Klaxon Gueule was born out of an organ donation. It happened on a Tuesday evening in 1995, during a meal of macaroni. Their goal was instantly clear, there was no way back: the trio would have to last for the next twenty-five years. As in a game — once you know the little tricks of sharing, many things that seemed bewitching at first begin to loose their magic. Klaxon Gueule is the perfect trio: a synthesis between the outside world and the self. Eros, like music, is a branch of nutrition. Klaxon Gueule is an intuitive nutricious trio.
Three distinctive periods mark the evolution of the ensemble:
1. Machinism, the interactive-acceptance stage, informed by hyperactivity and intra-salivation: it gave birth to Bavards (1997) and Muets (1999).
2. Negativism, the symbiotic-reflux stage, informed by revolution and nihilism: it gave birth to Grain (2002) and Chicken (2004).
3. Relativism, the spatiotemporal-fetishistic stage, informed by maturity and insouciance: it gave birth to Infininiment (2009) and Pour en finir (2014).
Guitar, bass and drums, the line-up that has branded the musical evolution of the second half of the twentieth century is indeed an eclectic one, always prone to taste new cocktails: a daiquiri here, a maracuja there and one or two giant-size coolers.
Falaise, St-Onge, Côté: three different ways of rejoicing that intertwine in a perpetual dance, a way to celebrate the ecstatic virtue of friendship through music, and to extoll each members’ otherness.
Music is the field of time. Klaxon Gueule is a vegetable business.