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Guitares acoustiques et boîtes à rythmes se frictionnent avec bonheur chez le duo danois. Et avec elles, des mélodies pop gentiment tarabiscotées, juste ce qu’il faut pour trouver l’équilibre entre deux traditions nordiques : celle d’une certaine folk-pop pour feux de camp et celle plus aventurière, tournée vers la bidouille. De quoi affoler les compteurs de la hype. Et offrir une nouvelle preuve que rien ne vaut la pop qui vient du froid.

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Quand on tape « Alex Wilcox » dans Google, on trouve d’abord un directeur de compagnie aérienne. Puis un DJ/producteur américain basé à Berlin qui sort des morceaux glitchy sur les labels d’Ellen Allien ou Nina Kraviz (trip recordings), se produit en sous-vêtements à la manière de Marc Rebillet et se donne à fond sur scène, comme si sa techno punk était un sport de contact. Sur YouTube, on trouve également des analyses de morceaux et des blagues de scène: « Police gave me the best tips on how to make sure that my basslines are fat as fuck. » What ? Yeah. Okay !

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Brazil Disko Mineiro DJ Baile Funk au ralenti : de la musique de dancefloor qui tire des fils comme une bonne fondue. Rio–São Paolo–Guin. Un sound system de rue, celui des voitures qui passent, en guise de musique de protestation et de contre-culture. Ici on arrache le beat au funk. Il a presque disparu, pourtant il est là ! Minimalisme politique radical, désobéissance musicale. Des pas de danse synchrones, s’il vous plaît, mais seulement en dessous de la taille. Sensualité et trous béants. Presque un sevrage amoureux.

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Est-ce qu’on invoque ou exorcise des démons ici ? Où s’arrête la Corée du Sud et où commence le brouillard matinal berlinois ? bela représente un amalgame de folk coréen, de death metal et industrial. Une fouille archéologique dans la salle des machines de la perception devient une performance pour les esprits du présent. Comme si quelqu’un recueillait les larmes d’un modem brisé pour en faire une liturgie pour la modernité tardive. Dans le temple du guttural. Dans les ruines de la culture club.

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Elle s’est échappée de la campagne du Delaware grâce à Internet : quand la musique rap devient virale dans le culte absurde et le streaming slop des médias antisociaux, ce n’est pas forcément un gage de qualité. Mais Cortisa Star reste une véritable princesse du rap underground, même au-delà de Miu Miu et de la Fashion Week de Paris. Entre trap, hyperpop et drill, ses chansons ne sont pas distinguées et chics, mais plutôt explicites, moqueuses et parfois même un peu méchantes, offrant un aperçu de la vie réelle des personnes queer : une danse de diva optimiste à l’encontre du manque de rythme et de contact.

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DECIUS est le nom du projet disco gay et acid house le plus excitant depuis Hercules & Love Affair, la référence commune à la mythologie grecque dans leur nom ne peut être une coïncidence. Avec beaucoup d’hédonisme, de glamour, de camp et une bonne dose d’attitude punk, le quatuor londonien se livre à une combinaison glorieuse de beats house hypnotiques et bruts, de refrains pop accrocheurs et de chants excentriques. Musicalement, ils se situent entre Daft Punk et Suicide, mais en plus beaux.

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La Kilbi et DJ Fett, une histoire d’amour funky qui se répète chaque année. Les habitué·e·x·s connaissent déjà cette danse groovy, les nouveaux·elle·x·s peuvent s’attendre à tout. La plus si secrète tête d’affiche des Klubstage, le canon à sérotonine berlinois, l’homme aux 1001 singles, le conjurateur de pieds moites, la machine à tubes bien huilée, le dealer des dancefloors...– Que ce soit Nische ou Marvin Gaye, aucune piste de danse n’est assez grande pour accueillir les bonnes vibrations et l’amour (oui, vraiment) que DJ Fett diffuse. Dans cet esprit : Let’s Fettz !

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Sa valise à roulettes remplie de vinyles recèle bien des surprises. Celles·eux qui ont souvent fréquenté la Kilbi pourraient facilement penser qu’iels connaissent déjà le style de DJ Marcelle : les sauts endiablés, les vibrations chaleureuses, les nuits où les instants se transforment en voyages autour du monde. Mais Marcelle a toujours une longueur d’avance. Elle possède plus de 20 000 disques, beats, sons, tubes, saveurs. Dans d’anciens manuscrits, on lit parfois qu’Amsterdam est le monde entier en un seul endroit. Je ne sais pas si cela vaut encore pour la ville, mais avec DJ Marcelle, on peut encore se retrouver subitement partout.

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De bouche à oreille, cette drum & bass vintage et discrète est tout ce que vous avez envie d’entendre ! Yaelle Avtan et Jonah Pay ont entamé cette singulière aventure transatlantique après un set noise improvisé en open mic, seulement le deuxième jour où ils se connaissaient. Ils créent des passerelles entre des mélodies de synthé monotones et des textures saccadées, jouent avec les breaks, façonnent des ballades spectrales et désorientées = ça me bouleverse. « The Most Dear and The Future » oscille entre des moments d’intimité feutrée et des explosions sonores sauvages. ear ! ear !

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Si le terme « freak folk » n’avait pas déjà été dans toutes les bouches au début des années 2000, il aurait fallu l’inventer pour décrire les activités du duo Milkweed. Avec un banjo, des chants, une boîte à rythmes rudimentaire et des enregistrements bruyants sur Walkman, iels créent des chansons profondément enracinées dans le folklore britannique et américain, qui s’inscrivent davantage dans la veine outsider d’un Daniel Johnston que dans l’authenticité des bardes traditionnel·le·x·s.

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Du bruit en boucle, des synthés stridents, des beats irrésistibles, des slogans agressifs : voilà le manifeste sonore d’Erreurjean. Un cri de rage répétitif, perdu dans les feedbacks des boucles aux accents industriels froids. Les machines clignotantes scintillent, gémissent et ressemblent à une mine en pleine activité qui, à grand-peine, fait jaillir un breuvage post-punk savoureux et envoûtant. Cette musique gratte, pulse et gronde à chaque battement, et nous tapons du pied en rythme. Ici, Erreur est belle et Jean l’est de toute façon.

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Ici, quelqu un connaît son métier : sur la page Instagram d EUROPA « europa in flames », le gage de qualité est une question d’honneur. Il n’est donc pas surprenant que la musique ne soit qu’une des disciplines qu’EUROPA aime et vit – l’art vidéo et le design spatial complètent le profil de cet artiste. Entre installation et performance, entre pop, trap et ambient, entre rêve éveillé et veille nocturne, Europa crée des espaces, des interstices, des univers.

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Fluturiste ? Flutorama ! Bienvenue dans le monde des flûtes. Ici, on plie et mélange à la fois les genres et les instruments. Car les flûtes sont les véritables stars, peu importe leur taille ou le matériau dont elles sont faites : l’essentiel, c’est qu’elles fassent entendre leur souffle. Flutorama se voit comme un club d’amoureux et amoureuses de la flûte. Pour l’instant, il est composé de Fabian, Leoni, Barbara et Aloys. Quiconque connaît un tant soit peu la scène indie suisse a certainement déjà croisé ces musicien·ne·x·s, car toustes enrichissent depuis des années le paysage musical local, ou plutôt le « pan », ou même le « flutorama », d’ici.

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J’ai écouté cet album en boucle pendant des mois. Produit par Cate Le Bon (ce qui est toujours bon signe), Phonetics On and On est un véritable cadeau tombé du ciel, fruit de la collaboration entre trois meilleures amies. « Phonetics On and On » Conçu entre Chicago et New York, le trio a d’abord exploré un indie/rock noise avant de prendre son envol et de trouver sa propre voie. Les voix sont limpides, les mélodies envoûtantes, et le résultat est une pop minimaliste à la fois joyeuse et ludique. Que dire de plus ? Je les adore et j’espère que vous aussi !

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C’est quand la dernière fois que vous avez écouté de la cornemuse ? Sans kilt, mais avec un kit DIY plein de malice, Julien Cassignol alias Jazz Lambaux slalome entre les genres, entre folk lo-fi et pop bricolée. Et si la voix est gentiment triturée, c’est la cornemuse qui mue vraiment d’une chanson à l’autre, parfois saturée, parfois sautillante, fleurant bon le grand large comme le club miteux ou le dancefloor hypster. Vous verrez, c’est comme écouter de la cornemuse pour la première fois.

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À l’âge de 13 ans, son frère lui a inculqué le métier de DJ. Aujourd’hui, elle fait partie des DJ les plus renommé·e·x·s de sa ville natale, Londres, mais aussi au-delà des frontières nationales. En 2019, son Essential Mix pour BBC Radio 1 a été élu Essential Mix de l’année. Dans ses sets, elle explore différents genres de dance music. Son répertoire va de la techno hardcore à des formes plus douces de bass music. Quoi qu’il en soit, il sera difficile de rester immobile.

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Le bernois Julian Sartorius est un artiste déambulant. Il n’épargne aucune pierre, aucun tronc, aucune snare, aucun son. Que ça soit dans un garage automobile, dans la vallée de la Brecca, ou sur scène avec une batterie parfaitement mixée. Des sons, que des sons. Sa curiosité, son talent et sa sensibilité acoustique font de Sartorius un des percussionnistes les plus polyvalents et captivants de notre époque. Ses shows solo mythiques offrent un terrain de jeu idéal pour son talent d’improvisation.

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A quoi ressemble le bruit du lac Schiffenen ? Sous le nom de Duo Julius Amber, le batteur et alchimiste sonore bernois Julian Sartorius et le saxophoniste lucernois Elio Amberg s’enfoncent jusqu’à la taille dans les eaux troubles du lac artificiel. À l’aide de microphones sous-marins, ils capturent les sons que leurs instruments produisent sous la surface. Il en résulte des nappes sonores fantomatiques, des chants de baleines créés par l’homme, bouillonnants, clapotants, semblables à des sirènes.

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Les fréquences se faufilent, elles tâtonnent, elles cherchent, s’étirent et se plissent telles de fines failles dans l’espace, révélant des mondes qui cherchent à émerger et se dissolvent aussitôt pour céder la place au nouveau. Pas de point de culmination, tout est en suspension. KMRU et Aho Ssan allient textures aériennes et énergies denses en un son aux dimensions émotionnelles singulières. Un entrelacement de sensibilités, comme un soudain souvenir dénué d’origine, une intensité qui imprègne et qui s’ancre en profondeur.

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Certaines musiques accompagnent à merveille le brouillard mental qui suit plusieurs jours d’excès. C’est le cas de celle de mark william lewis. Émoussée, embrumée, enveloppée d’un écho feutré, le terme « lo-fi » ne lui rend pas pleinement justice, mais l’esprit y est. Lewis embrasse avec tendresse les âmes cabossées, languissantes, celles qui ont trop vécu, trop fêté. Il nous berce avec sa guitare, nous maintient dans cette fragile torpeur et nous invite à plonger avec lui dans la profondeur de ses morceaux.

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Julian Sartorius conçoit le rythme comme un cycle. Quatre batteries battent au rythme de 23 battements cardiaques, toujours pareils et jamais identiques. Mouvement sans but, précision sans immobilité. Les percussions deviennent son, sont déplacées, condensées, relâchées. Le temps perd son sens, l’intensité perd son corps. Il ne reste qu’un tourbillon de répétitions et de changements, une pulsation sans début ni fin.

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Samba sur la véranda à la tombée de la nuit. Le hamac grince, le plancher aussi. Les oiseaux chantent une sérénade crépusculaire et avec eux, mais pas beaucoup plus fort qu’eux, le brésilien Nyron Higor. Son jazz nature pétille d’accents parfaitement placés évoquant l’easy listening. De la musique comme dans un dessin animé italien des années soixante : Signor Rossi trouve pour une fois le vrai bonheur, en trio à la Kilbi.

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Avec One Leg One Eye, Ian Lynch, leader du groupe Lankum, poursuit la réinvention du folk irlandais. Les cornemuses deviennent des drones, des boucles magnétiques et des enregistrements sur le terrain créent des paysages sonores qui ne sont pas d’un vert intense, mais rappellent plutôt le noir profond de l’Atlantique Nord. Le premier album a été enregistré dans l’usine abandonnée de Dublin où travaillait autrefois le père de Lynch. Là où les vieux mythes hantent la dépression postindustrielle et où les banshees dansent au rythme des machines.

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Ballades confuses et chancelantes au coeur pur : les morceaux de Remo Helfenstein luisent comme des feux follets dans la brume. Des mélodies vives émergent de la pénombre, fraiches, presque kitsch dans leur langueur, tandis que des rythmes patauds trébuchent sur les lignes vocales réverbérées. Les synthés tracent de larges boucles et les guitares scintillent comme des néons sous la pluie. L’intimité vire à l’extase, la fragilité au dépit. Un son à la fois poreux et grandiose, qui cherche, qui brille, inébranlable, comme si l’émotion était éternelle.

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Comme souvent dans la région rurale de Fribourg, il a commencé sa carrière musicale dans une société musicale. Aujourd’hui, ronr (prononcé rOH-ner/Rohner) produit un son influencé par la melodic- et UK-house, mais aussi par l’electronica et l’ambient. Une musique idéale pour rêvasser, de préférence lors d’un voyage en train avec vue sur le paysage qui défile. Une musique qui incite à découvrir la beauté dans les petites choses et les détails insignifiants. Exactement ce dont on a besoin dans l’époque actuelle, bruyante et criarde.

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Oyé oyé festivalier·ère·x·s ! Munissez vous de votre maillot de bain avant de descendre à la plage de la Kilbi ! Les capitaines Thomas Stüssi et Benjamin Fritz vous embarquent à bord de leur orgue flottant pirate, où le drone expérimental arrose de vagues la rive. Pas le temps de voguer, vous allez jouer du Seeorgel. Pas besoin de connaissances particulières, vous allez adorer ! Pas d’obligation de plonger, vous pouvez aussi juste écouter le chant de Schiffenen.

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303 × 808 × 909 = Drum&Bass Hardcore Jungle. Le projet DJ et électro londonien SHERELLE fournit les beats pour des mouvements de pieds rapides et chaotiques : du footwork intense pour des rythmes rapides sur des syncopes complexes sous stér(e)oïdes. La mélodie, subordonnée au rythme, n’est parfois encore audible que dans les samples et demande doucement : qui peut aller jusqu’à 160 battements par minute ? Sans parler des décibels. De l’acid rave électronique, mais à la manière britannique effrénée.

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Le son des producteurs et DJ tanzaniens Sisso & Maiko est influencé par différents styles de musique africaine, de la musique taarab de Zanzibar à l’afro house d’Afrique du Sud. Le duo capture parfaitement l’atmosphère vibrante, palpitante et exubérante des grandes villes africaines. De la musique effrénée, infatigable, constamment en mouvement, remplie de chaleur et haute en couleur. Les beats de Sisso & Maiko ne nous invitent pas à danser, ils nous y poussent littéralement.

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Le label avec garantie qualité a à nouveau frappé. Partisan Records a un flair infaillible quand il s’agit de dénicher des succès mondiaux dans la scène indie rock. Après Geese, Idles, Fontaines D.C. et bien d’autres, voici le trio Sword II, d’Atlanta. Accessible et tout de même résolument expérimental, d’incroyable à incroyablement familier, d’inattendu à « attendez-vous a entendre ce passage encore mille fois », leur son est hanté par l’écho de Fleetwood Mac. Avec son nouvel album, Swords II atteint enfin la percée tant attendue.

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La haine est parfois le moteur le plus puissant de la musique. C’est à partir de la colère et de la frustration face aux injustices sociales que le groupe queer The Menstrual Cramps s’est formé à Bristol en 2017. Avec un punk rock merveilleusement rebelle, le groupe revendique depuis lors le droit à l’autodétermination physique et à une véritable liberté des genres. Les accords puissants fusent, la batterie rugit : un remède contre les crampes utérines, ovariennes et autres organes épuisés par le système.

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« Una mujer trans sin país » – lorsque l’exil, au sens propre comme au sens figuré, est oppressant, le punk peut séduire en tant que refuge idéologique. Et pour Eva Leblanc, « femme transgenre issue de l’immigration, née au Venezuela, vivant au Royaume-Uni », le déracinement est sans doute particulièrement perceptible. Que reste-t-il d’autre à faire que de hurler contre les injustices ? Un mélange sonore crasseux de hardcore incrusté avec une touche de grind, crache en espagnol à la face des bienveillants et des envieux : « Je suis ici, je suis comme je suis » – et c'est très bien ainsi !

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C’est l’histoire des voix qui ont trouvé leur harmonie pendant le confinement. C’est une question de temps, celui que les six musiciennes de Cambridge se sont donné et qu’iels ont pris, elleux qui, jusque-là, se présentaient au monde comme un groupe post-punk. Tout est affaire de rythme : iels ont fait demi-tour, explorées une pop spirituelle et de chambre, le folk traditionnel et bien d’autres territoires, ce qui les a menées à donner naissance à « Twice Around the Sun » après près d’une décennie passée sur les routes. Que nous réserveront-iels ensuite ? Comme iels le disent : quoi qu’il arrive, arrive.

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Chut, ne le répétez pas, mais... il se pourrait que ce ne soit pas si mignon que ça... Chez Ultra Cute, la dé(con)struction est en effet une priorité : les corps comme les sons sont des matières qui peuvent être modelées, déformées, combinées, détournées et recomposées à volonté. Il ne reste alors que d’un agrégat dans lequel on peut reconnaître les traces d’un monde possible. Le Dottore prescrit ici Harsh Noise Wall pour dépoussiérer les oreilles bouchées et Ultra Cute pour épousseter les pensées dépassées.

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Dearborn, Michigan : la ville qui compte la plus grande communauté musulmane des États-Unis. C'est là qu’a été fondé le groupe Prostitute, influencé par le noise rock, le punk et la musique arabe. Dans ses chansons, le chanteur Moe traite de la haine post-11 septembre envers les Américains d'origine arabe, comme on peut l'entendre de manière impressionnante dans « Attempted Martyr » : un album qui n'analyse pas la xénophobie, mais la propulse dans les amplis. Mute Records l’a également remarqué et a signé le groupe. En 2026, il partira pour une tournée dans l’UE. Bam !

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Les quatre morceaux du dernier EP de la zurichoise Héloïse n’ont a priori rien en commun, si c’est n’est la voix maitriséede l’artiste; l’interdépendance et le jeu entre peaux de tambour, cordes vocales et bouts de tôle; leur durée (aucun son en dessous de 6 min 30); ainsi qu’une véritable richesse compositionnelle qui atteint son pic avec « Rubbish, Rubbish », mini-épopée Casio-pop de sept minutes. Sabina Leone, de son vrai nom, est active dès 1993, alors batteuse pour Wemean, et aujourd’hui en tant que professeure de chant et percussionniste.

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Kavari sert du gâteau. Et tu en veux un morceau. Comme tu ne peux pas te retenir, tu trempes ton doigt dans le glaçage brillant. Il a le goût du bruit, de la sous-culture, de la distorsion, du Drum’n’Bass le plus trépident : celui qui te pousse en avant sans scrupule. Qui te berce et te laisse tremblant·e·x. C’est le son de la fin. Et elle arrive pour tout le monde, toujours.

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Tempo, tempo, tempo ! Le son club de Makossiri est rapide, aux multiples facettes et incroyablement entraînant. La productrice et DJ kenyane enrichit sa techno hardcore et industrielle de polyrythmes africains, ce qui lui a valu d’être saluée comme « l’avenir du clubbing » par le magazine musical Pan African Music (PAM). Mais ce n’est pas tout : Makossiri a fondé « Ginene Records » dans sa ville d’adoption, Berlin, un label indépendant qui promeut les sons électroniques expérimentaux du monde entier.

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Avec leur chanson « Pissing Outside the Bandroom », les Manic Pixxies ont remporté le prix « Demo of the Year » au festival M4Music en 2024. Depuis lors, le groupe zurichois tourne activement à travers la Suisse et a son premier album, « I know my headphones really well » dans son carquois. Les chansons sont tantôt douces comme une étreinte délicate, tantôt sauvages et impétueuses, inspirées par l’indie rock et le punk riot grrrl* des années 90. Du « dream punk » justement, comme l’a si bien décrit un bon ami du groupe.

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Tell dem it’s sunny. Avec le titre de son dernier album, la musicienne et chanteuse Greentea Peng annonce la couleur. Malgré l’atmosphère enfumée qui imprègne son sound, ses morceaux ont toujours quelque chose de lumineux. Aria Wells, de son vrai nom, décrit sa musique comme du R&B psychédélique. Hip-hop, jazz, neo soul, dub, voici les éléments qui, de pair avec sa voix chaleureuse et sans artifices, forment le son unique de Greentea Peng.

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Renée van Trier ouvre la Kilbi 26 sur la B-Stage avec une performance DJ façonnée par sa pratique interdisciplinaire. Travaillant à la croisée de la performance, du son et des arts visuels, Van Trier aborde la musique comme une extension de son langage artistique. Ses sets traversent des territoires éclectiques mêlant house, techno et sons expérimentaux, construisant une atmosphère où présence, rythme et persona se rencontrent. Le travail de Van Trier explore la culture pop, l’identité et le spectacle, brouillant souvent les frontières entre fiction et authenticité.
Photos Credits : Beau Swierstra

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Lors de la première édition du festival phare parisien « La Villette Sonique » en 2006, son fondateur avait proposé Matmos, Andrew Bird et Faust sur la même scène. A l’époque déjà, la programmation comprenait plusieurs artistes qui avaient joué au Kilbi quelques semaines auparavant. Cette analogie, ce Who Is Who et ces retrouvailles ont été entretenus pendant des années, grâce à Etienne Blanchot, un visionnaire à l’esprit similaire, fondateur du festival Closer Music qui mixe désormais quelques morceaux ce choix sur les rives du lac de Schiffenen. Un lac qu’il connaît d’ailleurs de l’intérieur.

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Comme un ciel doré empli de rêves bruyants, doux et sauvages, Microplastics trace un arc allant de la techno rapide comme un flipper à des matières subtiles aux accents ambiants. Joyeux, durs, vigoureux et lumineux, ces beats noueux mais linéaires résonnent comme un effort collectif : le groupe est composé de Jennifer Walton, aya et 96 Back. Une folie dansante parfaitement euphorique, nerveuse, élégante. Un son qui déchire la nuit, minimaliste et incandescent, dense et martelant sans hésitation.

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Une rave isolée dans une chambre à coucher obscure. De la techno introvertie pour des voyages nocturnes dans les années 90, telles qu’elles n’ont jamais vraiment eu lieu. La DJ danoise Najaaraq Vestbirk fait de toute nostalgie une fontaine de jouvence. Pour son nouvel album « Intimate Yell », des paroles poétiques ont été écrites en coopération avec les créatrices Lucia Odoom et Klō, qui font lentement flotter les nuages roses d’une deep house déconstruite vers la haute culture. Toute interprétation est interdite. L’ironie aussi. Et à un moment donné, le soleil se lèvera.

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Boum, boum, boum, puis il pose son marteau et son tournevis. Avant, il a soudé, brasé et câblé. Une fois son travail terminé, Vinnieragua présente sa dernière machine à musique spatiale, équipée d’une batterie semi-automatique, d’une Gameboy pour les sons acid et d’un support pour canettes de bière. La machine prend désormais le relais, du moins à temps partiel : le musicien et ingénieur néerlandais transforme de vieux circuits et appareils en instruments multifonctionnels à l’aide d'objets trouvés, le résultat est impressionnant et riche en impressions.

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Des mélodies riches et pop. Une extravagance folk artistique à deux voix, dramatique et magnifique, des impertinences intelligentes et sarcastiques. Chaque plaisanterie du cœur est une douleur sérieuse, chaque larme est une pointe, chaque refrain compact est un final théâtral, chaque punk fastueux est un pop pompeux, chaque chanson est une exécution complète, mes pleurs sont un effet spécial: deux voix touchées, enchantées, occupées, une multitude, une multitude. Paillettes rock, scintillement, mouvement, apparence, élan – ici, tout est toujours un peu plus grand que sur la photo.

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Boum boum boum au rythme du stepper, le vélo elliptique repensé par le bidouilleur néerlandais. Une expérience sportive, la sueur coule, encore plus chez lui. Tout comme One Man Acid Band samedi à la Kilbi, les machines et les artistes ne font qu’un sur scène. Les poignées donnent le tempo chez le Tinguely de la techno hardcore. Vinnieragua décrit sa philosophie de travail comme « Innovation through limitation » (l'innovation par la limitation) – « Innovation through irritation » (l'innovation par l'irritation) serait encore plus proche de cette performance absurde.

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Son premier EP « Nocturnal fear », sorti en 2019, a déjà fortement titillé les synapses et inévitablement fait bouger les corps. Aujourd’hui, Roniere Santos de Oliveira, alias RHR, est devenu incontournable sur la scène électronique de São Paulo, capitale brésilienne de la musique électronique. Que ce soit en tant que musicien ou DJ. Ses influences musicales vont du baile funk à la techno en passant par l’électro percussive. RHR crée ainsi un son qui lui est propre : de la musique dance avec une touche expérimentale et toujours un soupçon de noirceur.

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Los Thuthanaka, alias les frères et sœurs Chuquimamani-Condori et Joshua Chuquimia Crampton, offrent non seulement à mes oreilles eurocentriques de mangeur de pain blanc, un peu engourdies, une nouvelle expérience d’écoute psychédélique. Les moyens ? Des figures et riffs concrets et puissants de guitare électrique signés Joshua Chuquimia Crampton. À côté, au-dessus et en dessous se déplacent et se superposent des beats andins ainsi que toutes sortes de bruits drone, doom, party et glitch. Los Thuthanaka ? Avec cette musique, que l’on pouvait entendre en 2025 sur l’album de l’année de Pitchfork, ils envoient dans le néant toutes nos conceptions locales de l’espace-temps et même du progrès. Quelle délivrance.

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