Eddie 135 & The Shitblaster (http://)

Eddie 135

When asked about their projects, Adrien Kanter and Matthieu Philippe de l’Isle appear voluble and speak in stereo of different memories, which obviously makes note-taking difficult. To report this interview, which took place over fruit juice one dark December afternoon tinted with Christmas magic, it is therefore suitable to mix everything together in order to lose the reader in a nebula of artistic and musical projects as diverse as they are convoluted.

Of course, at first this could seem like a clumsy move or a Casse-Gueule (Matthieu is a member of the group, last album released this year on la Souterraine) but this fill of exotic and dominical vitamins takes us right to a certain tropical awakening or Réveil des Tropiques (free psyche-kraut combo in which our two specimens work), and more randomly to Adrien’s project for which a pun is not as easily constructed (Testarossa, a punk noise pop experimental escape). To this is added the organization of collective improvisations comprising each time four guests (the “4 à Table” series at the Société de Curiosité de Paris) or the presentation of a piece for cello, guitar, and sinusoidal waves in Hamburg at the Blurred Edges festival in 2016.

Since 2005, the duo has also appeared under the name of Eddie 135, whose new opus is the object of this globally approximate text. For the story, titillated by a first concert de salon featuring wiggling young nymphal dance students, Adrien and Matthieu released the cassette Nixon Now! In 2008. That same year, they ty their hand at other aural experiments as attested by their recording of Jardins in Nanterre, where two contracted cellos melt into the diffuse noise of a distracted rude audience.

After a series of performances in Japan and Portugal, organized during the great era of Myspace, they met Londoner Shitblaster. Between two concerts of Metallica, whom he was following, this peculiar character invited them into his Camberwell studio. From there, Dragon’s Teeth was born, a jam recorded and edited in five days with the help of Indian fast food and analog devices. The result, feverish and compressed like a small hangover, constitutes the 33rd reference of Da! Heard It Records.