Unraveling the Sonic Journey of Club d'Elf
Club d'Elf has spent an impressive twenty-seven years captivating audiences with their unique blend of musical styles that transcend time and cultural boundaries. Their sound is an eclectic fusion imbued with elements of Moroccan trance, dub, electronica, jazz, and improvised funk, which often transports listeners to a realm that feels both ancient and timeless. At the heart of this innovative ensemble is bassist and composer Mike Rivard, whose creative vision is complemented by a rotating cast of talented musicians from Boston, New York, and beyond. This dynamic arrangement fosters a vibrant ecosystem of sound where trance serves as the foundational element of the band's aesthetic. The late Brahim Fribgane, a long-standing member and Casablanca native, played an instrumental role in embedding Moroccan trance music into the band’s DNA, leaving behind a legacy that continues to resonate through Rivard’s captivating sintir performances, honed under the mentorship of Fribgane and Gnawa masters like Hassan Hakmoun and Mahmoud Guinia.
Exploring 'Loon and Thrush' and Its Ethereal Soundscapes
The band’s latest album, 'Loon and Thrush,' released on April 10th, was crafted entirely through live recordings in the studio, showcasing a commitment to authenticity while minimizing overdubs. This approach channels the band's rich musical lineage into a raw, improvisational experience. Although the album predominantly features Rivard's original compositions, it also pays homage to significant influences, including Moroccan-infused interpretations of classic tracks from the Grateful Dead, such as “Bird Song” and “New Speedway Boogie.” The thematic essence of the album revolves around the concept of “flight,” illustrated through the avian imagery of the title track, the celestial journeys depicted in the Dead's music, and the enduring influence of Fribgane—whose spirit continues to guide the band's sound.
Today, Glide Magazine is proudly premiering the evocative music video for the standout track “Atlas Mountain Hop.” This composition unfolds not as a conventional song but rather as a slow-burning ritual, blending elements of dub séance and desert caravan groove. The hypnotic pulse of the track allows time to stretch and contract, creating an immersive experience for the listener. Anchored by a thick, elastic bassline and earthy yet ethereal percussion, “Atlas Mountain Hop” draws on North African textures, with the band embracing their improvisational roots to let the groove breathe and evolve organically. Guitars shimmer at the edges, keys drift in like heat waves rising from the sand, and subtle electronic accents flicker through the soundscape like distant stars on the horizon. The collective talent of the band culminates in a sound that feels both timeless and forward-thinking while the accompanying animated video beautifully enhances the auditory journey.
In a reflection on the inspiration behind “Atlas Mountain Hop,” Mike Rivard shares insights into his musical influences, specifically the Rwais—Amazigh musicians from the High Atlas mountains. The Amazigh, regarded as the indigenous inhabitants of North Africa, are referred to as “free people” or “noble.” Rivard initially referred to them as “Berbers,” a term he acknowledges carries colonial connotations. The Rwais are nomadic poets whose music often comments on contemporary issues, echoing the griots of West Africa. They accompany their storytelling with traditional instruments, such as the lotar and rebab, the latter of which Rivard describes as having a haunting sound reminiscent of a human voice intertwined with a flute. His journey into this musical realm included acquiring a rebab and learning from notable Amazigh musicians, inspiring him to transcribe a long, traditional melody from a Rwais performance that became the foundation for “Atlas Mountain Hop.” With contributions from fellow musicians and innovative ideas from Paul Schultheis, the track evolved into a homage to both Led Zeppelin—known for their collaborations with Moroccan artists—and the Rwais themselves.
The song stands out as the most Moroccan-centric piece on the album, juxtaposing a lush, dream-like ambiance with heavier North African prog-rock elements during the unison melody sections. Featuring an impressive lineup of musicians including drummer Dean Johnston, percussionist Matt Kilmer, turntablist Mister Rourke, and guitarist Lyle Brewer, who delivers not one, but two electrifying solos, the track is a testament to the band’s collaborative spirit. Rivard also praises animator Matthew Watkins, who previously worked on videos for their last album, for his creative vision in crafting the animated visuals for this song, further connecting it to the overarching theme of flight.
As reported by glidemagazine.com.
