COURCHEVAL

SOCIAL MEDIAS

Genre

INDIE POP / ROCK

BiographY

Deliberately outside the box, Courcheval has been since 2017 the project of Guillaume Cantillon who, while he likes to play solo and freely, is driven by a burning desire to build a musical field of his own, and also has the gift of surrounding himself well.

In this sense, the aptly named Gymkhana , in April 2022, immediately lays solid foundations and yet, initially, the result frustrated Guillaume. Too "normal", a bit too predictable, it is with the help of Benjamin Sportes (Futurologies Pelo, ex Sporto Kantes) that the EP finds its definitive contours, the Courcheval touch that Guillaume called for without having completely finalized it.

At the same time, the image, along with the audio and verbal content, falls to talented women. French-Moroccan graphic artist Mariyem Moutaouakkil is in charge of the visuals. As for the music videos, applied to "Labeur," "Danse Courcheval Danse," and "Eoliennes," director Pauline Bricout takes charge.

The adventure is underway, the personality of the project encourages the renowned Upton Park, where Hyenas and Stuck in the Sound, among others, reside, to express its willingness to release the album, scheduled for October 2022.

This one, where we think scatteredly of Beck or De La Soul for the audacity and the stylistic alloy, even Gainsbourg for the free phrasing, declines over eleven addictive tracks the Courcheval approach, now validated.

On this patchwork with its loose but insistent groove, we find a coolness that we immediately fall in love with (dear Man FooTits, if you're reading this...), immediately emitted by Danse Courcheval Danse!, which provokes the first lascivious and decisive hip swaying. Inspired samples, a funkyness boosted with class without filth ( Da Courcheval ), which is relayed by J'avoue which puts Beck in the water. Textual excellence, with a trowel. Les Éoliennes, sung with brilliance and populism knowing that the opposite is just as true. Courcheval, it's a thoroughbred.

Zuma , borrowed from Neil Young (I'm joking, Loner, you'll have understood! Courcheval doesn't steal; it creates), winds its way to our senses, which it flatters in a friendly way but also by endowing itself with delectable sexual excesses. If you follow me, I'll continue; Coca-Cola Corfou , with its delicate poem, makes you float, Dylanizes you, soothes you and makes its words shine.

Labor , effortlessly, envelops you with delightful sounds. From the opus emerges, intoxicating, a relaxation of inspiration that refuses to dry up. Oh my bastard! Without further haste, marry the voices and snatch ours.

I want you Courcheval and then nothing more – he's the one who says it, not me, but still, I love him – does the same, a touch of reggae. I lay down my arms, conquered; Courcheval sings of love and gives it beautiful tunes, with that know-how that we can only recognize in him. He rages, and not only, on Courcheval! You don't love me anymore! He talks nonsense, to tell the truth, we adore him. So, in extra time, he plays. For us. Golden goal . Trézéguet, Euro 2000. The Italian on his knees, the listener too. The term is tangy, distinguished, elegant but sulphurous. Courcheval, at the final whistle, wraps up and reveals itself, along a series of choices that compels us, seduced, to give it four stars.

★ Press kit

Booking / Prod Live, Mat :
+33 6 43 26 00 87
musicmylordprod@gmail.com