#Carole Epinette

[derwahnsinn]

Rammstein 1998, in a rooftop pool, by Carole Epinette. There are at least two different versions of this, although they look quite similar.

(x)

[herrlindemann]

Till, December 2009 / Carole Epinette [HQ]

[rollingstonemag]

Un nouvel article a été publié sur https://www.rollingstone.fr/livres-fetes-de-noel/

Les livres à poser sous le sapin de toute urgence

Les Fêtes de Noël approchent et pour l’occas’, la rédaction vous propose une liste de bouquins à commander sans hésiter ! De Michael Jackson à The Clash, en passant par une édition anniversaire de Pif Gadget et un recueil de Carole Epinette… il y en a pour tous les goûts

Pour commander vos exemplaires, cliquez sur les visuels. 

Johnny Hallyday Inside, de Renaud Corlouër (Le Cherche Midi)

Plus qu’un simple résumé des tournées Jamais seul et Born Rocker Tour en 2012 et 2013, Johnny Hallyday Inside, signé par le photographe Renaud Corlouër, présente le chanteur disparu il y a un an dans toute sa puissance. Dès la couverture, en noir et blanc, on plonge dans le monde du Taulier, dans son regard d’acier, souligné par les poings serrés, les doigts bagués.

Plus qu’un making of des concerts et en même temps, de la vie de l’idole à ce moment, cet ouvrage conséquent de 3,7 kg, rappelle que Renaud Corlouër passera dix-huit mois durant sur les routes et prendra plus de  50 000 photos.  Accompagnateur VIP, il participe et mieux, partage ces tranches de vies, que ce soit en jet privé ou en convoi à moto. En photo-reporter chevronné,  il se fondra dans le décors pour mieux capter l’essence même de ce que représente Johnny. Gonzo-photographe ? Non, il ne s’intègre pas dans l’histoire pour lieux la raconter.

The Clash – L’intégrale, de Martin Popff (Editions Place des Victoires)

Journaliste musical canadien aguerri, Martin Popoff propose dans cette intégrale Clash une chronologie fouillée de tous les albums et chansons du groupe, assortis de photos peu vues jusqu’ici et d’illustrations constituées de flyers, billets de concerts, affiches… Cette plongée au cœur du processus créatif du quatuor punk montre clairement que les Clash n’ont pas versé dans cette anarchie tant revendiquée à l’époque : ils ont trimé durement pour s’imposer et quelle qu’aient été les erreurs commises, chaque décision était prise avec une sincérité et un engagement rarement démenti. Punk mais consciencieux !

Le rock est mort (vive le rock !), de Vincent Brunner et Terreur Graphique (Flammarion)

Célébration d’une centaine de patriarches du rock « still alive ». Catégories vieilles canailles, sex symbols du 3e âge, icônes, punks, déglingos, mystiques ou sourdingues… avec état de santé, destroymètre, chansons doudou et même épitaphes ! Obsolescence rapide avec Johnny et Rachid Taha… mais humour noir et catharsis garantis.

  Miles Davis, les sessions photographiques de Jean-Pierre Leloir et Philippe Margotin (Glénat)

La première image de cet imposant album immortalise Miles Davis avec Juliette Gréco, dans les loges de l’Olympia, en novembre 1957. Des clubs de Saint-Germain à ses ultimes concerts, Jean-Pierre Leloir ne va cesser de développer une relation de profonde complicité avec le trompettiste, et d’accumuler des clichés absolument exceptionnels, aujourd’hui r��unis dans cette monumentale monographie de plus de 200 photographies, dont beaucoup inédites à ce jour. A kind of beau cadeau !

Michael Jackson – La Totale, de Richard Lecoq & François Allard (E/P/A)

Dernier né d’une collection au succès amplement mérité, Michael Jackson La Totale, écrit par deux spécialistes incontournables de Jackson, fait en plus de 600 pages le tour quasi exhaustif de la question, de « Big Boy », le premier enregistrement référencé des Jackson Five en 1967 au récent scandale des trois titres publiés sur la compilation posthume « Michael » (2010), qui auraient été interprétés par un clone vocal de la star. Si cet ouvrage richement documenté et aux analyses érudites souvent brillantes lève le voile sur beaucoup de secrets du King of Pop, il en reste encore quelques un à percer… ou pas !

Andy, un conte de faits – La vie et l’époque d’Andy Warhol, de Typex (Casterman)

Réputé pour ses illustrations dans la presse musicale anglo-saxonne, notamment le Mojo britannique, l’auteur et artiste néerlandais Typex a consacré cinq ans de sa vie à ce Andy, Un conte de faits, qui relate en pas moins de 562 pages la folle existence du pape du Pop Art. C’est très documenté et très impressionnant, tant du point de vue des dessins que du scénario. Dix chapitres à lire petit à petit – les infos et les références fourmillent – et où l’on retrouve Lou Reed, Nico ou Jean-Michel Basquiat. Et à un prix plus que raisonnable au vu de la qualité de l’objet.

Annie Leibovitz au travail, d’Annie Leibovitz (Phaidon)

Richard Nixon quittant la Maison Blanche (1967), les Stones en 1975, Arnold Schwarzenegger en 1988, John et Yoko avant l’assassinat, Leigh Bowery en 1993, tout de latex revêtu, la Reine d’Angleterre en 2007, son dernier portrait de Susan Sontag… Derrière chaque image, une rencontre, un éclairage, un appareil plutôt qu’un autre, une histoire à raconter au delà même de la force expressive, évidente, du cliché. C’est ce que l’on retrouve dans ce livre aussi beau qu’intelligent d’Annie Leibovitz, révélée par Rolling Stone en 1967.

Rock Fictions, de Carole Epinette (Cherche midi)

L’idée a saisi la photographe en pleine nuit et ne l’a plus lâchée : proposer à des auteurs venus de tous les univers de choisir un cliché parmi ceux qui avaient composé son exposition itinérante Rock Is Dead et laisser voguer leur imagination. D’Amélie Nothomb à Thomas VDB, en passant par Jérôme Attal ou Erwan Lahrer, ils sont une vingtaine à avoir répondu à l’appel des Tool, Rage Against the Machine, Pete Doherty, The Cure et consorts. Le chic des photos et le poids des mots ? Ça matche !

Rock, de Philippe Manœuvre (Harper Collins)

Voici donc venue l’heure du grand bilan, de l’inventaire, des souvenirs d’une enfance champenoise à sa grande rencontre avec le rock, pour l’homme au Perfecto & lunettes noires. Dans ce roman autobiographique (donc pas la peine de chipoter sur les anecdotes), le rédacteur en chef de Métal Hurlant et Rock & Folk raconte ses rencontres avec Gainsbourg, Johnny, Dionnet, Moebius, Prince, Polnareff, JoeyStarr, ou encore Jean-Luc, son chauffeur et ex-bras droit de Mesrine. Ou l’itinéraire d’un enfant gâté du rock.

Rock’n’roll Animals, grandeur et décadence des rock stars 1955/1994, de David Hepworth (Rivages Rouge)

Pour info, David Hepworth, célèbre critique musical anglais n’est autre que le fondateur de Q, Empire ou Mojo… Dans ce condensé de l’histoire du rock, on découvre sous la forme originale d’une réflexion, quarante portraits d’icônes saisis à un moment clé de leur carrière et inscrite dans la perspective de l’évolution de l’espèce rockstar : la rencontre entre McCartney et Lennon, Little Richard braillant son « Tutti Frutti », Brian Wilson qui devient fou, les Stones virant Stu Stewart ou encore les dernières heures de Kurt Cobain… Un must par un maître.

Pif Gadget, l’album des 50 ans (Éditions Hors Collection) 

En 1945 débarque l’hebdo Vaillant, qui deviendra en février 69 Pif Gadget. Un tournant médiatique inédit à l’époque. Des aventures (Rahan, Corto Maltese), aux faits historiques et d’actualité, jusqu’aux pastilles humoristiques parsemées de pages en pages… En parallèle d’une belle renaissance du fameux journal, dans une version modernisée, ce recueil spécial anniversaire retrace ses meilleurs moments, en images et récits. La saga passionnante d’un magazine hors du temps mais jamais démodé, intergénérationnel.

Une sélection concoctée par Loraine Adam, Philippe Blanchet, Xavier Bonnet, Sophie Rosemont et Denis Roulleau. 

[pear-pies]

Placebo shot by Carole Epinette

Rock & Folk magazine - April 2003

[perfunctory-idols]

Beck in LA, December 2004 

Photo by Carole Epinette

[leia85n]

FLAMES: Rammstein is known for their use of effects, in particular fire, on stage. Lead guitarist Richard Z. Kruspe enjoys that a lot. «It's hard to play an instrument while still handling all of these effects. We've tried a lot though. For a while I had a burning guitar. Then I had a guitar that I destroyed. Or these flaming microphone stands. You think these little tricks look good or that you're cool. When you probably look ridiculous. Sometimes it gets really hot. But I really like that sort of thing. I have absolutely no fear of fire. In fact, I love it. The closer I am, the bigger the kick.»

Source: https://www.instagram.com/wir.sehen.euch/

Photo:  Carole Epinette @caroleepinette 1998

[littlemsscareall]

Carole Epinette

[ashtraygirl99]

Ph: Carole Epinette, 1996

[etiennedaho]

MERCI PARIS

Et merci à Unloved Ultra Orange 'duggie Fields'

Photo : Carole Epinette, http://www.karoll.fr, Carole Epinette Photography Photos personnelles.

[herrlindemann]

Rammstein in Los Angeles, 1998 / © Carole Epinette [2048 x 3065]

[endlich-allein]

Till ❤️ (Berlin, Germany, 19-05-2001)

📸 credit to Carole Epinette

[rollingstonemag]

Un nouvel article a été publié sur https://www.rollingstone.fr/lexposition-rock-is-dead-sinvite-chez-rupture-records/

L'exposition "Rock is Dead" s'invite chez Rupture Records

Du 3 Mai au 23 Juin, le disquaire Rupture accueillera l’exposition « Rock is Dead » de la talentueuse photographe Carole Epinette

Depuis le Disquaire Day, le fameux disquaire Rupture Rercords à fait peau neuve. Fondé par Alexandre Sap, Rupture est à la fois un magasin de disque et un label totalement indépendant, qui se niche parfaitement dans la culture parisienne. Dédié aux artistes émergents et bâti sur des années d’expériences et de passions, Rupture propose un rayon plutôt large de galettes, dans un cadre vintage.

Cette re-ouverture est d’ailleurs la parfaite occasion pour présenter la nouvelle exposition de la photographe – et passionnée de rock – Carole Épinette. Celle-ci est revenue en France après de longs périples, inaugurés depuis 1994, où elle a pu capturer de son appareil photo des légendes telles que Lemmy de Motörhead, les musiciens de Rage Against the Machine, Red Hot Chili Peppers, mais aussi Ozzy Osbourne, Jack White, David Bowie, Jacques Higelin, Louis Bertignac… Un mélange cosmopolite et exclusif de portraits et photos de concerts en noir et blanc à découvrir dès aujourd’hui au 3 rue de la fidélité, dans le Xe arrondissement de Paris.

  © Rupture Records

© Rupture Records

En plus d’être le point de rendez-vous pour les adeptes des pèlerinages musicaux, Rupture Records demeure un lieu de partage. Entre deux trouvailles de vinyles, le disquaire vous invite à boire un verre. Le tout, entouré des oeuvres de Carole Épinette affichées un peu partout. Un voyage de 20 ans d’archives photos qui est présenté jusqu’au 23 juin prochain, ne tardez pas !

[pear-pies]

Placebo in Rock & Folk magazine - April 2003

Words by Jerome Soligny, photos by Carole Epinette

Wonky translation under the cut:

These three did it all. Shot with the QOTSAs and posed with Indo. They survived "Velvet Goldmine" and the Top Bab. They come back after the ordeal of the fourth album. Danger interview: “Jerome, what if you came out?” They ask our charming reporter.

"We do not regret anything"

Everything begins again with "Bulletproof Cupid", a punky instrument that pulls everything off. Then "English Summer Rein", mechanico-depressive spinning punctuated by twisted keyboards, and "Sleeping With Ghosts", the lament which advances while blistering during cooking, confirm the tone. Against all expectations, because you never know how will age the groups that the previous album installed at the Top, Placebo took over. And stuffed it in an iron glove. Further on, "The Bitter End" tumbles through yapping guitars which would stick to the hatches the thickest of the sailors. Be careful, Placebo is on the way out of being one. At the end of the record, Brian Molko, Stefan Olsdal and Steve Hewitt do not even run out of steam. The cows. They drop a "Centerfolds" which frolic like a cynical top under a shower of saving doubts. What augur still other perspectives.

The fourth album: a horror for all who have faced it. Often a stupid trap. Returning from the Gothic directly inherited from the glam of pageantry and from these hasty and harmful certainties which congest the face and the veins, Placebo publishes its first real great disc. Oh, not the marvel of wonders, not the album from the third millennium, but something very strong, compact, tenacious in listening, which proves that the future is indeed there, in front, where the light is most blinding. Calfeucée in their Parisian hotel (the Costes, of course), our three lads do not make the blow of the revelation, of the luminous questioning. Simply, they now think with their heads, a good plan most often Likewise, reality no longer frightens them, and it is probably she who is hiding behind this "Sleeping With Ghosts" which relates the sorrows only for the better. melt into hopes At the moment when rock brings us back to life and when we just want to ask them everything, the Placebo have decided to say everything. Not even in a hurry, they settle down on the couch, ready to talk like never before. Despite new batteries embedded in the carcass, the Panasonic barely a Brian Molko: Hey Jerome, you came to talk to us this time when you had not come to the previous album ...

Rock & Folk: Uh yes but I was there for the first two, that says a lot, right?

Brian Molko: Certainly, I also believe that over time, we finally appreciate the true nature of the problem: we were mainly criticized for the sound of the previous album, which I can understand but, paradoxically, it is the one that brought us to the Top.

R&F: Legitimately, we have the right to expect a lot from the people we love: while "Black Market Music" sounded a bit like a sequel, this new record is all about a renaissance.

Brian Molko: Actually, we were finally able to live a little. After having existed in a small bubble for a very long time, we forced ourselves to take an eight-month break. The album-tour rhythm put us on the sidelines: we no longer had normal contact with anything. We were losing ourselves. We have fully lived the old cliché which claims that we spend the first years of our life writing a first record and six months on the second. It turned out to be very true. We had to get back to the situation of the first album, see friends, go shopping, look at the buildings in our city.

R&F: So the freshness would come from there ...

Brian Molko: Yes, and it was essential spiritually, emotionally and physically.

Steve Hewitt: We had to be in tune with reality again.

Brian Molko: In fact, we find ourselves in a bit of the same state of mind as when we released "Without You I'm Nothing", although "Sleeping With Ghosts" is a lot less gloomy. The heroin has since stopped leaking. In fact, I feel like I've pulled myself out of what I consider my second teenage years, between twenty and thirty. I conquered the self-destruction, exorcised some demons, understood what had happened to me. I held on to what I had learned. As a human being, I am now able to continue living, to try to answer the big questions posed by existence.

R&F: Maybe that's why the melodies are needed this time. It took me four records to get a favorite Placebo track.

The whole group in chorus: Which one?

R&F: "Protect Me From What I Want", of course ...

Brian Molko: The most paradoxical is that this song dates from the end of the "Black Market Music" sessions. I was not married at the time, but I was trying to get out of a particularly vicious divorce.just started. Then we wait for the lyrics, which don't arrive, it's rather intriguing. We especially wanted to avoid the big Rican producer side, we needed someone who shakes us up a bit. Jim could do that because he comes from dance and his pedigree is impressive. We have all his records at home, Bjôrk, Massive Attack, Sneaker Pimps and especially DJ Shadow. It is believed that guitar rock can only evolve by incorporating new genres, this is the only way to remain a modern rock band. At home, we practically only listen to hip hop.

R&F: Still, he didn't betray you.

Brian Molko: No because he actually brought out our rock side, which I'm particularly proud of. In fact, because we always wanted to control everything, it was not easy to be forced, to do certain things backwards, to walk on the head. But in truth, that's what we wanted: yes, there was some tension in the studio but we all took advantage of it. The challenge is necessary and it is also valid for the public. We opened up and rediscovered ourselves.

Stefan Olsdal (emerging from his chair): We found ourselves in front of the mirror, at the foot of the wall: someone had to kick our ass.

Brian Molko: Jim was like, "Why are you doing this?" We would answer him: "Because we always do it like that!" He would say: "All the more reason not to do it."

Stefan Olsdal: On the first day, he messed up all the demos, changed the tones, the tempos ...

R&F: Like Brian Eno ...

Steve Hewitt: Yeah, but with a lot more compassion. Eno is a bit (silence) ... We don't really like being told our actions, but at the same time, we are still young, still absorbing. Jim knew how to preserve us while making a modern sound.

R&F: Modern and rock'n'roll at the same time, a characteristic which does not necessarily apply to all the young groups in The which recycle the past gently but are convinced to have found the virus of the AIDS.

Steve Hewitt: Placebo doesn't belong to any current, has nothing to do with fashion.

R&F: You always pose as outsiders.

Brian Molko: It's the only way to survive.

Steve Hewitt: These bands, like The Strokes, play the nostalgia card.

Stefan Olsdal: And what happens next? I would not like to be in their place.

Brian Molko: If you want good New York pop, you better listen to Blondie.

R&F: In 2003, 11 seems that you have abandoned all the androgynous paraphernalia, sexual ambiguity, glam references ...

Brian Molko: I think today everyone knows what there is to know. Our sexual inclinations haven't changed, and we still wear makeup. It is just more expensive and better applied. We are ourselves, in our music and in private. I went through my travelo period (in French in the interview - Editor's note), and I understood that being androgynous was not wearing skirts. It is a way of being on the spiritual plane. It is not an image but a state of mind.

Steve Hewitt: It's like being punk, it's an attitude.

Brian Molko: At the same time, I don't regret any of my eccentricities. I grew up in the spotlight and it all kind of makes me smile.

Stefan Olsdal: People still talk to us about certain outfits or positions, as if it still shocks them.

R&F: Yes, and particularly in France, a particularly homophobic country which bumps heartily on gay artists.

Brian Molko: And you, coincidentally, you still hang out with.

Stefan Olsdal: Jérôme, it's coming out time (laughs) ...

Brian Molko: All that has to change, that all of France becomes gay (laughs)!

R&F: "Protect Me From What I Want" precisely, here is a title heavy with meaning. What was the idea behind this song?

Brian Molko: For me, it's a study of the pathological need people have to copulate, the search for meaning in copulation. As if bachelors or monogamists were aliens. As if we were only one when we were two. The song is about the fact that one relationship has destroyed me but I can't help but look for another ... why do I keep coming back to this?

R&F: Wow, we're bathing in philosophy here!

Brian Molko: Yes and it's the same elsewhere in the record: in "Plasticine", I insist on the fact that you have to be yourself above all while asking myself all these questions. Why do we have to do a lot of forbidden things, bad or harmful?

R&F: It's therapy in public.

Brian Molko: At least I find some balance in it. These are not songs about compassion or self-pity. They came out like this because it was vital for me. I am in this privileged situation where I can express myself and the world hears me. Otherwise, I would be really frustrated and I would have suffered a lot more in the last fifteen years.

R&F: Music saved your life.

Brian Molko: Sure.

Steve Hewitt: Everyone: I think we can say that. Without Placebo, we would not be not even alive.

Brian Molko: Spitting it all out is not necessarily the right solution. There are things with which to live. In fact, I've always been afraid to go see a psychiatrist ...

R&F: Yet, listening to you speak earlier, you could have the feeling that Jim Abiss acted a bit like a shrink with you.

Brian Molko: That's right. You could say that.

R&F: At a time when Bush and Blair want to play World War III, what attitude do you adopt? What do you think of these Englishmen who left for Iraq to constitute a human shield?

Brian Molko: Let's say we stand together. We participated in the March for Peace on February 14th with Damon Albarn and 3D from Massive Attack. We were also surprised that so few groups mobilized, which increased our desire to participate tenfold.

R&F: Do you consider that it is the role of the artist to give voice in such circumstances?

Steve Hewitt: Yes, in the sense that we can help with general motivation.

Brian Molko: I'm very interested in seeing if Blair is going to let Bush bomb Iraq with the British present on the soil of the country. If he ever allows that, the consequences will be dire.

R&F: It will only be one more religious war, in the name of oil and money ...

Brian Molko: It seems absurd that we can still fight for that. And curiously, nobody speaks more, or almost, of Bin Laden. Wouldn't it all come from him, by chance, as a huge consequence of September 11? On the other hand, we have such a feeling that Bush wants to finish the job that daddy started. Its image is so bad that it needs at least one war to restore its image.

Steve Hewitt: And reinvigorate its dying economy.

R&F: The method is lamentable, deceitful. Like those employed by the recording industry which claims to be doing well by selling pop in damaged boxes to ignoramuses.

Brian Molko: The ability of this job to ingest people, bribe them and then spit them out is impressive. This is what happened here at Canal +.R&F: Business is the beast.

Brian Molko: All these pre-made artists are young and naff ...

Steve Hewitt: They'll all end up in a labor camp for ex-pop stars.

R&F: Warhol was talking about fifteen minute glory, we're brutally passed to fifteen seconds.

Brian Molko: We should have called them Karaoke idols from the start.

Steve Hewitt: And it only works because of the TV ...

R&F: Who washes the poor, helpless brains.

Steve Hewitt: You can tell how much people want to think less

R&F: And spend less. For many, music should be free: one in five thirteen-year-olds doesn't know that a disc doesn't have to be a computer-burnt puck. Some are flabbergasted when they see a cover for the first time.

Stefan Olsdal: And those who don't buy records put pressure on those who have them to pass them on at all costs, just long enough to copy them.

R&F: Exactly.

Brian Molko: That's why we blame Robbie Williams so much. Scooping 80 million pounds off EMI and then declaring that pirating music is a fantastic thing just makes him want to stick a chunk in his face.

R&F .: And then piracy is not a matter of environment. It's not a suburban thing. There are rich kids who find it normal to burn 80 CDs during their weekend and sometimes sell them to their friends ...

Brian Molko: What do these people believe? That we are there, the face in the stream with a syringe stuck in the arm singing "La Vie En Rose"? And who will pay for our children's school? Not them, anyway. Our mentality is quite different: we always want to buy records from people we love, from our friends. Personally, we are partly out of the woods, but it will be particularly difficult for new groups to make a living from music in five or ten years.

R&F: Come on, we're not going to leave each other on this, a little humor won't hurt anyone. If you were to be banned from any of these three things, which would you choose: making music, making money or making love?

Steve Hewitt (almost tit for tat): I would stop making money, without hesitation. It's because I love music and sex too much. And then, well, you have to choose.

Brian Molko (completely overwhelmed): Oh damn, that's not true. What a dilemma!

R&F: No Brian, that doesn't count, make an effort (laughs).

Brian Molko: Ah, I don't know. And then if. I would stop making money and get on well with someone super rich.

R&F: Or you would be pimp ...

Brian Molko: Yes, that's it. Good plan.

Stefan Olsdal: Stop making love does not mean to stop loving ...

Brian Molko (preparing his shot): And we can always masturbate (general laughter).

Stefan Olsdal: OK then, I would stop making love.

R&F: Okay, it will be written in black and white for all eternity.

Brian Molko: Will we live long enough to regret it? This is the real question.

*COLLECTED BY JEROME SOLIGNY

[Inset, Trash Palace]

Already present on the first album by Trash Palace which he had adorned with his presence one unhealthy recovery of "I Love You, Me No More "in duet with Asia Argento, Brian Molko is coming to re-stack. This time he cosigns directly "The Metric System " with Dimitri Trash Palace Tikovoi, an electro saw boosted to bleeps fundamentals available in two remix and its clip on an enhanced single recently published at Discograph. The result is particularly (d) amazing and sounds good logical, like of Placebo cyber.Placebo in  Rock & Folk magazine - April 2003

[onthisfrozensea-weslide]

Photosession in Paris, by Carole Epinette

[littlemsscareall]

This is one of my fav Reesh looks. I mean look at him.

By Carole Epinette

[herrlindemann]

Rammstein - Paris, 08.12.2009 / © Carole Epinette [2044 x 3072]