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Folk in a pleasant mood, Guillaume Maupin 2006
Review by Eugene Chadbourne:
"This performer should not be confused with Guillaume de Machaut, hyped as the greatest composer of the 14th century. Guillaume Maupin, based out of Brussels, might
choose his peer group from amongst the young, primarily acoustic, performers of original songs who in the days when Folk in a Pleasant Mood was released tended to be catagorized as alt-folk or
even anti-folk.
Maupin's title is a reference to Sun Ra, a folk hero of the avant garde who may have actually thought he was from outer space, specifically an LP entitled Fate in a Pleasant Mood. It is not that exact music of Sun Ra which serves as a springboard for Maupin's at times eccentric performances, it more the idea of a music that is always on the edge of surprise.
Unlike Sun Ra, Maupin sings in at least three languages and deals just as often with the common-day problems of the lovesick and weary as he might be gathering cosmic debris. "Mood Changing" is a really strong example of the former type of song, its mood enhanced by a marvelous violin track that is one of the few instrumental touches Maupin is not responsible for.
He accompanies himself on guitars, both electric and acoustic, as well as the six string hybrid of banjo and guitar known as a "guit-jo." Stylistically he goes around and around, suggesting thrash one one track only to lightly finger-pick the next. Another piece avoids guitars completly, chuckling in a combination of French dialogue with a ditzy electric keyboard backgrounds. With "It is Me Babe" this artist gets more smiles and laughs with another simple idea, executed with the precise touches of a slapstick artist. The previous word should not come up without further praising Maupin for his charmingly ticklish drawing and packaging style."
~ Eugene Chadbourne,
All Music Guide (http://www.answers.com/topic/folk-in-a-pleasant-mood?cat=entertainment)
Review by Fabrice Vanoverberg
"Figure familière de la scène noctambule bruxelloise avec son comparse Patrice Chapo, Guillaume Maupin (ou Mopein) a pour bonne habitude de fréquenter les mêmes lieux que votre serviteur, du Botanique aux multiples activités du label Matamore. Personnage sympathique s’il en est à la ville, c’est sur scène qu’il révèle toute sa verve et son audace, ceux qui l’ont entendu reprendre Captain Beefheart peuvent en témoigner. Fort de son amitié avec les Old Time Relijun qu’il a accompagnés en tournée américaine, Maupin est un artiste complètement à part, prêt à assumer toutes ses exubérances, quitte à mourir avec ses idées. Son premier opus débute en force avec un titre blues punk des plus couillus et enthousiastes (The Manitou) pour enchaîner avec une vraie perle blues lo-fi où toutes les qualités du bonhomme éclatent au grand jour (If Skirts Don’t Grow, reprise d’Adult Rodeo). On passera par contre sur le rigolo mais anecdotique Les Voisins, qui sent trop le conflit de voisinage vécu et revendiqué. Homme atypique, Maupin se lance alors dans un autre blues lo-fi, et dans la langue de Goethe svp (Allemagne Buissonnière), et si le concept peut faire peur, les plus réticents lui reconnaîtront un sens de la ritournelle sensible hors du commun. Imaginez un Daniel Johnston en moins cinglé et bien plus fendard et vous ne serez pas loin du compte."
Maupin's title is a reference to Sun Ra, a folk hero of the avant garde who may have actually thought he was from outer space, specifically an LP entitled Fate in a Pleasant Mood. It is not that exact music of Sun Ra which serves as a springboard for Maupin's at times eccentric performances, it more the idea of a music that is always on the edge of surprise.
Unlike Sun Ra, Maupin sings in at least three languages and deals just as often with the common-day problems of the lovesick and weary as he might be gathering cosmic debris. "Mood Changing" is a really strong example of the former type of song, its mood enhanced by a marvelous violin track that is one of the few instrumental touches Maupin is not responsible for.
He accompanies himself on guitars, both electric and acoustic, as well as the six string hybrid of banjo and guitar known as a "guit-jo." Stylistically he goes around and around, suggesting thrash one one track only to lightly finger-pick the next. Another piece avoids guitars completly, chuckling in a combination of French dialogue with a ditzy electric keyboard backgrounds. With "It is Me Babe" this artist gets more smiles and laughs with another simple idea, executed with the precise touches of a slapstick artist. The previous word should not come up without further praising Maupin for his charmingly ticklish drawing and packaging style."
~ Eugene Chadbourne,
All Music Guide (http://www.answers.com/topic/folk-in-a-pleasant-mood?cat=entertainment)
Review by Fabrice Vanoverberg
"Figure familière de la scène noctambule bruxelloise avec son comparse Patrice Chapo, Guillaume Maupin (ou Mopein) a pour bonne habitude de fréquenter les mêmes lieux que votre serviteur, du Botanique aux multiples activités du label Matamore. Personnage sympathique s’il en est à la ville, c’est sur scène qu’il révèle toute sa verve et son audace, ceux qui l’ont entendu reprendre Captain Beefheart peuvent en témoigner. Fort de son amitié avec les Old Time Relijun qu’il a accompagnés en tournée américaine, Maupin est un artiste complètement à part, prêt à assumer toutes ses exubérances, quitte à mourir avec ses idées. Son premier opus débute en force avec un titre blues punk des plus couillus et enthousiastes (The Manitou) pour enchaîner avec une vraie perle blues lo-fi où toutes les qualités du bonhomme éclatent au grand jour (If Skirts Don’t Grow, reprise d’Adult Rodeo). On passera par contre sur le rigolo mais anecdotique Les Voisins, qui sent trop le conflit de voisinage vécu et revendiqué. Homme atypique, Maupin se lance alors dans un autre blues lo-fi, et dans la langue de Goethe svp (Allemagne Buissonnière), et si le concept peut faire peur, les plus réticents lui reconnaîtront un sens de la ritournelle sensible hors du commun. Imaginez un Daniel Johnston en moins cinglé et bien plus fendard et vous ne serez pas loin du compte."
Fabrice Vanoverberg, chroniqueur musical du mensuel belge RifRaf et du webzine français Octopus http://les-passions-de-fab.skynetblogs.be/post/3541976/guillaume-maupin--folk-in-a-pleasant-mood
Meilleur que mille mots dénués de sens ou la philantropie des ouvriers charpentiers,
Guillaume Maupin 2004
Review by Eugene Chadbourne
"The given name Guillaume has a great tradition in the poetic and troubadour traditions in Europe and wasn't simply invented as a place to stash some extra vowels.
One immediate reference point is the late 19th century poet Guillaume Apollinaire, who wrote of love and war among
other topics. On a more contemporary Guillaume trail, the creator of this masterpiece of contemporary folk should not be confused with the singer of the same name whose album entitled Lost Love dates from a just bit earlier.
Based in Brussels, the Guillaume whose works (from 2001 through 2003) are sampled on this bi-titled, self-produced CD Meilleur Que Mille Mots Denués de Sens ou, La Philantropie des Ouvriers Charpentiers will hopefully attract a large audience from listeners who have turned to folk forms in search of intimacy and a communicative spirit not possible in the processed world of over-produced rock bands of the day. While the term folk itself is vague to the point of tears, it is at least suitable for establishing the presence of a performer alone on a stage, backed only by what music can be created personally, usually on an acoustic guitar.
True to form, Guillaume is pretty much responsible for every sound heard throughout these 18 tracks, other than bits of edited found sounds, a stray guest vocal, and the out-and-out piracy of a Beck performance as part of his own spoof of the maestro.
While many performers on the folk scene consider themselves lucky if they can be judged decent in one style and interpret a few songs exceptionally well, this talent is expansive, with challenging conclusions, the swords of skill rattling and clashing in an enjoyable duel. Guillaume is not best at singing in English, French, or German; at being funny or deadly serious; at vocalizing or simply playing haunting, fingerpicking instrumental passages — he is simply great at all these things, making this program of songs difficult to extract from a CD player.
True, it is not quite as versatile as it seemed upon the very first audition: unfortunately, it was discovered that someone else in the adjoining room had put on a Shania Twain record at the same time. Guillaume may have chosen the obscure "Here I Always Am" to do it, but he is nonetheless the only performer who can be said to have improved upon a Captain Beefheart performance."
Based in Brussels, the Guillaume whose works (from 2001 through 2003) are sampled on this bi-titled, self-produced CD Meilleur Que Mille Mots Denués de Sens ou, La Philantropie des Ouvriers Charpentiers will hopefully attract a large audience from listeners who have turned to folk forms in search of intimacy and a communicative spirit not possible in the processed world of over-produced rock bands of the day. While the term folk itself is vague to the point of tears, it is at least suitable for establishing the presence of a performer alone on a stage, backed only by what music can be created personally, usually on an acoustic guitar.
True to form, Guillaume is pretty much responsible for every sound heard throughout these 18 tracks, other than bits of edited found sounds, a stray guest vocal, and the out-and-out piracy of a Beck performance as part of his own spoof of the maestro.
While many performers on the folk scene consider themselves lucky if they can be judged decent in one style and interpret a few songs exceptionally well, this talent is expansive, with challenging conclusions, the swords of skill rattling and clashing in an enjoyable duel. Guillaume is not best at singing in English, French, or German; at being funny or deadly serious; at vocalizing or simply playing haunting, fingerpicking instrumental passages — he is simply great at all these things, making this program of songs difficult to extract from a CD player.
True, it is not quite as versatile as it seemed upon the very first audition: unfortunately, it was discovered that someone else in the adjoining room had put on a Shania Twain record at the same time. Guillaume may have chosen the obscure "Here I Always Am" to do it, but he is nonetheless the only performer who can be said to have improved upon a Captain Beefheart performance."
Eugene Chadbourne (http://wm09.allmusic.com/cg/amg.dll?p=amg&sql=10:1hpyxdsb5old)
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