Les Enfers / Her Majesty's Ship 

New EP " Ashram Temple " out (Les Enfers)

Last EP " Alchemy Calls " (Les Enfers) :
https://lamverte.bandcamp.com

Booking : 
> Marion (Vedettes)
marion@vedettes.net

Picture : Philippe Lévy

Love Songs With A Kick.
Booking: simon@podium.agency

Past & Present Works/

David Shaw And The Beat
Black Strobe (W/ Ivan Smagghe & Arnaud Rebotini)
Cardini & Shaw (W/ Jennifer Cardini)
DBFC (W/ Dombrance)
Siskid



There is no longer a mythology to invoke, no ghosts of the past to recall, no flames to rekindle. What remains is a solitary duel: that between tepid music and the instinctive, pure kind that emanates from the soul and heals personal chaos.

This latter path is the one taken by David Shaw, an artist for whom there is no plan B or compromise, just the necessity to set his guts on fire with a record production that asserts itself as one of the most personal and incendiary on the current scene. 

Born in Manchester and branded by the counter-cultures that collided during his teenage years (rave, punk, garage), Shaw has taken it upon himself as his only creed to create music outside of conventional formats and beaten paths. 

We have seen him produce electronic music under the alias Siskid, play guitars, bass & keys live and studio, on the album Burn Your Own Church (Beggars, 2007) by Blackstrobe (Ivan Smagghe & Arnaud Rebotini), and collaborate with Jennifer Cardini and Vitalic. 

He went solo under the name David Shaw And The Beat, whose album So It Goes gracefully married techno and new wave, and co-founded the band DBFC (with Dombrance), creators of a gem of synthetic rock with baggy and Madchester echoes. 

A punk at heart and a music club iconoclast, David Shaw has digested his influences, distancing himself from musical cliques and the very notion of crossover. His music resonates like his persona, fueled by self-sacrifice and a fierce refusal of artistic tepidity. His strong and total aesthetic universe also captivates the fashion world, with his tracks regularly accompanying brands and designers such as Ami, Chanel, Gucci, Lanvin, Pressiat, and Solène Lescouët.

Emotional, proud, and cunning, David Shaw’s songwriting took a new turn with the 2020 release of the EP Love Songs with A Kick Vol.1 a collection of refined tracks between post-punk for alley cats, and apocalyptic crooning.

Far from resting on his laurels, the musician has let inspiration flow in the wake of this new creative milestone. Over the past three years, he has composed and recorded about forty tracks, sixteen of which are now divided into two albums: 
Love Songs with a Kick Vol. 2 and 3. 

These projects were born from a feeling of urgency, a desire to counteract the passage of time and elevate even further a double ambition:of songwriting and production. They feature what has shined in his previous works: the balance between guitars and machines, punk vigor, and catchy gimmicks. He seems to deploy even more freely his desire to pervert the pop song, taking it on diverted paths, approaching it in a liberated and almost playful manner.

Love Songs with a Kick Vol.2 initially embodies the colder and more mechanical facet of David Shaw's music. 
The cold and industrial influences stand out like never before, the structures are more direct and leave room for explosive choruses and catchy gimmicks that have become one of the musician's signatures. His voice, with tones of icy glam, plays the dominatrix then distributes caresses, and regularly gives the tracks on this album a classic feel.

Love Songs with a Kick Vol.3 explores new territory in David Shaw’s music.
Characterized by more space, the tracks that compose it play a more narrative, evolving card, sometimes even bordering on cinematography. The writing relies on suspended climates and hallucinogenic ambiences. Punk, kraut, new wave, cosmic pop are catapulted into a hypnotic dream machine. It’s Lou Reed from Transformer sent into Blade Runner, Bowie locked in an industrial club grappling with misanthropic voodoo. 
The blinding white light regularly asserts itself in the interstices of these venomous and hedonistic tracks.

FOLLOW YAN WAGNER 
https://linktr.ee/Yanwagner
NEW SINGLE Brexit 
https://smarturl.it/Yan_Wagner_Brexit

management - stephane.viard@gmail.com
booking live - matthieu.pinsard@decibelsprod.com
booking DJ (the populists) - Micky.FariaDaRosa@decibelsprod.com

[PIAS] Belgium offers specialist services for the international licensing, distribution, sales and marketing of music, film and comedy. At [PIAS], we work with acts and labels that we believe in and who believe in us. ‘Music First’ is not an empty slogan.

[PIAS] Belgium works a selection of great labels and artists on our own terms. That, to us, is being independent. Isn’t that the way it should be?

On les appelle amicalement « les Trans » mais elles se nomment Rencontres Trans Musicales de Rennes. Rencontres car ce festival né un soir de juin 1979 est devenu synonyme de rendez-vous inoubliables avec des artistes souvent inconnus, avant de vite élargir son public aux professionnels de la musique. Trans et Musicales car il s’est spécialisé dans les échanges qui se jouent des frontières, qu’elles séparent les pays, les continents ou les familles musicales. De Rennes, car on a rarement vu une ville autant se mettre en quatre pour vivre au rythme d’un événement devenu son compagnon pour la vie.

DBFC is not a band, its a club
DBFC has no strategy
DBFC is not interested in any political lies or promises
DBFC is inspired by the spontaneous combustion of the sixties and the endless possibilities of dance music
DBFC is not afraid to be accused of being schizophrenic nor longing to be praised for its diversity
DBFC refuses to choose between making dance records or rock records
DBFC is Dombrance, David Shaw, Antoine Reininger and Guillaume Rossel

DBFC is following