energy. If you thought their debut album was cold, but Tossco was good (or excellent), their third album (released this year) is again cold-sounding, just like their stageshow was, despite some attempt at humour. I left halfway through, because I didn’t want to break into a sweat and I was bored.

Secret Chiefs 3: To be honest, after four concerts in a row I didn’t like much, I was starting to be irritated and considering leaving to enjoy the beautiful weather and Cathar countryside. Actually, I did want to check it out, though I knew next to nothing about the band and its outer/external complexities or its link with Mr. Bungle, FTM. All I’d heard (one or two studio album) did leave me much of an impression, because it was heading in all directions and seemed rather unfocused. But on stage, this band comes alive, and produced the most positive energy of the 11 bands of the festival with UKD. While their 1.5 hour set was about some 20 to 25 mins too long (too much of the sale sonic bombardment), I was definitely reconciled with RIO 2015, and again Michel Besset did a great job of bringing them over

The Really Big Experimental Toubifri Orchestra: OK, no-one knew anything from this band, and rumours abounded that there were even kids in the band (which given their closing spot on a Sunday evening seemed to be doubtful). While I was ready to pack it in early (my GF was waiting for me at the gîtes), I decided to give them a shot… and was I ever right to do so. What a total blast these guys were: 17 member big band with stage costumes (including a monk seemingly straight out of SC3), loads of poetics to boot, funny circus acts and much humour. The musicians interacted twice with the public in what seemed like a film-maker Claude Lellouche choreography and ambiance, even standing/frozen still for what appeared like a minute or two. Musically, while the big band format was very jazzy, if was mostly wild and steaming JR/F with some calmer moments, while the wind instruments solos were often free, but the “experimental” part of their name was not in the music . On the whole, their splendid performance was the second real emotional highlight/apex of the Festival, even approaching Art Zoyd’s emotions, albeit in a very different manner (sine chills for AZ, tears of joy for Toubifri >> read "to be free"). I guess this total surprise definitely changed my RIO 2015 rating from “good”, to “one of the best ever”. Funny thing is that this magical show ending the RIO Fest so wonderfully well was sort of an accident. As soon as I was out of the hall, the first person I encountered was Michel, and he was really surprised that I kissed him thank you for such a wonderful choice… The mood was so sweet out of that concert and the funny interview that I stayed longest of the three days (actually I cut it short only on Saturday) drinking with the hold-overs until the bar closed, which included a fair bunch of executants/organizers, artistes and photographers.



Overall, this 2015 edition is one of the very best ever (as said before, I missed three of them), and if the inner grounds don’t change much, the outer layout was vastly improved: the Moroccan-styled tent is a very good idea (too bad they only proposed coffee and not Moroccan mint tea) and the choice of screening inside it was excellent. This included a different version (and more energy-laden) of Soft Machine’s 7 line-up than the NDR-Bremen broadcast available from Cuneiform – I was told it was Hamburg performance. One of the food stand actually proposed an extra meal every day (the Aligot+Sausage, or the surprising Chili Con Carne), which means the variety was available for the roughly five meals eaten on-site over the three days.
Weather-wise, if Friday was still feeling the effects of the torrential rains of previous days (there had been major floodings some 150 kms south, and the A75 highway seriously damaged), Saturday was totally dry and majorly sunny, Sunday was full-out sun. All three nights were clear and cool (you could see the Milky Way galaxy cloud in the dark of the parking lot). Most of the RIO I attended were not nearly as dry as this one – one is never sure to get good weather in those parts of France in the second part of September – so even that part turned out better than I’d first feared.

[NogbadTheBad]

I've read a couple of times that both Kurt and Liesbeth were new members of Présent. Actually only Liesbeth is. Kurt was already playing with them two years ago when they last performed at RIO.

Good catch, I couldn't remember from last time

[Lebofsky]

For what it's worth I actually really really liked the Mats/Morgan set. A definite highlight for me, as well as seeing the first 15 minutes of Happy Family (had to miss the rest due to soundcheck conflict). Everything else I was able to catch was as great as expected. Unfortunately jet lag and rehearsals kept me from seeing everything.

Another highlight was that was hanging out with my Liverpool pals in a.P.A.t.T. who were swinging through while on tour through the region late Sunday night. They would be a fun addition to a future RIO. As would MoeTar (cough).

This is really a great group of people at these festivals from the organizers and staff to the musicians and attendees. I feel super lucky. And an extra special shout out to the sound techs were heroic in their willingness and ability to solve all kinds of gear issues leading up to the show (though a key on the backlined keyboard broke during my set, ha ha).

- Matt

[Prog Lives]

Is there a group,of Americans that goes over together?

I've been to Europea bunch of times but always in situation where I,was with someone who spoke the language

[NogbadTheBad]

I travel on my own and meet the Americans at the venue, to be honest my complete lack of French is never an issue.

[boilk]

When I went to RIO in 2013, I spent 10 days in France and Spain. Lack of French, or Spanish was not a problem.

neil

[aplodon]

There's already been some great reviews here by Trane and Ian, and I share much of the opinions.
Just a few thoughts:

Aquaserge : They were pretty good, but the drummer was really bad/boring and pulled the performance down a lot. Don't know if it was their original drummer.

Ukandanz : Very positive surprise. I had heard some snippets on the Internet and found the singer rather annoying. It worked well live, though, and the performance was very entertaining. Don't know if I would like to listen to it at home.

Present : Good as expected. Not one of the better concerts I've seen with them.

Rêve Général : Good as expected. One of the highlights.

Art Zoyd : Really great. I didn't know what to expect, but they really delivered. THE highlight for me.

Mats & Morgan : This felt more like a show off of Morgan's drumming skills than a musical experience. I missed some more melodic material. The break were Mats played alone on harmonica and keyboards simultaneously was very nice. The new guitar player also added something extra.

Pryapisme : I guess they were not bad, but all the loooooong talks in French between the tunes pulled the experience down a lot and took the concentration away from the music.

Alec Redfearn and The Eyesores : I like this band, but their set was largely spoiled by bad sound. Too loud and unbalanced. Vocals (especially the female) were largely drowned in drum and bass sound.

Happy Family : One of the bands I had looked most forward to seeing, but they were a negative surprise for me. Found it too heavy and with little variation. A bit boring, actually.

Secret Chiefs 3: Also a bit disappointing. Too little variation and mostly based on heavy rhythms (sonic bombardment, in Trane's words).

The Really Big Experimental Toubifri Orchestra: A very positive surprise from a band I've never heard of. Good fun and great playing from such a big group of young people.


To sum it up:

Highlights: Art Zoyd, Rêve Général, The Really Big Experimental Toubifri Orchestra

Very good: Present, Ukandanz, (Alec Redfearn and The Eyesores + Secret Chiefs 3 could have been here with better sound and more variation, respectively.)

The rest were all good/pretty good, though some of them not living up to my expectations.

As a whole this years festival was probably the most consistent - nothing that wasn't worth hearing. If it was the best, like some have claimed, I can't say, though I've been to all of them.

[Levgan]

My belated 2 cents worth (just got back home to Moscow after spending a week more travelling through French and Catalan countrysides without any Internet connection whatsoever):

The festival was fantastic, even better than the 2009 edition, the only one I've been to previously. It was great meeting some old friends (a shoutout to the Dutch Gnosis gang here!) as well as meeting some new ones whom I only previously knew online (hi, Ian and Dave!). Too bad there was no "PE meeting" or anything like that, I'd sure love to "devirtualize" with more of you guys (a vernacular Russian verb meaning getting to know your online friends in real life). As it was, I just did not know what y'all look like! Okay, I know how Steve F. looks, but he was always busy chatting with someone or enjoying the music with big grin on his face, so I did not dare to interfere.

A brief run through the bands:

AQUASERGE - sounded pretty nice, I missed their show in Moscow a year ago, so that was the first time seeing them, and they mostly delivered. Three lovely girls in the lineup, which is a plus, one of them playing bass clarinet - I think I haven't seen a female playing that instrument before (it got a bit lost in the mix, however). The music is edgy enough to keep me interested, while retaining its melodic core. The only downside was the vocals - I thought the songs really came to life in the vocal fragments, but none of them are great singers, and probably because of that, the instrumental music quotient was considerably higher. Still, a perfectly acceptable start of the festival, though also one of the least impressive bands on the bill (which goes to show the quality of the event rather than the quality of Aquaserge's music). Grade: B-

UKANDANZ - one of the few bands that I was totally unfamiliar with previously, and boy, did they bring the house down!! Imagine Mahmoud Ahmed fronting a math rock band - that's more or less how it sounded. I was instantly reminded of one of my favorite crossover African / punk / prog records, the excellent album by The Ex with Getatchew Mekurya, except that Ukandanz also had amazing Ethiopian vocals on top. There was not much great singing on the festival (see Aquaserge), and taken on that terms their frontman was surely number one. I had to miss their press conference, but was told by my friends that he was literally touring with the Ethiopian circus prior to the formation of Ukandanz. Unbelievable! I also could not help thinking that they should've had the members of the band pass the anthropometric test before being let in - the singer is black, stubby and plump, while the instrumentalists are all giant white tough guys who wouldn't be out of place in an ice-hockey team. Having their fans dance on stage to their ultra-compex music with weird time signatures and abrupt starts and stops was another highlight. I instantly bought their t-shirt and wore it proudly on the next day. Grade: A+.

PRESENT - I liked them way better this time around than in 2009, where they were a bit disappointing. Kerman and Keith Macksoud really were on fire, with ultra-tight playing, and Pierre Chevalier did a great job too. Considering they all live in different countries and don't get to rehearse too often, the tightness of the band was absolutely miraculous. However, it seems that's the standard of the RIO musicians - I still remember the Samla Mammas Manna show in Moscow many years ago, where Tatsuya Yoshida arrived all the way from Japan, and the other guys from Sweden on the day of the gig. They then spent the first 20 minutes of the show goofing around on their instruments and playing bits and pieces of the music in a very funny way just to bring themselves back to playing together after a long break and then delivered a flawless 1-hour-plus set! Anyway, back to Present: I did not really notice the new violin player much, and thought she was doubling the saxophone parts too often, though it is probably what could be expected given the loud, electric nature of the music - you just need something else to support the sax in this setting, like you need several violins in an orchestra instead of only one that just would not be heard properly. All in all, instrumentally the set was brilliant, the music dense and demanding, at one point I even thought - hey, this is something I'd show to any uninitiated person if asked what RIO is! Then the same problem raised its head again: I can't stand vocals in Present and never could. Maybe it's just me getting old, but I find all these "sinister" theatrical incantations very trite... give me someone actually singing a beautiful song any day! So, that was a bit of a letdown (for me! everyone else seemed to be into it), and as such, the grade is A-.

REVE GENERAL - now we're talking! Guigou Chenevier was one of the three main reasons for me to actually scrape the barrel and go to the festival (the others were Art Zoyd and Alec Redfearn - more on that below), and I'm so happy I got to see him live. One of rock music's greatest drummers with a quintessentially French, slightly zany and totally unpretentious style, and a great composer/songwriter to boot, I always enjoyed him in any setting, be it Etron Fou Leloublan or Volapuk. This new project had him and his partners from Volapuk joining forces with Czech chamber band Metamorphosis, and it's a great match, that worked to the benefit of both parts (as someone who has seen Metamorphosis on their own twice, I know what I'm talking about here!). The material was constantly surprising, ranging from complex avant-prog to some genuinely moving relatively accessible parts - the "French song" that they did was magically beautiful. Towards the end they even attempted a bit of programmatic music in the form of "Vodka Express", which, in their own words, was "based on a true story". Later on the press conference I asked the band to tell us that story, and as it turned out, the song chronicled the adventures of a man who travels from Moscow to St. Petersburg and gets terribly inebriated in the process. Ha! Been there done that! I liked the slide guitar part that used to illustrate (very graphically!) the highest degree of intoxication - any romantic composer could be proud of that. I'm glad to have the Reve General CD now and am looking forward to taste the studio versions of these songs in the next couple of days. Grade: A.

ART ZOYD - well, like many others here, I don't know what to say here except that I had a feeling that history was happening right there in front of me. Amazing 3-hour set that still leaves me speechless, and while I always loved the early AZ and disliked their later, more electronic / sequenced recordings, it all worked smoothly within the context of the gig. Probably THE best set of the festival, Grade: A+.

MATS & MORGAN - many people did not like their set, but for me personally that was exactly what was needed after Art Zoyd. Light, unpretentious prog-fusion that was a bit out of place on the RIO festival (after all, I don't think these guys were really in opposition to anything), but sounded fairly good, with some good guitar and synth licks and energetic drumming. Like others pointed out, the tune that Mats performed solo on keyboard and harmonica was poignant and beautiful. Nothing too remarkable otherwise, but a solid band doing solid music - I didn't have any troubles with their set at all. Grade: B.

PRYAPISME - now this is whole 'nother matter. Pretentious hipster "prog" (I guess) that goes from style to style in a cold cynical postmodern fashion with no real emotional connection to any of the musics that they tackle along the way, replete with bad sleazy jokes and a lot of posing. If modern RIO accounts for this bunch of cartoonish Borat-like characters running through all possible music genres they could think of, then I'm getting off the train, thank you! (Thankfully, it does not). The only misfire in the lineup for me, I endured their gig for the devastating 30 minutes and finally went away. Admittedly, they have chops, so, while musically it's a clear D for me, let's give them credit for the musicianship and award them with a C-.

[Levgan]

ALEC K REDFEARN & THE EYESORES - my favorite band in the current Cunieform roster, they opened the third day of RIO festival with a charming set of witty dark songs with lots of style. Plus, they actually included two of my favorite tunes in the set - "Fire Shuffle" and "Queen of the Wires". What more could I ask for? Very happy to have finally seen them live, and Alec is such a great guy too. I conducted a long interview with him via Skype prior to the festival, which is now published in one of Russian online music magazines, and we carried on with that right there, tackling music, politics, economy and whatever else we could think of, while having a couple of cigarettes outside the concert hall prior to the Secret Chiefs 3 show. Musically, I really liked the way he distorted the sound of his accordion, often making it sound almost like a Jimi Hendrix' guitar. The drummer was also excellent, who, unusually, had no cymbals in his kit - that was quite refreshing and sounded great. French horn was a nice touch as well, and the keyboard sound that emulated the Farfisa organ really suited the music too. It's funny that the older prog bands often preferred Hammond organ for its deep and dense sound, but for the Eyesores and their music Farfisa works wonders. Grade: A.

HAPPY FAMILY - a bit of ultra-heavy and ultra-tight Japanese prog never hurts, eh? Surprised to see so many negative reactions to their show - okay, they were not as impressive as Koenji Hyakkei back in 2009, but I spent the entire set standing in the front row and thought their music really had a great intensity, as expected from a Japanese prog band, plus a lot of sheer rocking energy and some striking polyrhythms too (check the guitar vs rhythm part in "Slide", to name but one example). I thought their last album was a bit uneven, but in a live setting it all worked fine, and the mix of old and new tracks was what the doctor ordered. Grade: A.

SECRET CHIEFS 3 - putting Happy Family after Alec K Redfearn was a great decision, putting SC3 after Happy Family not so great, because after a while the sheer volume of it all started to get on my nerves a little bit. I thought the band did a heavier set this time than the one that I saw in Moscow last year - apart from an introduction, it was almost all ferocious metallic drumming and furious guitar/violin jamming on top of that (keyboards played a more subdued role this time around). Still, the musicianship is top-notch, and unlike Pryapisme, their collage of styles did not seem forced in the slightest - it's clear that Trey Spruance is a fan and connoisseur of all the genres he employs, from ancient Middle East music to heavy metal. So, I think I missed some diversity in their set, but it was great anyway. The Moscow gig was an A+, this one - just an A.

THE VERY BIG EXPERIMENTAL TOUBIFRI ORCHESTRA - okay, like 99% in the attendance (or so it seemed), I had no clue who these guys were, but they totally won me over. Basically a jazz big band, with plenty of horns plus keys, guitar, bass and two drums, they played a brilliant show mixing music and theater, with plenty of inventive solo showcases of various members of the ensemble as well as some surprising interludes including one which was basically a tableau vivant and another one when they went into the audience and danced a nostalgic waltz. While musically very competent ranging from free sections to singalongs to some breathtaking, almost post-rock build-ups, these theatrical effects added a special dimension to the show, and I think I'd rather watch it on DVD than hear on a CD. Really, this was something worth seeing, in a literal sense - not least because of their eclectic stage attire and funny behavior. As blasphemous as it may sound, I thought this was a better ending to the festival than the slightly ill-advised Univers Zero / Present collaboration that I was exposed to at the end of the 2009 festival (don't get me wrong, I love both of those bands, but they were better separately). Grade: A+.

Overall, the festival floored me! Great work everybody! Here's hoping it won't take me another 6 years to come to Carmaux again.

P.S. I had to split this into two parts, because it turns out, PE does not allow posts with more than 10000 characters. Sorry for being so verbose.

[Trane]

Too bad there was no "PE meeting" or anything like that, I'd sure love to "devirtualize" with more of you guys (a vernacular Russian verb meaning getting to know your online friends in real life).As it was, I just did not know what y'all look like! Okay, I know how Steve F. looks, but he was always busy chatting with someone or enjoying the music with big grin on his face, so I did not dare to interfere.

Yeah, I'm really sorry that I didn't get to meet you in person... actually, I'd forgotten you were coming (we could use one of those roll-call thread for this thread).

PRYAPISME - If modern RIO accounts for this bunch of cartoonish Borat-like characters running through all possible music genres they could think of, then I'm getting off the train, thank you! (Thankfully, it does not).

for the Borat mention... Yeah, they came around a bit like that to me.
actually, I can't help thinking that such a cocky young band like them could be RIO's future for attracting a new generation. In solme ways, thet remind me of POiL with their younfg cocky attitude of their own.

THE VERY BIG EXPERIMENTAL TOUBIFRI ORCHESTRA - these theatrical effects added a special dimension to the show, and I think I'd rather watch it on DVD than hear on a CD. Really, this was something worth seeing, in a literal sense - not least because of their eclectic stage attire and funny behavior.

Indeed, that's why I'll be waiting for the DVD instead of the CD...
Though let's face it, filming it is not solving everything, unless this is a big budget productions with dozens of cameras, it won't give off good, IMHO.
I mean, I never found again Alamaailman Vasarat's stage presence and fun from the RIO-Fest set in their 5-hours DVD with many performance. The Toubifri band's visual dimension is too important to be shunned. I guess that's what fooled Michel Besset by surprise: he had apparently absolutely no idea of this visual circus dimension.

[Steve F.]

Okay, I know how Steve F. looks, but he was always busy chatting with someone or enjoying the music with big grin on his face, so I did not dare to interfere.

Sorry we did not meet and not sorry to be reminded of what a good time I had.

[Levgan]

not sorry to be reminded of what a good time I had.

We all had a great time there for sure. I was sitting with my father near you and your wife on the Art Zoyd show and we exchanged a few smiles when the light in the audience was suddenly (accidentally, I believe) switched on a couple of times.

Yeah, I'm really sorry that I didn't get to meet you in person...

We have something left for RIO 2021

I can't help thinking that such a cocky young band like them could be RIO's future for attracting a new generation. In solme ways, thet remind me of POiL with their younfg cocky attitude of their own.

I'm a bit undecided on POiL, to be honest. Seen a video or two that did not do much for me (my idea of humor seems to be totally different from theirs!) and haven't heard any proper albums. But I think a couple of guys from POiL were in Ukandanz, and that band turned out a real discovery for me! I also enjoyed big parts of the Chromb set last year on the Wurzburg Freakshow festival (not all of it, but 75% or so). So, it is undeniable that there is a lot of talent in this young French avant-prog scene, but Pryapisme were the band I actively disliked. They have a suitable band name too - this is music that sounds like it has a permanent painful erection.

Also, your post reminded me that I don't belong to a new generation anymore. Oh well A sad realization for someone who joined PE as a teenager!

[Trane]

I'm a bit undecided on POiL, to be honest. Seen a video or two that did not do much for me (my idea of humor seems to be totally different from theirs!) and haven't heard any proper albums. But I think a couple of guys from POiL were in Ukandanz, and that band turned out a real discovery for me! I also enjoyed big parts of the Chromb set last year on the Wurzburg Freakshow festival (not all of it, but 75% or so). So, it is undeniable that there is a lot of talent in this young French avant-prog scene, but Pryapisme were the band I actively disliked. They have a suitable band name too - this is music that sounds like it has a permanent painful erection.

POiL's last album is simply obsessed with sexuality - and nothing but that, though their videos focus on something quite different... And they came to play some sets with only their briefs on... The reasons why I lumped them in with Pryapisme is that they seem to focus on something else than the music/ they're in it for the chicks!! Besides their names hinting at their thingie constantly hard, most of their French-spoken banter was about being young sex-addicts and almost making fun of fat (or not so-lean) older guys.... That coupled with poor songwriting, (it's not because you have four virtuosi at their respective instruments that you're making music, this is a respected musician that told me this) there isn't much I'll save from their set.

Funnily enough, two of the three worst concerts I've seen that wê were in the smaller hall.

Also, your post reminded me that I don't belong to a new generation anymore. Oh well A sad realization for someone who joined PE as a teenager!

ooops, sorry about that ... But being 16 isn't all that great, though I've forgotten many bad memories and tend to keep the good ones

[Steve F.]

But I think a couple of guys from POiL were in Ukandanz, and that band turned out a real discovery for me!

The drummer for certain and possibly the bassist - not sure.

re: Art Zoyd - AH! That was you. ok.

[Levgan]

they seem to focus on something else than the music/ they're in it for the chicks!!

Not a bad motivation per se - didn't we all start our first bands with that in mind? Though my idea of drawing the chicks' attention also seems to be a bit different from theirs

[Morpheus]

i don't live in a world where Poil is the kind of band to attract a lot of "chicks", but maybe France really is very different from the US.

Perhaps the language barrier helps, but I am not bothered by their lyrics and the stuff I do understand is no worse than Zappa at his worst lyrically

[chalkpie]

POiL's first album is simply obsessed with their sexuality - and nothing but that, though their videos focus on something quite different... And they came to play some sets with only their briefs on... The reasons why I lumped them in with Pryapisme is that they seem to focus on something else than the music/ they're in it for the chicks!! Besides their names hinting at their thingie constantly hard, most of their French-spoken banter was about being young sex-addicts and almost making fun of fat (or not so-lean) older guys.... That coupled with poor songwriting, (it's not because you have four virtuosi at their respective instruments that you're making music, this is a respected musician that told me this) there isn't much I'll save from their set.

WTF are you talking about "poor songwriting"? Do you really mean that?

[NogbadTheBad]

Yeah, I love the last PoiL album.

[chalkpie]

Yeah, I love the last PoiL album.

Me 2. One can say that they don't care for their brand of writing/strangeness, but I would expect to hear that they are poor songwriters from folks like old ladies who like Glenn Miller and Better Midler, not supposedly open-minded prog fans. Boooo.

[Trane]

Not a bad motivation per se - didn't we all start our first bands with that in mind? Though my idea of drawing the chicks' attention also seems to be a bit different from theirs

Yeah, but myidea is that Pryapisme was mostly preaching to their own converted crowd, which was present in reasonable amounts (they were one of these bands, that it could be possible to buy tickets for their concert alone). I mean there were unseen-before faces that appeared for that performance and not coming back the next day. The band certainly seemed to cater more for their young crowd rather than be careful to accomodate the older crowd.

WTF are you talking about "poor songwriting"? Do you really mean that?

I was speaking of Pryapisme, not Happy Family or POiL... and songwriting includes writing good lyrics as well... and TBH, I'm not impressed by POiL's texts: in POiL's last Brossaklitt album, it's mostly dongwriting or dorkwriting

i don't live in a world where Poil is the kind of band to attract a lot of "chicks", but maybe France really is very different from the US.

Perhaps the language barrier helps, but I am not bothered by their lyrics and the stuff I do understand is no worse than Zappa at his worst lyrically

I didn't say POiL succeeded in attracting chicks (nor did I hint Pryapisme does either). Not sure women would enjoy an album called Brossaklitt (which means Brosse à Clitoris >> clitoris brush). The first track is Fionosphère, where fion is another word for anus, Goddog is a reference to gode (or godemichet >> dildo), etc...
Those two bands are at a different stage in their career: the former case, POiL, has started an international following, the latter is still a regional happening.

[NogbadTheBad]

One of the reasons I prefer lyrics I don't understand, seems an advantage with PoiL.

[Trane]

One of the reasons I prefer lyrics I don't understand, seems an advantage with PoiL.

well, they are kind of funny in BrossaKlitt's case... Not sure half the planet will feel the same if they were sung in English, though.

[beddytears]

Another great festival but...

I managed to lose a bag of CDs on Sunday, in Maison de la Musique or nearby. Precious items include Etron Fou Leloublan's "43 songs", two copies of Reve General, another couple of CDs and a few CD covers.

If anyone has happened to have found it / knows its whereabouts, please do get in touch. I cannot say how devastated I am at this loss!

[magmasystems]

Another great festival but...

I managed to lose a bag of CDs on Sunday, in Maison de la Musique or nearby. Precious items include Etron Fou Leloublan's "43 songs", two copies of Reve General, another couple of CDs and a few CD covers.

If anyone has happened to have found it / knows its whereabouts, please do get in touch. I cannot say how devastated I am at this loss!

You should try to send Michel Besset a message on Facebook. He always checks his messages. If you are not on FB, perhaps one of us could send him a message. Some kind soul may have turned your bag into the "Lost and Found" over there.

[magmasystems]

Usually Debi Byrd and Helene Burch go over. Ian (Nog) also goes over with some consistency. From the last RIO that I was at (2013), I missed seeing Moe Staino and Melanie.

The language barrier should not be a problem, but it's always helpful and polite to say "Parlez vous anglais" before launching into English immediately. I taught myself French many years ago just because I used to go over to France to see Magma and various festivals, and even though I still destroy the language, a few phrases in French will get you a long way.