ARCHITECTURE, PALÉONTOLOGIE, MUSIQUE

Renaldo & the loaf David Janssen Brian Poole Pointtopointstudio

Brian Poole, étudiant en architecture, (Renaldo M Malpractice) et Dave Janssen,étudiant en zoologie, nouent leur collaboration au début des 1970. Renaldo and the Loaf naît sous cette appellation en 1979, avant d'être signé par Ralph Records en 1981 (Brian Poole ayant réussi, au cours d’un voyage à San Francisco, à éveiller la curiosité puis susciter l'intérêt d'un des membres des "Residents", ce groupe mystérieux dont nous aurons forcément à reparler, autour duquel gravitent des formations et personnalités les plus diversement audacieuses de la période : Snakefinger, Fred Frith, Art Bears, Yello, Tuxedomoon, Negativland, Clubfoot Orchestra, Cabaret Voltaire, Einsturzende Neubaten...). Suivront en 1983 l'excellent album "Title in Limbo" en association avec The Residents, "Arabic Yodelling" puis la reprise de "Struvé and Sneff" en 1984. Le dernier album, "The elbow is taboo" (1987, Some Bizarre) prendra deux années de gestation, de 1984 à 1986, l'acquisition d'un nouveau matériel se révélant plutôt une entrave à l'évolution de leur musique si particulière, née d'une fragile alchimie. Brian et Dave enregistrent en 1987 leur dernier titre ensemble, "Haul on the bowline", chant traditionnel de marins anglais, pour l’album « Potatoes » (Ralph records). That’s all, folks ! Le Lièvre Lunaire

Brian Poole: The idea of a duo appealed and so from that time onwards we never thought of forming a conventional band or anything like that. Neither of us could play any instruments, but aspired to play so we both bought guitars at the same time and made rubbish noises. We learnt the basic chords at school and from the early 70's recorded our efforts on cassette. (Believe me no one will ever hear those!!!) Truly embarrassing. Very Bolanesque but from day 1 we always 'wrote' our own stuff, mainly because we couldn't play other people's material anyway. Throughout the following years we developed our own 'style', playing acoustic guitars, bongo drums and various percussives. We were also into bands like King Crimson, electric folk (Steeleye Span etc.) and I think even Yes. We collaborated loosely with a flautist and a cello player, didn't really work out though.

Dave: I suppose the thing that really sticks out is that right from the word go we recorded everything – I don’t know, was that obsessive? Whatever, it certainly shaped the way things would go – part of our history is the improvement in recording technology and the things that would enable us to do. Three other things stand out; Firstly we tried to imitate Tyrannosaurus Rex. They were our biggest influence at the time. We wanted to sound like them but not to actually play their songs. It’s said that imitation is the sincerest form of flattery, we were certainly sincere and we were certainly trying to imitate Tyrannosaurus Rex. Perhaps imitation is another common theme? Secondly, we were awful, at least in the very beginning before we are even competent on guitars. And thirdly, it soon became apparent that I wouldn’t be the singer! I remember we played a very early recording to a school friend who said, “if you close your eyes it sounds like a real group”! That became a tongue in cheek quote on the insert to the 1979 Struve & Sneff cassette. Renaldoloaf.com

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