The members of the French group L’impératrice believe that their current tour, in which they have played at the famous US festival of Coachella and in Mexico, has expanded their audience and allowed them to internationalize their sound.
“The difference between (the album) ‘Matahari’ and ‘Tako Tsubo’ is that this time we had an international audience that we didn’t know before. Before traveling, we were just a French band making music in French for French-speaking audiences and at the end of the ‘Matahari’ tour everything had changed,” vocalist Flore Benguigui told Efe this Thursday in an interview during her third visit to Mexico.
The group formed in 2012 released its debut album “Matahari” in 2018 after having made several EPs and having found the voice of the band in 2015 in the singer Benguigui.
Their pop, funk and electronic sounds, the sweet tone of Flore singing in French, coupled with a retro and futuristic aesthetic at the same time, broke the language barrier and took them to scenarios that they would never have imagined.
“Now we know that we can make music in French for people who don’t speak French,” says Flore.
A CLOSE RELATIONSHIP WITH MEXICO
The first presentation of L’Impératrice in Mexico was in 2019. Shortly after, they announced their return a year later to be part of the Ceremonia festival, but the pandemic got in the way of that and their presentation at Coachella.
Now, this Thursday they will have a meeting with their fans from Mexico City from the Pepsi Center with a show in which they promise to turn the venue into “a huge dance party.”
“We are going to have new songs with old songs, we work with transitions, there are many different moods throughout the concert”, replies Charles de Boisseguin, who will wear an orange suit with a luminous heart, like his companions, for the concert.
Hagni Gwon, keyboardist of the band, assures that it has been a surprise for them to see the affection and reception of the Mexicans to their music and in particular to them as people.
FROM PERFECTION TO FREEDOM
According to Boisseguin, one of the main differences between their first album and “Tako Tsubo” is the freedom they achieved after having consolidated as a group after their tour and having made the first album experiment with all the care to do it well.
“’Matahari’ was the first album and we wanted to do the exercise well, I think its construction was very different because we were more into classic pop (…) Now we wanted to take it on and create something completely different and I think ‘Tako Tsubo’ is a freer album in terms of sound and lyrics”, says Charles.
Songs in English, inspiration in Californian sounds and music, a Japanese title that evokes the feeling of having a broken heart and the irony with which they manage to give “greater meaning to the lyrics”, flood the second album of the Parisian band.
“We did not make songs in English for a marketing purpose, but to reach our audience (…) some had a French song vibe and others in English. It is not a decision that we make, it is something of the vibe that comes very naturally”, thinks Flore, who also enjoyed capturing humor and satire in the lyrics.
The album was presented in the pandemic but only one of the 13 songs on the material was written in those times. For this reason, although there is something of the feeling of sadness that the confinement brought, they consider that this environment did not mark the making of the album.
“We wanted it to be an album that was out of time so we didn’t really care what happened,” says Hagni.
Finally Flore assures that he is excited about the idea of making a song in Spanish as a token of gratitude to his Latin American fans, although at the moment the closest thing he is to the language is Italian.
We would like to give thanks to the author of this post for this amazing content
L’Impératrice: We are no longer a French band making music for French people