The darkwave duo Denuit have just released their album nothing lasts | forever (review) and invited the Parisian public to celebrate the occasion at Le Chinois, the new hotspot for alternative and underground music and the venue for an increasing number of events organised by Persona Grata, who were, of course, still very much involved that evening. A strategic approach at the start of the evening was to stay near the bar, plant yourself in front of the fan and survive the stifling heat that was still tormenting Paris… but strategy is for people who make like to complicate things, and we certainly weren’t going to stay at the bar when Emmon was about to take to the stage!
EMMON
Opening the evening, Swedish artist Emma Nylén was performing in France for the very first time. It was about time: her EBM/darkwave/techno project, Emmon, finally seems to be reaching an ever-wider audience after more than 25 years! On stage, she was accompanied by her long-standing collaborator Jimmy Monell on keyboards (who has also worked with Kite and Rein, amongst others)... but also by her infectious energy, with which she instantly won over the crowd.
The concert kicks off just like her latest album, ICON, with Neon Brown, whose eco-anxiety provides the perfect backdrop for Nylén to showcase the power of her voice. Filled with emotion, she brings something that is both visceral and elegant: it’s rare enough to be worth noting, but Emmon’s vocals sound even better live, with a greater presence! The good news is that, in fact, everything sounds even better live: it packs a punch, the EBM influences are more muscular (the intense Decisions, the edgy Speak to Me, or Dark - perfect for strutting your stuff wearing a tank top!), modernised by very contemporary elements (the EBSM touches on Hard Drive, the coldness of Purebloods which suddenly takes on an almost cinematic theatricality) but also heavily imbued with 80s vibes. There’s a certain Eurythmics-esque vibe, with a techno/EBM twist, that’s captivating and speaks as much to the heart as it does to our bums, begging to wiggle (the more melancholic Shades of Blue, introduced by Emma as one of her favourite tracks: yes, Emma, it’s one of ours too!).
We were mentionning the frontwoman’s infectious energy. Then there’s her beaming smile and the few exchanges she has with the audience. She introduces herself: she’s from Sweden, a land of “cold darkness”. We’re envious of that cold darkness right now, as we’re sweating buckets whilst searching for a breath of fresh air from a fan. Towards the end of the set, she dedicates Like A Drum to her ‘favourite people in France’, the duo Potochkine, who’d remixed the song and who are, of course, in the audience… Yes, yes, Emma, we love Potochkine too! So you see, we agree with you on every point – your songs are brilliant, the ‘cold darkness’ is brilliant – so now we hope you’ll come back very soon, won’t you, because it was absolutely brilliant. In fact, the crowd at Le Chinois know exactly what they’re doing and decide to turn up the heat in the venue by a few more degrees with their enthusiastic reception. Which was the least they could do, but also totally irresponsible given how we were already sweltering! Emmon leaves, thanks everyone and hands over to the “fantastic De-nou-eeeee”, and from now on, that’s how you’ll have to pronounce Denuit.
DENUIT
From gig to gig, we see Denuit refining their show, managing to bring their dark world to life with very little artifice. The red curtain at Le Chinois at the back of the stage obviously adds to the theatrical effect, whilst, in total darkness, the duo slowly take to the stage to the sound of Cyanure. De-nou-eee, as we now say, take their time; the atmosphere builds gradually. Lis waves her torch in the darkness, revealing her silhouette and that of Ivi, who, as usual, is hidden behind his hair.
Then, Denuit take us by the hand (sometimes literally) to invite us into this melancholic world of sighing spectres, poetic torments and cathartic dances (as in show your face, whose energy will prove liberating later in the evening). The atmosphere created is sombre yet welcoming, a warm cocoon of darkness (hey, it’s not called ‘Dejour’) made up of sorrow but also kindness – the ideal setting to contrast wistful melancholy with catchy rhythms, as with Cendre, that anthem which nestles in our heads and never leaves. At times, the tone hardens, as with Skeletons, which is as exhilarating as ever, or the recent echo from hell, whose live rendition accentuates its menacing, martial EBM tone.
Denuit’s biggest strength, however, lies in the aura the duo exudes – that attitude which is at once vulnerable and almost protective, that nurturing bubble that seems to form around the stage and which stems as much from the music as from their demeanour. That vulnerability – a blend of discretion and self-assurance – and that romanticism: it never fails to work. Denuit have honed their stage presence, featuring simple yet effective touches that allow each track to stand out (such as Faceless, performed with one hand covering the face for almost the entire duration). Rest assured, though: when Ivi steps away from his position to share the limelight with Lis, he remains hidden behind his hair! We’re a little more concerned, however, for Lis, who throws acrobatic kicks into the air despite her shoes weighing 20 kilos each and leans backwards with a flexibility that makes the joints of three-quarters of the audience creak: Denuit may be a ghostly affair, but it’s also a physical one!
So there were plenty of reasons to have a great evening. The first was quite simply that the music was brilliant. The second was that the artists’ stage presence made them instantly likeable. But also, looking back, there’s something deeply satisfying about both Denuit and Emmon: both are aware of their musical roots and their 80s influences, yet know how to modernise them to offer a take that’s both contemporary and personal. Their sensibilities, blended for example with EBM – a genre often associated with exaggerated machismo – offer us something as refreshing as it is necessary: this is the future, conscious of its musical heritage yet with a strong personality that allows each of these two projects to be unique in its own way.
