1. Lyric book - first draft for the song ‘Fuckers’

  3. HAPPY BIRTHDAY to Gemma Thompson. Guitar queen and dear friend <3


    Let’s go straight to the point : the song ‘Jehnny (show me the moon)’ written by JOHNNY HOSTILE is an ode to my beautiful bottom! It was written by Johnny whilst I was on tour with Savages for the first time in America. He was in France working on new material and he called me to say he had written a song about my callipygian backside - what an honour! Few months later Johnny embarked on a six weeks American tour as main support for Savages and we released the song on Pop Noire records with an instrumental track on the b-side called ‘Del Rio’, in homage to the 70’s porn star Vanessa Del Rio. This record is a good example of Johnny’s fascination for women, his love for them in a sentimental and creative way. I think I will never stop being amazed by the amount of resources he’s got to make this relationship complete. Whoever gets a chance to reach his heart is truly lucky. Meeting him 10 years ago changed my life radically. He offered me to share everything with him - I mean : he REALLY offered me to share everything with him. He was intelligent, talented, erotic - engaging in life with a force and generosity I had never (and still haven’t) witnessed in anybody else before. As Pop Noire’s music main producer (Savages, Lescop, HTB, John & Jehn) and co-founder of the label, these songs are a great introduction to his musical touch, and private fantasy world!

    You can listen to the songs here : http://open.spotify.com/album/023UggmWWbA9uOq5Awi1ZL/1XcxjpWQgNMctjoXgCSTdg

    This picture of me and him working in the studio together was taken last August by our friend Tristane Mesquita who lives and works in Paris.

  5. On the wall at Hedi Slimane’s photo exhibition in Paris - Fondation Pierre Bergé

  6. The ladies and the whip!

  7. Artwork for ‘Words to the Blind’ blows my mind each time I look at it - by Antoine Carlier @popnoirerecords

  8. deathnskulls:

    Jean Loup Sieff :: Paris :: 1985


  9. A system of class applied to a rock festival

    It’s been 20 years since the release of Soundgarden’s best album ‘Superunknown’, and I only discovered it this year! I recently revisited all the big ’90s records after I realised I sadly missed that step in my teenage years. Soundgarden, Pearl Jam, Alice in Chains, Mad Seasons, Faith no More… I love it all. So in the course of a few months I went through the process of becoming a fan of Soundgarden and seeing them live in Hyde Park. Despite the amazing good-looking-health of Chris Cornell and the quality of the show (as well as my teenage excitement), something else caught my attention. As I ran through the park to get to the front as soon as I heard ‘Mailman’, I suddenly got stopped by a huge barrier and a line of security. The stage was still miles away and there was a big gap in front of us. What are these people doing here? I asked. “You need a VIP pass to be able to access the next area”. I had a VIP pass so I went through, but soon I got stopped by another barrier: “You need a press badge to access the front of the stage”. I was still rather close but as I looked behind me, the absurdity of the situation was suddenly clear to me: a system of class applied to a rock festival, a capitalist attitude when music should be for everyone. What a sick idea. Later I was told the people standing at the very back paid around £90 for their tickets and all they were able to see was Ozzy on a big screen. As I walk my way back later on, I see a few young men breaking through the first barrier, running towards the stage, while a man in his ’40s is neutralised on the floor by five security men. The crowd claps and cheers, the young men escaping. I start shouting encouragingly at people that they should do the same but they seem to prefer sticking to the rules.

    Last week we played a show in Istanbul with Portishead for a festival called ‘Midtown’. As soon as we set up for soundcheck I realise we have to deal with the same problem. They segmented the crowd in 3 categories with metal barriers to sell more expensive premium tickets to the front rows. This policy resulted in all the Turkish support bands having no one to play to, because the cool kids who arrived early, with less money but lots of love for music, had to stand at the back. Later Geoff Barrow tells me he was very disappointed by this attitude. Him and his team tried all afternoon to have the barriers removed, with no success. The promoter, Live Nation, didn’t see fit to do anything about it. Of course, why would they…

    I am deeply saddened and angry that we let these kind of things happen. Rock music is here to bring people together, rich and poor, young and old. Don’t let the fuckers make you pay more for a decent spot in the field.


  10. A DEAD FOREST INDEX are Adam Sherry (voice, guitar) and Sam Sherry (drums, voice) from Auckland, New Zealand, currently living in London.

    Early on, brothers Adam and Sam Sherry developed a passion for Romanian band Taraf De Haidouks. After the death of violinist and leader Nicolai Nescu, Adam traveled across Europe to follow the band. Inspired by their emotional and esoteric music, he and Sam formed minimalist duo A Dead Forest Index during a period of living in Melbourne.

    Citing travel as a unique influence on their work, the music of A Dead Forest Index is centered around the voice : androgynous, lyrical, with a singularity between Scott Walker and Nico. Always leaving room for silence, they write possessing songs with a percussive deliberation and depth, reminiscent of Michael Gira from Swans, looking back towards a past, beautiful and lost, like the imagery of distant shores of New Zealand they left behind.

    After a series of shows supporting Savages in the UK, Europe and Australia, Pop Noire couple Jehnny Beth (lead singer of Savages) and producer Johnny Hostile fell in love with their music and decided to make ‘Cast Of Lines’ the third official release on their independent label Pop Noire records.

    Their new EP ‘Cast Of Lines’ is out June 2nd.

    “Listening to A Dead Forest Index is to hear words traversing a landscape, built on repetition and description, which is at once elusive but also so certain. The sound is beautiful and captivating, with a very human heaviness and escaping any particular genre. These are songs that are to be listened to over and over, building on themselves each time.” Gemma Thompson (Savages)