#La Blogothèque

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Votia's Take Away Show at WOMEX 24 Festival

Vié Kaz

Dann Ker Lélé

Masseno

Votia

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Long Distance Call with Arlo Parks x La Blogothèque @ Arnold Circus, London

Hurt

Green Eyes

[eternal--returned]

Maggie Rogers ֍ Different Kind of World (La Blogothèque) (2022)

When we're riding all together It's a different kind of world

[musictomyremember]

Lola Young - Conceited (Official Video)

[mooseyspooky]

I know you primarily post Smiths related content here, but I’m curious if you have a Fontaines album ranking you’d like to share! I get the vibes that Skinty Fia places high for you, but I’m curious to hear what you have to say about their music :-)

Oh gosh, yes I adore Skinty Fia, but Romance truly has blown me away. Nearly every song on it I love and listen to regularly. The only ones I don't listen to are Sundowner and Horseness.

And I feel like a bit of a fake fan saying this, but there's not too many songs on Dogrel and A Hero's Death that really captivated me like Skinty Fia. Maybe I need to spend more time with them?

On Dogrel, I like Big, Liberty Belle, and Boys in a Better Land (who doesn't love that song though, god it's such a banger). On Hero's Death, I only like I Don't Belong, but even then I prefer this version over the one on the album:

I want to like Televised Mind, I really do. There's someone really captivating about it, but even when they played it live in Chicago it just...didn't pull me in.

So I'd say for me it's:

-Skinty Fia

-Romance

-Dogrel

-A Hero's Death

On a related note, I also want to really sit down and listen to Chaos For the Fly. I really like Fairlies (like...I really, really like it), and I really liked this version of Salt Throwers, but I need to actually listen to the whole thing start to finish. Because a lot of the individual songs playing through my Spotify shuffle hasn't made me love it, but I think it might just be I wasn't in the right headspace for it, you know?

[sonicziggy]

"The Windmills of Your Mind - Reprise by La Blogothèque" by The Libertines https://ift.tt/v1XfopS

[beclumsy]

Alive in the Catacombs

There’s a deeply disconcerting feeling when you enter the Paris Catacombs for the first time: an eerie silence that gradually transforms into a soothing calm, a peculiar humidity in the air, a sensation of stepping into another world—just beneath the bustling, noisy, chaotic Parisian surface.

It starts with a long, seemingly endless corridor leading to the ossuary. The dirt floor. The echo of footsteps. And then, finally, you enter the realm of the dead—centuries of history, millions of lives gathered here, and you can’t help but imagine those lives: their beginnings, their endings, and those who granted these souls eternal rest.

When we first entered this place to prepare for the filming of what would become Alive in the Catacombs, we were immediately faced with numerous and complex production constraints: how to carry equipment down the narrow spiral staircase of over 130 steps? How to transport our cameras, cables, and the band’s gear along this massive corridor? Where to plug in our lights in a world where electricity is scarce? How to film underground, nearly a fifteen-minute walk from the surface, in the humidity and the constant 14°C temperature of the Catacombs? How to capture sound in such a space?

The answer came directly from Queens of the Stone Age when Josh gave us the key to understanding what he wanted to create in this singular place—a place that seemed to have haunted him for decades: “The Catacombs must be the main character of this live performance.” 

That sentence led us to make a radical decision, in a time when the race for the extraordinary and overproduction seems endless: there would be no need for electrical outlets because we would use very few electric instruments. There would be no flycases, only a small team, minimal gear, handheld or fixed cameras, the most organic sound capture possible, and limited battery-powered light sources to reveal the eerie beauty of the Catacombs to the outside world—values and cinematic principles we’ve long championed at La Blogothèque, especially in our Take Away Shows series. It was then that we all understood this film would be like no other.

Josh not only embraced the constraints of the location in his creative process—his approach to sound, the band’s setup, and the unique reorchestration of Queens of the Stone Age songs—but he also wanted to honor the Catacombs, to respect their centuries of history and those who rest there forever. This is mainly why the Catacombs agreed to host this very special shoot, allowing their own teams to join us in this crazy adventure with an artistic openness that proved invaluable.

The Catacombs were no longer just a filming location—they became a protagonist in the film, a character the band would interact with. The crypt became the first space where we’d discover them in semi-acoustic mode, accompanied by strings, chains, and sanding blocks used as percussion. The holy water font became the place where we tightened the frame, blending the sound of dripping water from the ceiling with the music. The arcades were where bows, instruments, and bodies merged in a tight sonic ballet. Almost everything was to be filmed hand-held or on tripod, up close with the band, using a unique camera setup designed by our director of photography, Théo Fauger, which allowed images to overlay and the band to merge with the location, and vice versa—Queens of the Stone Age becoming the Catacombs, and the Catacombs becoming Queens of the Stone Age. 

And then, the unexpected happened—Josh’s health suddenly deteriorated, and he did what none of us had imagined: he pushed ahead with the shoot, gritting his teeth through the pain, with a makeshift cot set up in the guts of the Catacombs so he could lie down between takes, gasping in pain every time our director, Thomas Rames, called “cut!”

We filmed for over twelve hours that day. Twelve hours of performance and movement through the last place you’d want to be—one imagines—when you’re suffering as Josh was that day. We’ve had shoots canceled for far less.

Josh’s unstoppable energy and that of his band, the urgency that drove him to stay upright despite the pain, carried us all. Their desire to create something beautiful, unique, and organic as well. All of it to celebrate the Paris Catacombs and the music of a band whose meticulous sense of melody has rarely been showcased in this way. It’s all of these shared intentions that led to this extraordinary live performance—the result of a collective search for beauty and authenticity, which gave birth to Alive in the Catacombs, a film we’re all so proud of today. And to a shoot we’ll never forget, both for the human connections it sparked and for the cinematic freedom it offered us.

[worldofmusicwomen]

Paris Is Burning ... Two alternative acoustic versions

St. Vincent - Paris Is Burning | A Take Away Show at La Blogothèque

St. Vincent Paris Is Burning solo acoustic at RkstEurope

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Embruns and L'èrba d'agram by Barrut, live at WOMEX

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I'm Your Man by Mitski, live for La Blogotheque

[luciochaves]

Lola Young - Conceited (Live by La Blogothèque)

[daily-coloring]

Lola Young - Conceited (Live by La Blogothèque)

[moochilatv]

Julia Logan presents: Thrown Down

Great song for your headphones

Julia Logan's new album Faraway Nearby (Extended Version) is out January 24th and includes the new track Thrown Down.

A new version of her album Faraway Nearby will be released on January 24th 2025 as an extended version of the album, now with an additional new track added. The new track is called “Thrown Down”.

The dreamy folk-pop of Julia Logan exudes a voice at once both comforting and piercing. Channeling the likes of Carole King, Stevie Nicks, Tom Petty, and Sharon Van Etten her voice talks her way through the inner life of her own life and the lives of others in the small community that she grew up in.

Accompanied by observant lyrics, bronzed and mellow melodies excellently produced and co- written by Daniel Bengtson (Studio Rymden, First Aid Kit) soar to hit home the deeper point in songs that honor and long for human connection and respect. It might be their quiet revolt against a world increasingly obsessed with transactional relationships, blow-hard aspirations, and digital ’likes’ rather than a simple ’hello’ on the street.

Julia Logan’s debut album, Everly Foreverly, features a duet with Nina Persson (The Cardigans) as well as drummers Kyle Crane (Kurt Vile, Madison Cunningham) and Karl “Hovis” Hovmark (Tove Lo) on separate tracks. Guitarist Peter Morén (Peter Bjorn and John) supports on many of the songs. Keyboardist Sofia Kristensen/Majvi contributes on piano and backup vocals. The album earned positive reviews by Swedish media, was nominated for Singer-Songwriter of the year at the Swedish Manifestgalan Awards, and allowed her to open for the likes of Madison Cunningham, Courtney Marie Andrews, Neko Case, Sarah Klang, and Amanda Bergman.

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A post shared by Julia Logan (@juliamlogan)

Her follow-up album ’Faraway Nearby,’ produced and co-written by Daniel Bengtson, explores themes of personal fears and changes, isolation, loss, getting older, hope, and finding your place in the world.

The album will be released under Magnus Bohman’s label, Dumont Dumont, who helped launch José González career internationally. Released singles ’Mirrors,’ ’Moodswings,’ and ’Top of the World’ have already garnered attention in Stereogum and La Blogothèque, and on the renown LA and Seattle radio stations KCRW and KEXP.

Stream Thrown Down:

[thatshitkrejci]

even when i'm not talking about it, know that i am always Here -> in the woods -> building a still -> to slow down time