The Feeling of Love – Petite tu es un Hit LP


Label: Yakisakana Records (I cannot find an actual working website for this label)
Listen: Myspace
Buy: Goner

Five things I’ve learned about Metz, France’s The Feeling of Love in the past 30 minutes:

1. The G referred to on the back cover of Petite tu es un Hit is one Guillaume Guitare.
2. Guillaume is also a member of A.H. Kraken.
3. Guillaume started The Feeling of Love in 2005 as a one-man band.
4. While French underground rock hero Seb Normal joins Guillaume on the majority of the tracks on Petite tu es un Hit, the current lineup is Guillaume and two other guys, both named Sebastian.
5. Guillaume Guitare is on welfare.

(Credit goes to the most recent entry on the band’s Myspace blog featuring a Groupie Mag article scan for learning me on the above. I’ll flat out admit right now that the article probably does a better job selling the band and their record than I do.)

As mentioned earlier on here, The Feeling of Love has a Pussy Galore/JSBX-inspired take on rock’n’roll. However, unlike, say, the Coachwhips, The Feeling of Love takes more from the side of PG/JSBX that knew how to write a good song (“PUSSY GALORE WRITES SONGS???”) than the side of them that knew how to make the noisiest racket out of what they had in order to alienate. You might be asking where the Pussy Galore is in The Feeling of Love’s sound then because, wasn’t PG’s ability to make a whole lot of noise a large part of their appeal?

The thing is, you know it, the Jon Spencer Blues Explosion has not aged well AT ALL. Especially the later stuff.

That being said, The Feeling of Love rests comfortably between the two bands, emphasizing a part of Pussy Galore that is not talked about much (at least not that I’ve witnessed) while stripping away JSBX’s penchant to overdo the blues until it becomes ultra-cheeze. All this talk of Jon Spencer projects makes The Feeling of Love sound pretty damn uninspired but rest assured, Guillaume adds some of his own unique French flavor to Petite tu es un Hit, whether it’s the crusty-sounding keyboard that pops up from time to time or the dark lyrical territory covered on tracks like “The Rapeman”. This is a record that admittedly sounds like the tried and true on an initial listen but reveals its uniqueness, how strange it all really is, on repeat.

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