Concert information

Review

Relentlessly resourceful. Born Ruffians kicked ass last December 3rd in a sold-out show in Paris. Intense, they kept on giving it non stop to all the fans out there. Neither the broken guitar string on the first track, the broken drumkit on the second, or Andy's lost tambourine stopped them from playing a badass concert in Paris. It just kept growing stronger and getting us higher as the night progressed. (A member of opening band the Young Rivals found the tambourine, by the way, and the two bands end up on stage for "Kurt Vonnegut").

With some long-time fans in the Grandcrew team and some newbies discovering Born Ruffians live for the first time, we were all in the same state: awed, in a transe, sweaty, mad about the music. Even Steve, the drummer, admitted to playing his best Parisian gig ever.

Honestly this is one of our top-favorite concert videos here at Grandcrew - so thank you to Born Ruffians for a great show. Please stand up, enjoy the concert in full screen and turn the volume knob to 11!

Artist

Born Ruffians

The music industry convention of calling a second album a “sophomore record” makes it sound like rock is some kind of college, which is weird. If Born Ruffians’ 2008 debut album Red Yellow and Blue was the result of a talented and precocious gang of freshmen, their 2010 follow-up, Say It, would be the project they left school to finish — a declaration that they’re smart and ambitious enough to make it on their own, and furthermore, that they’re in it for the long haul.

 

Where Red Yellow Blue began with a utopian dream, Say It opens with “Oh Man,” a jagged romp that finds singer/guitarist Luke Lalonde shaking his head at a romantic fool, and trying to steer him right. “You’ve got to go man,” he explains, riding smoothly over Mitch DeRosier’s galloping bassline and Steve Hamelin’s malleable but steady drum pattern, “and go take your place in this wonderful race.” A ragged echo slaps back at the guitar like wind in the band’s faces; they don’t flinch.

 

“We had two and a half weeks to work on Say It,” Lalonde says, “which wasn’t quite a luxurious amount of time, but it was more luxurious than we had during the sessions for Red, Yellow and Blue, when we had two weeks to record and mix it. Then, we were doing two songs a day.” Again teaming up with producer Rusty Santos, the Ruffians and co. holed up at Mississauga’s Metalworks studio and loosed the reins on their ambitions, experimenting with Minimoogs and saxophones before eventually scaling much of it back in the mixing process. Not that it was a wasted effort; DeRosier says, “I think it was important that we did that, adding things just to hear how they sounded.”

 

You can still hear the nuts and bolts of the songs, with guitar hanging out on its own (the jagged arpeggios in “Late”) or a bassline running away with that infectious crazy-quilt, “Retard Canard.” Which, incidentally, isn’t about the developmentally delayed. Lalonde: “Retard Canard is about a certain kind of person who feels like they don’t fit in, or can’t fit in and get along in life. That’s where the “not part of the human race” lyric comes from; it’s about how you just have to do it, or die trying.” And the residue of their production experiments can be traced in the swooning sax licks dangling over “Come Back” or the watery synths lurking in the tightly-wound “What To Say”: “When I get drunk I’m speaking more / get too drunk and I don’t speak at all / get too close to you and I don’t know / what to say.” Hamelin describes “What To Say” as “one of those songs where we put it together out of a bunch of different ideas, and it really came together as a cohesive whole. Unlike some of the songs we’ve put together out of a bunch of ideas, and they sound like a bunch of different ideas.” The parts hang together, a clattering machine bonded by a combination of kinetic energy and unshakeable confidence.

 

With Hamelin having reversed his earlier declaration that he no longer planned to tour with the band (“Steve was always going to be recording with us,” says Lalonde. “If we had to get another drummer to go on tour, we would have done it”) and ex-Caribou bassist Andy Lloyd joining them on tour to fill out Say It’s added complexities, Born Ruffians are ready to pull on their boots and get down to business. Let the sophomores stumble — these guys are showing up to work every day, paying the rent on time and sharing a secret laugh with the bartender. School’s out.

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Label

Warp Records

Warp, commonly referred to as Warp Records, is a pioneering independent English record label, founded in Sheffield in 1989, notable for discovering some of the most enduring artists in electronic music.
Founded by Steve Beckett and the late Rob Mitchell from their experiences working at the FON record store, alongside producer Robert Gordon,[1] the label (whose name was chosen because the original name, 'Warped Records' was difficult to distinguish over the telephone[2]) soon became home to artists who would be highly influential in electronic music.
The first release (WAP1) was by Forgemasters (produced by Robert Gordon), whose limited 500 copy pressing of "Track With No Name" was financed by an Enterprise Allowance grant and distributed in a borrowed car. It set a trend for the early releases both in terms of sound and the use of purple sleeves (designed by The Designers Republic). The follow up was Nightmares on Wax's "Dextrous", which charted, selling 30,000 copies despite a lack of promotion. This led to greater commercial success; by its fifth release the label had its first top-twenty chart entry with LFO and their eponymous single, "LFO", which sold 130,000 copies and peaked at #12 in the UK chart in July 1990; by coincidence, that same month another Warp act, Tricky Disco, reached #14 in the UK chart with another eponymous single, "Tricky Disco".
The first album released was Sweet Exorcist's C.C.E.P. in 1991. In the same year Robert Gordon left Warp acrimoniously.
Warp went on to release a series of singles and albums from 1992 under the Artificial Intelligence heading, a series of experimental electronic music releases by artists such as Aphex Twin (as Diceman and later Polygon Window), Autechre, B12, the Black Dog, Richie Hawtin and Alex Paterson (of the Orb). Initially all the album releases were gatefold sleeves and coloured vinyl, often with striking covers by The Designers Republic or Phil Wolstenholme. A VHS compilation of digitally animated music videos called Motion was released in conjunction with the second Artificial Intelligence compilation, and featured an early work by director David Slade.
Since then the label has evolved, and later artists were a similarly eclectic group, and included the influential DJ Andrew Weatherall (as Sabres of Paradise and later as Two Lone Swordsmen), the live sensation Red Snapper and experimental hip-hop group Antipop Consortium.
In 1999 the label released Warp 10: Influences, Classics, Remixes, a compilation spanning six discs, featuring early acid house and techno music that influenced the label and its artists, as well as classic tracks from Warp's back catalog, and new remixes of Warp material. The collection celebrated the label's tenth anniversary.
In 2000 the label moved its operation to London along with its physical music and merchandise store Warpmart.
Co-founder Rob Mitchell was diagnosed with cancer in early 2001. He died later that year.
In January 2004 Warp launched an online digital music store, Bleep, notable for being among the few stores to completely avoid all digital rights management features in the downloadable tracks, unlike other music stores such as iTunes and Rhapsody.
On 27 September 2004 Warp released its second music video compilation, named WarpVision, featuring most of the videos produced from 1989 to 2004.
2005 saw the release of Warp, the first book in the Labels Unlimited series. Written by Rob Young, the book gives an illustrated history of the label, as well as offering a complete discography. The Warp website said the book was “A very beautiful thing and like our very own This Is Your Life".
The label recently began to expand outside of electronica by signing indie rock bands such as !!!, Battles, Born Ruffians, Maxïmo Park, Gravenhurst and Grizzly Bear.
For the label's 20th Anniversary in 2009, several Warp20 concerts took place in Paris, New York City, Sheffield, Tokyo, Berlin and London.

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Venue

La Maroquinerie

Created in 1997, La Maroquinerie can welcome 500 music lovers. Its eclectic selection offers you the edgiest and the hottest of today s sounds. But you can also chill out at the bar / restaurant or at the covered terrace, combining a musical evening with gastronomy ! This truly is the finest of the Parisian concert scene, and the staff has always welcomed us with open arms... Great sound, lighting, atmosphere and musical selection. Word.

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Promoter

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Styles

• Pop
• Pop Rock
• Rock
• Indie Rock

Sounds like

The Morning Benders, Young Rival, Tokyo Police Club