8 Highlights from Pitchfork Tunes Pageant Paris 2021

Damp Leg – Supersonic, Friday, November 19

Moist Leg’s discography is still just two songs deep, but that didn’t appear to faze any of the throngs of folks who arrived out Friday evening to see them at Supersonic, a tiny, brick-walled club with ground-to-ceiling home windows onto the road. The line outside the house the location stretched down the block, and on the flooring in front of the very low phase, there was barely adequate elbow place to hoist a beer to your lips upstairs in the balcony, the circumstance wasn’t much much more navigable. Hailing from the Isle of Wight, the group—fronted by the duo of Hester Chambers and Rhian Teasdale, each on guitar, supported tonight by Ellis Durand, Henry Holmes, and Joshua Mobaraki—traffics in a pithy brand of indie rock which is indebted to bands like the Breeders, Stereolab, and, primarily, Elastica. You may possibly phone it retro if it was not so timeless, distilling a number of generations of write-up-punk and indie pop into three-chord progressions expressed in two-moment bursts. Placing a new spin on a sound this common is no simple factor, but with their crunchy guitar tone and punchy melodies, Damp Leg have managed to carve out their individual niche obtaining a knack for memorably deadpan lyrics doesn’t hurt. The full group screamed along to the pre-chorus of “Wet Dream”: “You mentioned, ‘Baby, do you want to arrive home with me?/I received Buffalo ’66 on DVD.’” (Then once again, Vincent Gallo generally did have a huge adhering to in France.) They sang alongside even much more vigorously to the closing “Chaise Lounge,” the group’s largest strike to day no single instant in the seven-tune established elicited greater elation than when Teasdale slipped an improvised French lyric into the song. “Excuse moi?” she asked, and the shout back—“What?!”—was practically deafening, an expression of joy that required no translation.

Sofia Kourtesis – Badaboum, Friday, November 19

Berlin-dependent DJ/producer Sofia Kourtesis arrived in Paris from Peru just hours prior to her established was to get started an additional few hours soon after leaving the decks, she was scheduled to be again on the aircraft to Lima, wherever she has been caring for an ill family member for the previous 3 months—“essentially residing in the ICU,” as she confided to me ahead of her established. As lockdown actions about the environment simplicity, a lot of DJs have expressed blended emotions about returning to club life’s whirlwind of transatlantic flights and higher-decibel all-nighters it is all the a lot more puzzling for someone which is dealing with a household crisis at the similar time. (Unfortunately, Kourtesis has been in this boat right before: She wrote this year’s Fresia Magdalena EP in the wake of her father’s death its beatific frequencies are a way of grappling with the sort of unthinkable decline that all of us need to occur to terms with, faster or later on.) But Kourtesis’ taking part in appeared to prosper off whatever feelings she was going through. She designed the foundation of her DJ established out of lush, springy cuts like her possess “Lana Gaye” and “Sarita Colonia,” as very well as Audio Stream’s “Bass Affairs” and 4 Tet’s “Only Human.” By her penultimate song—Acid Pauli’s “Nana,” a vibe between vibes—the club had crammed to capacity and couples have been generating out on the dancefloor Kourtesis stood on the decks, almost hanging from the ceiling pipes, to introduce her closing track, her personal “La Perla.” For a few hours, at minimum, floating amongst bass bins felt standard once more, on the other hand fleetingly.