But Charles, Arnaud and Hughes, the founding members of the ensemble, also love swing, jazz, Django and playing those traditional instruments with flourish– guitar, double bass and violin. Whether your dancing the Charleston or popping the robot there is a little something for everyone.Ĭaravan Palace’s strength lies in their common passion for electronic music. Throughout the LP layered strings and horns build and sit perfectly over the driving beats, whilst clever use of delays and amesmerising vocal delivery create a unique sound that is as arresting to thefeet as it to the ear.
They are set to hit the road in the UK from November 21st.įrom the laid-back opening track ‘Queens’ with its thunderous sub bass and Django-esque guitar hook through to the raucous ‘Dramaphone’ and swung refrain of ‘Sydney’ this album is a powerful statement of intent. Having recently released their single ‘Clash’, Caravan Palace have been relentlessly busy this summer touring across Europe and wowing UK festival audiences at the likes of The Secret Garden Party, Larmer Tree and Boomtown Fair with their legendary live show.
is out October 16 on Le Plan, and its track list and art are below, too. Following last year’s stint at Coachella, the band will be returning to the US in spring 2016.ġ0.Platinum selling French pioneers of electro-swing Caravan Palace release their second album ‘Panic’ on November 19th through the Café de la Danse label.
You can listen to “Russian” for yourself below. With the thump and twirl of Charles Delaporte’s upright bass and Hughes Payen’s violin galloping behind her, Colotis deftly folds her melody into the gaps of the rhythm. It may be in large part due to singer Zoé Colotis, who couches her vocals in a kind of semi-hushed coo more reminiscent of Cibo Matto than, say, Irene Bordoni. While “ragtime EDM” seems like the kind of genre signifier that could have popped out of a particularly piquant random name generator, “Russian,” which we’re proud to premiere today, excels beyond the (admittedly massive) novelty factor. What is surprising is how well the sound works. That the French, who are notoriously enamored with their own history when they’re not dispassionately breaking from it, would eat this up is hardly surprising. And it’s not difficult to imagine why: it only takes a few seconds of “Russian,” from their third LP-the whimsically titled -to hear echoes of early-twentieth-century Left Bank bohemianism, set as it is to a decidedly modern dance beat. While they’re not yet as well known in North America, Paris’s Caravan Palace have become something of a sensation in their home country.
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