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PARADE GROUND Exclusive Interview

Parade Ground were pioneers in electro body music and cold wave ,the band consisting of Belgian brothers Pierre and Jean-Marc Pauly.

In 1983 they released their debut EP Moans on the Sly on the New Dance Label. This began their on-going collaboration with producer Daniel B., a member of the seminal Front 242.

The following year , they released Man in a Trance on Front 242's label Mask including the pulsating track The Net. Continuing with more EPs they released 'Dual Perspective', one side produced by Daniel B. , the other side produced by Colin Newman of Wire , then came Strange World 12" ,title-song that was included on the definitive compilation album This is Electronic Body Music in 1987, giving way to their first full length album, entitled Cut Up (1988), followed by a tour in Germany and Sweden . In 1993 , the brothers wrote and composed the vocals on two Front 242 albums 'Up evil' and 'Off' . After 15 years of silence , in 2007 , they're back with 'Rosary', their second album , featuring 30 tracks , produced by Patrick Codenys/Front 242 , with a very original extreme noise industrial sound without concessions . The rest is now .

 www.myspace.com/paradeground 

 

1.First of all, we would like to thank you in advance for the interview ... It is always a great pleasure to share ideas with really important artists of the electronic sound.

 

 2. What does the band’s name “ PARADE GROUND ’’ stand for ? Was there a significance in early 80’s when you started ?

 

-J.M.- Parade Ground means a receptacle of bodies after a battle - creating music meant a lot to us .

-P.-  Have we created anything already ?

Were we born ? ... Are we sure of being really dead after our suicide ? ...

The past is what remains in a mirror ...

Through this we don't belong to art anymore .

 

 

3. Can you please tell us about the band’s members ? I know it was created by Pierre and Jean-Marc. Where there other members at any time or has it always been a duo ? Do you ever use session musicians ?

 

-J.M.-  There was a third musician for the stage in 83 but he didn't play on our first single .

So one can say we have always been a duo .

Pierre is my double and I am his .

Our angel plays in our place on stage .

We exchange our shadow sometimes .

-P.- We always wanted to put ourselves in danger , to put the audiance , the listener in danger , to make them rotten , to vomit on them , we want to assault the people ,

to dirty them , terrify them , to hurt them , try to destroy them , they must feel oppressed by our music , our acts .

They must be scared and oppressed .

Until the choreography of chaos .

 

4. What was the need to create a music project ? Were you always thinking of writing music since childhood or did it ‘accidentally’ happen ?

 

-P.- It was an urgence , something absolutely necessary , like vomiting .

There was an irrepressible need to expectorate the suffering .

We always thought of creating music , building castles of sound .

 

-J.M.- We could have created ( and does ) another way ...

We could make it through another media .

It could be in litterature , or through painting , or theater or dance .

-P.- There is only the rage , the cruelty , the vomiting that matters to us ... The brutal rage , the tension , scream , yell , cut , lacerate , massacre ...

One yells or criaes out only in the important moments of life ... Birth ... Death ... Pain ... Happiness ... Rage ... Anger .

5. What was your influence at the time ? Did you have access to other people’s music/art ?

 

-J.M.- We were more influenced by books or movies than by music .

Especially the french cinema from before the second world war .

Carné , Renoir , Clair , the dialogues of Jacques Prévert .

-P.- We had never be interested in music .

I really couln't quote an influence .

There still is a duality in our music , but for us only emotion , yelling and rage do matter .

To put oneself in danger . Whatever the style , until the asphyxiation of thought .

We always do it as if it were for the last time , as if our life depended on it .

There has always been a venomous necessity in every artistic act .

For us , one must always instillate the venom , the sourness in all you do .

 

6. You started recording music at 1983, along with other outstanding bands and artists like : Front 242, Throbbing Gristle, Kraftwerk, Cabaret Voltaire ... Moreover, in 1983 you had your first collaboration with Daniel B., one of the members of Front 242. Please tell us about that.

 

-J.M.- We started with P.G. in 1981 , actually .

And we performed on stage with another band since 1978 .

Daniel B. was our first contact , our first approach of electronic music .

We met Patrick who saw us performing live in Brussels , in '83 . It all started then .

First single , first gigs with F242 .

They were the first to believe in our talent and potential , then came several releases produced by Daniel B. and Patrick .

-P.- There has always been since the very begening , the question of the receptibility of our music .

Its absolute receptibility , its very existence .

It has always been very difficult , since the beginning .

We  wanted to put ourselves in danger , it must be a venimous necessity in all we do , all we create .

Bumping into the objects , pearcing the madness ,

We always created together .

 

7. I guess you spent a lot of time with the Front 242 these years, since you were at the same record company (Mask records). If I am correct you are still working with them after all those years. Do you live at the same city ?

 

-J.M.-  Daniel lives in the south of France .

We're Brussels-based like Patrick Codenys , therefore we are more in touch with Patrick who has produced our recent album 'Rosary' .

Patrick loved the atmosphere of the record , the rage , the tension , the aesthetism of nausea .

-P.-  We have always been very close friends .

We have written and composed the vocals of two albums for them , wich has made our friendship even tighter .

They are really deep and winged perssons .

true artists in all kinds of genres .

 

8. 'Dual Perspective' E.P was co-produced by Colin Newman, guitarist/vocalist of Wire, one of most innovative punk/rock acts from the '60s onward. Did you realize how big this was at the time ?

 

-J.M.-  About one meter and 80 centimeters high ...

Sure ; It was some kind of achievement .

Like meeting ourselves a few years earlier ...

He's a great musician and a true gentleman .

He got maried and lived in Brussels at that time .

We have a great relationship , he's a friend forever ...

He produced and played on five numbers for us .

 

9. Do you remember having fun during the 80s with live concerts and gigs or was it always work and no joy ? Did you meet many nice artists ? I bet it has been more wild and innocence in the past for musicians and artists ...

 

-J.M.-  It was a fantastic period because business and the academisme , was not yet back in control .

The music was very different from what we do now .

More plesant , more joyful , I guess .

Now it's really suffering and cruelty .

Vomiting .

Spitting out the rage .

The psychiatric experiments , the confinement ...

We saw Joy Division and U2 performing live in front of 40 people ...

 

10. In 1988 ‘Cut Up’ full length lp came out and was followed by a tour in Germany and Sweden. Do you have nice memories of it ? Did you use an agent ? Are you in a booking agency these years ?

 

-P.-  Great memories .

Those were really good concerts .

Melting in the audience .

Winged on stage .

We've never really been in the music industry .

We don't use people .

We try and create a communion  ... To vomit an act , a vertigo ... We are like cursed poets ...

But , we do know very well that we will never be recognized .

We are the art-murder , the cruelty .

 

11. Would you say things were more difficult for musicians and artists back at the 80’s compared with today’s facilities and opportunities ? What about the internet and its service when it comes to downloading/promoting etc ?

 

-J.M.-  It still is a matter of meeting the right person .

I don't think it's easier today .

It still takes guts and sincerity , put the skin on the table , and must pay  , vomit ... It's not a stop on music but an act an aggression , a transfiguration of cruelty , of vomiting , the body cut from the body ...

The belly aching .

-P.-  We have always been on the fringe of art .

The great difference is that now , anybody's got the material to make music or sounds , anybody plays an intrument , anybody is an artist .

There is a great lack of spontaneity , taking risks , this hazardous side .

Creating is de-learning .

Get rid of the others' work .

 

12. Do you remember having fun during the 80s with live concerts and gigs or was it always work and no joy ? Did you meet many nice people ?

 

-J.M.-  We've always been sincere , so it was a mixture of joy and cruelty - A transgression .

 

13. .What equipment do you use to write your music?

 

-J.M.-  We don't use computers to create to keep the spontaneity , the human side .

-P.-  We do scan and psalmodiate , bitting on a stump with a hammer , to try and find out a rithm , a link between the yellings .

Our music is an irrepressible vomiting , a terrible suffering , a suffering act .

-J.M.-  Rosary is a constant clash , an irrepressible vomiting , like some installations , performances such as Man Ray's 'rayogrammes' or Joseph Beuys' 'Fluxus' ,

or the cutting out of thought of writters such as W.Burroughs, J.Joyce'Stream of consciousness .

Rigault , Tzara , Crevel , the 'waiting' of Samuel Beckett , Robert Pinget .

 

14. How would you characterize your music? Do you believe in standards and musical genres ?

 

-J.M.-  We don't even believe in instruments .

We would play with a mouth harp if it could make things more new .

-P.-  It's like painting .

Everything hanging on museum walls , like corpses ...

All that shit should be burned up , odds and ends to throw into the fire right away .

All this doesn't interest us at all .

We thought our music as a musical collage , sounds installations , brutality , rage , something vomited , a musical abstraction .

We compose in an instinctive , primitive , tribal , physical way .

Our music represents 30 years of suffering , with the intensity , the blood , the claustering , the psychiatry , the blows , the howlings , the punched jaws , the cuttings , the prayer , the screaming head , the struggle into cruelty , the hatred , the crawling .

We have lived out psychiatrical experiments , the cloistering ,like an unbearable torsion , as eating up one's brain ... The raw head ...

Jean-Marc relate these experiments in our music ...

The fulgurating force of these places ... Like this time when an old lady , an inmate , gave me the breast the whole night through .

 

15. Would you be interested in composing music for films ? I think you would be great in that.

 

-J.M.-  We have always composed with that aim .

Creating an oniric atmosphere .

It's something that really motivates us . Or does it ?

-P.-  We wanted to translate visual emotions in music , that's what we intented to do .

It's a litteraly transposition , but plastical too .

A graphic and visual work .

We have met legends like Marcel Mariën or Philippe Soupault , Wim Wenders ...

With all these affiliations : The Futurism , Dada , Surrealism : Tzara , Roger Gilbert-lecomte ,

man Ray , Breton , Marcel broodthaers , Crevel , Duchamp .

I think that ugliness makes everything bearable , the beauty of repulsion , we have gone to the core of mental experimentation .

The madness abolishes the truth .

The aesthetism of nausea .

16. What would we find in your CD player right now if we were invited in your house/car ?

 

-P.-  We listen to a lot of sounds ...

Dialogues , noises , yellings , cry , psalmodies , all things with an impact , never heard before .

We are always on the cruelty ... In creativity ...

A waiting for an act ...

What matters to us is the stage ; to us : that's where everything happens ...

With this morbid rage ...

The impression of vomiting in the audience .

To drive in a state of trance ...

The stage , is the art of disappearing ... Go out of tune ...

Tear one's body out ...

An impregnating corrosion ... A corrosive rage ...

One must put one's skin on the table , one must pay .

-J.M.-  Probably classical music , but it's broken , anyway .

paradeground3

17.Have you ever been in Athens for holidays ? Would you like to send a special message to the Greek audience / viewers of Electrowelt.com ? Would you consider performing in Athens if you were invited ?

 

-P.-  Sure , we'd love to play in Athens .

We went once there , it's a mysterious city , very magical , it's like being in front of a cliff : do I jump in the past or in the future ?...

We moved a lot towards the end of the eightees , we lived in Paris , London , hamburg .

I reckon Athens is a city that you never really know , one must have a live time to approach its mystery .

-J.M.-  A message ? ...

Be true . Keep your faith alive .

The french writer Celine said 'New York is a standing city' ,

what would you say about Athens ?

We love Eschylle ... Where was he from , by the way ? ...

 

18. Thank you very much for the time and kindness to answer our questions.

 

Best Wishes for a great comeback Parade Ground. We hope to see you live soon.

George P.

 

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