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Luke the group, with a second album (her head back, 2004) in France sold 200 000 copies, registers, amplifiers fully deployed and gorges in this lineage. Tour with a friendly group, Deportivo, whose first album was also a great success, both teams have shown in 2006, the possible existence of a French rock visceral, stripped of post-teen rebellion, and whose unvarnished truth is on stage.

The boards on which they bounce like an army of crazy spring is also the privileged by Dionysos – French group has no equivalent on stage – to highlight the already turbulent songs of their albums, this folk-rock-inspired American, but fed by the root a certain madness to the French poetic Raymond Queneau.

More realistic and utopian at the time, Mickey 3D texts enjoy a dynamic musical cleverly combines enough nervousness and light pop rock with the rigor of traditional French song.

As for girls, while Rita Mitsouko, a leading group of the 80s led by Catherine Ringer, back to business, empowerment rock is definitely there, with the radiant Hoku (And if it were me, 2004) or upset Miss K (It annoys me, 2006). Two cleared more readily than ringleaders followers, whose attitude inspired respectively by Chrissie Hynde (The Pretenders) and PJ Harvey.

The radius of solitary, Benjamin Biolay, hastily attached to the new French song (for his inspired collaborations with Keren Ann, Henri Salvador and Françoise Hardy), imposes on him a form of sophisticated rock that draws as much inspiration from Gainsbourg in synthetic new wave pioneers of the genre in France, Taxi Girl. On his last two albums (The original 2005 and the next Trash Yeye, forthcoming September 2007) are some hip-hop inflections perfectly integrated into its writing. By itself, it might now give the lie to John Lennon.

Ditto for the duo Air, which belongs to the same sphere, and whose albums and various side projects (film scores and ballets) access to a form of universalism that is at once the heirs of Serge Gainsbourg – of especially since they composed and produced the album of her daughter Charlotte in 2006 ( see Label France No. 65 ) – and Pink Floyd.

To a lesser extent, another duo named Aaron, who has sold over 100,000 copies its first game in the wake of an unexpected success, that of single U-Turn (Lili), carries the same scrambling identity by flirting with trip-hop.

Last duet, mixed this time, Cocoon offers, meanwhile, a stripped down folk-pop, also in English, which enabled him to win the coveted prize of the contest “People need to discover” (QED) held annually by the magazine Les Inrockuptibles.

Long ago, John Lennon settled the murders in a formula: “The French rock is like English wine.” In 2007, forty years after the release of Sgt Pepper’s Beatles, France may seem to be even the infancy of rock, including the emergence of a suburban rock chic embodied by groups such as adolescents Naast, Second Sex, The Plasmatics, seeking to combine the spirit of the haughty young Parisian snobs 60s and the electrical force Anglo-American rock of the same period.

The most critical observers even believe that after winning an impressive territorial gains through electronic music and the famous “French Touch” [see article on electronic music], France is back to his eternal complex vis- à-vis the rock instead of continuing to cultivate their difference.

The who? The Who ! Fort fortunately the group Pete Townshend has brought much more to the history of rock a blowing pun and heard a thousand times. Musically, he anticipated, from the mid 60′s and the beginning of the decade following the passage of a rock music simple and nervous modeled on the anthem ‘ My Generation ‘of 1965 to the more sophisticated the album ‘Who’s Next’ (1971), near the hard rock of Led Zeppelin , electronic sounds and more. With ‘ Tommy ‘in 1969 and’ Quadrophenia ‘four years later, Townshend has even invented the concept album whose principle often declined in the 70′s, give the rock some of its greatest horrors, for a few chefs-d ‘oeuvre . But the artistic quality of a group does not make an institution, it needs a message . The Who that boils down to one sentence: ‘I Hope I Die Before I get old’. From ‘My Generation’, it remains the ultimate rock slogan, a replica that James Dean might have found. Finally, to leave a trace in memory, it takes a strong image. That of Townshend’s guitar explodes on stage belongs to the popular mythology . The behavior of drummer Keith Moon , authentic daredevil, died of an overdose in 1978, has also helped create an ‘ attitude ‘rock. So beautiful is largely forgotten the pathetic survival of Townshend and singer Roger Daltrey who, despite the death of bassist John Entwistle in 2002, still come under the name Who drives.

The Doors result of the encounter between Morrison and Manzarek were joined by drummer John Densmore and guitarist Robby Krieger . Having canvassed a wide range of home record, the group finally manages to sign a contract with Elektra in June 1966. The Doors recorded their first album , simply titled ‘The Doors’: a unique sound, resulting from the skilful combination of styles made by the musicians. If the critics are initially reluctant, the group finally acclaimed both by the press as a teenager but press more ‘ serious ‘, seduced by the quality of the lyrical words of Morrison. It had previously seldom heard a rock singer cite Blake , Brecht and Freud . The complex identity of the Doors seduces young Americans who identify with this revolt. Morrison appears as a sex symbol and his bad reputation of Dionysian junkie, an alcoholic and notorious poet cursed major contribution. But above his stage performances that lead the group to an incredible reputation. However, the success of the Doors singer profoundly destabilizing. He frequently engages in binge drinking and pulled away slowly from rock to his new world , that of poetry . In 1966 he moved to Paris and died there on the night of 2 to 3 July 1971, marking the end of the adventure, despite the efforts of other members to extend it.
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Joined by saxophonist Steve Mackalay and 30 years after their separation, Iggy Pop & the Stooges are back together and embark on a world tour in 2007. American singer Iggy Pop, considered one of the artists rock’s most influential and known for his showmanship as impressive qu’excessif, is back for more pleasure for fans of punk rock.
Criticism [event]

by Rémy Pellissier

Iggy Pop and the Stooges are rock legends. Inspiring a whole generation of bands, scenic icons, old backpacker’s music circuit. Their aura, charisma and prestige is undisputed. The question is how they evolved, how the legendary sixties grandpa turned short, if “Iguana” is still king of the reptiles, the “rock attitude” exacerbated. At the sight of one of their concerts can be largely answered in the affirmative. The music is still as effective, powerful and sleek, and the show always so freaking awesome. Iggy runs, jumps, fills the stage with his presence elastic. Not without malice, it titillates and provokes audiences inevitably shocked. It bends, gets undressed, harangued the crowd below shows neat so-called modern rock groups (Placebo, Franz Ferdinand, the Strokes et al, not to mention them …). Vocally, the singer is still on top. Not that he vocalizes such fire Luciano Pavarotti, but his belching, grunts, cries sweat the sincerity of a man of integrity, living for the show and the show. Its musicians are to match, although slightly erased after the beast on stage, the rock’n'roll circus animal intact. Perfect in their role as backing band for luxury. The set is dynamic, rhythmic, and so in spirit, in the right spirit. Young shoots of rock in search of inspiration, take a leaf out of …

‘Why is it that you and I are somewhat addicted to the words of a group childish, basic rhythms and harmonies and the sweetness of the singer’s voice often leads the uninitiated listener means to make the easy irony? ! (…) The Wampas are one of the only punk / alternative rock … French romantic ( well yes , listen to the lyrics and melodies anyway)! In addition, without commercial intent. So we love: the romantic free , without ulterior thoughts! (…) that retain the group? The romance of Wampas (lyrics, melodies …), the festive side, mind alternating (each can be expressed in Independence), a music rhythms punk / rock side deliberately assumed childish words, the spirit Sixties rock and roll of the approach, an ignorance of the star system, not using the rock Elito depressive French intellectual. In parallel, a group happy and healthy. ” Christophe Lepagnol
Criticism [event]

by Michael Demets

A cowboy hat turquoise, fuchsia boa, a white suit. Didier Wampas climbs on and starts an amps “Tonight is Christmas!” And even in this warm May evening, it is believed. The singer already hysterical part in one of those choruses that will stay in my head all night. The poor sound of this great Parisian night room to the understanding of words, but the baby voice braillers and braille leader, she is there. Zenith, completely to his cause, play the game, chanting the name of his idol, yields to his every whim. And for two hours, Didier Wampas with lots of humor and a touch of megalomania, is not going to deny it. He jumps, runs, undresses, breaks a guitar, fall, picked up a hundred girls on stage, throws himself into the crowd, is carried by thousands of arms. Incidentally, pay tribute to him dressed roadie runs behind for two hours, picking up a microphone thrown anywhere or unraveling a cable wound around 15 people. But beware, if Didier Wampas spend as much time in room or on stage, the show does not become hesitant provided: even disappeared in the crowd, he continues to sing, do not miss a chorus. And we are witnessing surreal scenes, like when it sit for Zenith to sing in the heart of the crowd, a stupid song about a butterfly that dies, or when it takes ten minutes to end of the show to go down … to kiss everyone! But do not make the mistake of limiting the 5 musicians playing breathtaking scene of their leader. The Wampas is above all a host of great songs, catchy melodies and riffs that force you to shake your head. And the superb recent ‘Rimini’ to classic ‘Manu Chao’, several generations have danced or smiled that evening. “Didier Wampas is the king!” Scream the fans at the end of the evening. It was even a happiness to be one of his subjects.

The exhibition ” Travelling Guitars “shows the evolution of this instrument through the centuries. Many guitars are exposed, the history is traced, video clips give to see famous guitarists . The exhibition is interactive, visitors can test this mythical instrument.
Alongside this exhibition, the artist Afif this ‘Power Chords’, a sound installation for eleven electric guitars controlled by a computer system .
Criticism [event]

by Rémy Pellissier

An exhibition on the guitar can only dream of diehard music lovers. What musician, how simple music lover never wanted to be on a stage, a six string in hand, to distil a solo fall within the annals of rock? In “Travelling Guitars”, the fascinating side of the instrument is present, with screenings of excerpts from concerts mythical, the exhibition of guitars that belonged to many guitar heroes, Clapton to Hendrix … ‘Travelling Guitars’ also has a playful quality and interactive undeniable: you can test instruments, playing a video game … Although these facilities are modest, they have the merit to exist. This exhibition is also educational. We see a plethora of models, from the oldest to youngest. The explanations accompanying the presentation are quite rich. But the whole remains relatively poor. Something is missing. We could learn more about the making of guitars, the wood, see a guitarist at work live, hear funny stories … “Travelling Guitars” is interesting but does not come from broken agreements. Not very rock’n'roll, after all …