Stop The Show

Sellin' Records

Stop The Show Pt 2

Hello, I Love You

La Rumeur cover (Hamé-Ekoué-Le Bavar / Demon)

Qui Ça Étonne Encore

Get Pissed! Destroy!

second tour

You Racist Bitch (radio edit)

My Wife (Don't Like My Songs)

Le chant des confinés

Réveille le punk (Justin Bibine Edit)

Hurt (Nine Inch Nails cover)

The Transatlantique has been sailin' the seven seas of Rock n' Roll for about seven years now (April 2019), and has been spreading its own legend by piling up songs, demos and EPs. The music speaks for itself: stop the show, listen to this, get pissed, destroy, in whatever order suits you better.

And if you need to know about how it all started:

Transatlantique is a one-of-a-kind super-band. It finally unites two of the most important figures of the Villeurbanne late-90s alternative scene: Bich and GB. Both musicians contributed to forge that world-famous Villeurbanne garage sound, Bich playing the guitar with the Junky Family and GB being the Pink Elef drummer. Many a time would they all jam in GB's basement, and GB often filled in for the JF chaotic drummer's position. But it's the very first time that they actually join forces in a proper band.

The path to the Transatlantique was not a straightforward one though, and I will tell you a little bit of this piece or history. The Junky Family couldn't handle the pressure of their fast-growing fame, and split at the verge of the 2000s, after having played small and big venues in Villeurbanne, from the Blue Banana to the PezNer. The Pink Elefs were also falling apart at that time, mostly due to artistic divergences. The whole Villeurbanne scene was shaken by the uprising of the so-called new metal, and the movement as a whole quickly disappeared.

GB decided to be a session drummer for some time, going from jazz to French folk to experimental rock seamlessly and finally settled by founding Zoltek, an effort that would successfully span several years, climaxing with a joined tour with the Efficace Machine. Bich was embittered by the Junky Family sad ending, and went to Paris with the other JF guitarist, the Funky Mix Man. Together they started the Stinckin' Ass Bitches, and play a few gigs in local colleges, and recorded a long-lost demo tape. But Paris is a demanding lady, and the band quickly split as they were facing too high stakes. They friendly parted ways, and Bich decided to step back from the French Alt/Rock scene for a while. He explored jazz a little, and spent a summer in Ireland learning about Celtic folk music and street musicianship. He came back to Paris and leaded a humble jazz/rock combo there, the Jazzalobs. But the band fell apart, mostly because Bich felt that Rock was calling his name once again.

At that same time, Zoltek was also going down. At the band's creative peak, the singer left to Bolivia, and disappeared for several years. The band stood together until he finally emerged, but things were never the same, and Zoltek finally exploded from its own internal pressure.

And this is when the Transatlantique started. Bich decided to go Hollywood to try his luck at the world's musical heart, strengthened by his four years of learning from other musical genres. He found in the California sun, hills and beaches the exact inspiration he needed. On a creative spree, he started recording songs on and on, with a simple approach: one verse songs, two-three takes solos, and record the songs just as fast as you can.

Bu he also got gun-shy with Tin city, and found the LA hipsters to be just as boring as the Paris poseurs. He could not see himself in a band with anyone else than GB - he's the freackin' best drummer around after all. He set up to record beat-free tracks to send over the Ocean to his friend in Villeurbanne, and this is how the band got its name.

TransatlantiqueP

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