Those great voices, with crystal-clear recording sound,” Vial says, before excitedly exploring the recording process. “They brought a very strong soul music direction. New for the band, collaborative tracks ‘About You’ featuring Charles X and ‘Waterguns’ featuring Tom Bailey, successfully integrated a unique style into an already heavily crowded sound. Surprisingly, though, some of the most freeing sessions were through collaborations for the album. With no pinpointable genre, Chronologic unveils artistic freedom in a music industry hell-bent on definitions. “Hard question, I think I can’t really pick one. The latter for its heavy jazz, big-band riff and intimate, fragile vocals. Simmering with highs and lows, Vial can’t pick a favourite from the eleven-track album. We’re always trying to explore more sophisticated forms of composition.” Summery and electronic in production, the pop tone is juxtaposed by vintage, humming choir samples and chord changes (also represented in the artwork for the record, which features a bulky robotic form standing immortalised in marble). There’s always a pitch of nostalgic melody or sad harmony somewhere,” he says, citing track five of Chronologic, titled ‘Plume’. “But nostalgia and melancholic feelings are something we really like. Mix old styles with new productions in every possible way. Though intermittent, half of the record is like a comedown in a twenties speakeasy, or the grey tumbling from a quiet, mid-day cigarette at a festival.īut Vial first delves into the bouncier sounds featured on the record: “There’s modern influences of hip-hop, house, future base and even new-jack swing. Featuring an array of upbeat Europop-meets-French-house tracks, the album journeys through lively, contemporary, digestible tunes that mingle alongside slow, melancholic, smoky interludes. The latest record, titled Chronologic, widens the boundaries within which they rarely stay, while still referencing their timeless sound. With seven members in total, Caravan Palace is a paint palette for experimentation – “we’re all very different, and it’s a force somehow,” Vial says with enthusiasm. In this opus, we keep mixing old and new, but it’s extended to other genres like blues, soul, RNB, cool jazz, old folk, bossa and even exotica.” “We are known for mixing swing and electronic music.
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“For each new album it’s about a new story: how to reinvent yourself, how to be bold and honest without going too far from what people really like in your music,” Vial confesses, articulate and aware of the joy that the record represents for the band and its fans. On the surface, Caravan Palace sounds like the love child of Chainsmokers and Daft Punk, but unlike the undoubtedly recognisable brands the groups have forged, Caravan Palace steps outside itself and music industry pigeonholing. Thus, for album number four, the band has claimed a ‘more sophisticated’ sound, riddled with musical paradoxes and concurrently, the artistic freedom they seek.
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Caravan Palace, a French electronic music band, traditionally crafts upbeat, positive songs that are ‘necessary for a band and airplay’, but since the 2015 release of third studio album, which garnered top UK TV spot performances for viral hit ‘Lone Digger’, the group has taken a creative detour, much like the character in ‘Miracle’.īorn from the Parisian art world, the band sees itself as a “messy blend of cultural influences”, with lead singer Zoé Colotis’ origins in theatre, Vial’s interest in 20 th Century French impressionist composers, double-bassist Charles Delaport’s ‘chill electronic orientation’ and trombonist Antoine Toustou’s club career as a DJ. That’s what the collective has tried to do sonically, too. The guitarist reveals his love for art that makes people think and which takes a ‘twisted’ turn. Directed by Double Ninja and released on the band’s new, independent label Lone Diggers, the video acts as the band’s attempt to create music without guidelines, with “artistic freedom”, Vial says. Caravan Palace’s yonic animation and feminist angle was deemed worthy of censorship by YouTube, but for what reason? he asks. Off-the-bat, Vial questions artistic freedom in the music industry. By contrast, he says, violent material on the video hosting service “can be watched by 5-year-olds”. Featuring an array of trippy vaginal imagery, the 3-minute animation follows a man stumbling into a powerful matriarchal society in a lush jungle before being restrained and abducted, backed by twangy melodies. “It got age restricted on YouTube,” says Arnaud Vial, guitar and vocals of Caravan Palace, about the band’s music video for the electronic hit, ‘Miracle’, which stands at almost 5 million views. Caravan Palace explore smoky, trippy new album Chronologic.