Featuring Peter Hook, Anton Newcombe, Bertrand Belin! Die französische Band arbeitet seit 2009 in der swingenden Tradition von Serge Gainsbourg, Velvet Underground und dem "yé-yé sound" der 60er Jahre. Die Limiñanas verbinden sonnige Psychedelia mit Vintage-Pop. Die Band aus Perpignan, France, besteht aus der Drummerin und manchmal-Sägerin Marie Limiñana und dem Bassisten, Organist und Hans-Dampf-in-allen Gassen Lionel Limiñana. Gastsängerinnen sind Stars wie Peter Hook (New Order), Anton Newcombe (Brian Jonestown Massacre), Bertrand Belin und dem Model Emmanuelle Seigner. Mit ihrer Kombi aus angezerrten Gitarren, Orgeln, halb gesprochenen, halb gesungenen Vocals und der coolen Retro-Produktion zelebriert die Band die Sexyness des 60ies-French-Sounds. Als spielten Lou Reed und Serge Gainsbourg in einer Band.
“What was old is new again”… The old adage is so tired that nobody takes its proper measure: all people hear is the word “old”, when the important one is “new”. Making new things out of old things is an act of alchemy. The proof is in this fifth album – no rest for the wicked of Perpignan – which is blown right open here and there by a few very contemporary guests. After the opener, ‘Ouverture’, with its almost surf-like guitars, comes ‘Le Premier Jour’, where Lionel Limiñana talks about his rock baptism with the punks, the mods, the skinheads and the Lambrettas of his youth in the South of France. What comes just after is the seismic shock of ‘Istanbul is Sleepy’: the Imprimatur of Anton Newcombe of The Brian Jonestown Massacre is simply enormous. Then comes Emmanuelles Seigner’s super sexy tornado on the title track; and ‘Dimanche’ follows, with Bertrand Belin. Lionel sees him as a “French Nick Cave who writes songs that resemble films.”. ‘The Gift’ features Peter Hook who scrapes his bass guitar again here; obviously a song reminiscent of an early period New Order. Finally, the Limiñanas on their own send out an instrumental cavalcade with a furious beat, like a Kraut Morricone, ‘Motorizzati Marie’ followed by ‘Pink Flamingos’, introduced with psych rock pads played backwards forming a vaporous song bathed in acoustic arpeggios. A respite in the album… before the fuzz and the abyssal bass of ‘Trois Bancs’ violently shakes the ghost of Gainsbourg: an electroshock in talk over. And to close the scene, a love message: ‘De La Part Des Copains’; its organ, its tambourine, its quaver and its brass place it in the classic soundtrack category revered by the band. An ideal conclusion for this incredible faultless record. The rock’n’roll epiphany thus continues. It belongs to those who will listen – full blast – to Shadow People and will doubtless feel the urge to plug a guitar into an amp. A valve amp, of course.