"D.A.O.U.", by B.R.E.T.O.N.S., an album of 13 tracks, mainly consisting of covers drawn from very different styles... always more rock!
B.R.E.T.O.N.S., spelled in capital letters, each followed by a dot: An acronym? Not at all!
It is, in fact, a simple, specific, and efficient graphic effect intended to assert, imprint, and further promote a rooted cultural identity claimed and advocated by a vast array of musicians and singers, founders of a musical formation that originates, along the Nantes-Rennes axis, via the Pays de Lorient.
A band name, in fact?... Not anymore! Because beyond a musical combo, we are faced with a large collective, stemming from two groups, KERVEGANS and DIGRESK, one from Nantes and the other from Rennes, both Breton (44-Bzh), to which are added emblematic figures of Breton music (Ex-E.V. and Soldat Louis)... totaling no less than 14 musicians and singers!
To be among our very loyal and ever-growing visitors, you know, recognize, this name, B.R.E.T.O.N.S., and its wide and dense instrumental and vocal constitution, as mentioned above, this very energetic rock formation that unites distorted guitars and Celtic heritage, whether Breton, Scottish, or Irish.
Indeed, in March 2023, we presented its first album, equally effectively titled... B.R.E.T.O.N.S.! (Our review)
Referring you to this previous "digital paper," we will thus avoid being redundant in our remarks. But for ease and some expansion of the sections, since the first mentioned discographic publication, we allow ourselves to remind you, below, of the collective's lineup, following the alphabetical order (or almost, as used) of the first names that is customary and noted on the inner sleeve of the present and new opus.
Thus, here is:
- Anthony MASSELIN (SOLDAT LOUIS), on bagpipes and uilleann pipes,
- Anthony MOURIER (DIGRESK), on drums and samples,
- Brieuc VALLEE (KERVEGANS), on bombarde and vocals,
- Jessica DELOT (KERVEGANS), on violin, vocals, and backing vocals,
- Florian BRUNET (KERVEGANS), on bass,
- Frédéric DALIBOT (DIGRESK), on electric guitar and backing vocals,
- Frédéric SAUVAGE (KERVEGANS), also on electric guitar and backing vocals,
- Ghislain ROQUET (DIGRESK), on bagpipes and flute.
- Gweltaz ADEUX (Ex-E.V... but also the author of 2 solo albums, including "Eyjafjallajökull" (Our review) , on vocals and backing vocals.
- Julien MOURIER (DIGRESK), on electric guitar and backing vocals.
- Kevin COGEZ, (DIGRESK), on vocals and backing vocals.
- Kevin ASTRELLA (KERVEGANS), on drums, Scottish snare, and percussion.
- Nicolas TEXIER (DIGRESK), on bombarde and tin whistle.
- Xavier JAHAN (KERVEGANS), on vocals, banjo, bouzouki, electric and acoustic guitar.
Thus, here is the vocal and instrumental makeup of this second recording made by this powerful and multi-talented collective that has, very wisely and pragmatically, titled its new project... "Daou," simply meaning "two" in Breton!... But here too, to remain graphically in complete homogeneity with the name of the formation, written in capital letters followed by dots after each letter.
We present to you, therefore, "D.A.O.U.", by B.R.E.T.O.N.S., an album of 13 tracks, mainly consisting of covers drawn from very different genres, which, as Xavier JAHAN, known as Guinou, stated during an interview with ICI Loire-Océan, makes titling an album more challenging. The songs, chosen collectively for their potential to be enriched with new arrangements, do not have an obvious artistic coherence among them; rather, it is the coherence and continuation of the musical work of the collective that brings a variety of colors to all the tracks, giving them a continuity that then rather suggests the label.
We would say that this option marks the second stage of a process of translation, reinventing a rooted heritage towards new contemporary sounds, which ensures, and we can only commend it, its sustainability.
You will notice that this second installment of Celtic rock offered by B.R.E.T.O.N.S. is, in its two shades, even more incisive, more massive, and at times, heavier than the previous recording.
From the very first notes, you will "physically" feel the difference, the evolution in the artistic path, we would almost say editorial, chosen. The guitars are even more saturated, the rhythms deeper, and the traditional instruments—bagpipes, uilleann pipes, biniou, bombarde—are not just there to justify the Celtic aspect. They, too, strike, converse, and enrich the rock with an unwavering commitment.
Beyond the covers, which are the cultural reference background of the collective, it should be noted that "D.a.o.u." is primarily crafted for the stage and also features three original compositions, one of which is by Gweltaz ADEUX.
On their part, striking solo voices with rich timbres and dense, harmonious collective singing carry lyrics in French, English, and... Breton that celebrate Brittany, the sea, festivities, identity, and a certain idea of cultural specificity.
With vigorous riffs of saturated guitars that hit the... four beats, a sparkling banjo, a frenzied violin, and a more than muscular chorus, the album opens with a cover of "I’m Shipping Up to Boston," the biggest hit by the Celtic punk band, Irish-American, DROPKICK MURPHYS. The lyrics of the song, written by folk singer Woody GUTHRIE, tell the story of a sailor who lost a prosthetic leg while climbing the topsail and who is heading to Boston to find his wooden leg.
« I'm a sailor peg,
And I lost my leg
Climbing up the top sails,
I lost my leg !
I'm shipping up to Boston - Way Oh (X 3)
I'm shipping off... to find my wooden leg. »
[…/…]
« Je suis un marin avec une jambe de bois,
Et j'ai perdu ma jambe
En grimpant aux voiles supérieures,
J'ai perdu ma jambe !
Je pars pour Boston - Way Oh (X 3)
Je pars... à la recherche de ma jambe de bois. »
[…/…]
Inutile de vous dire que ce rock celtique et « maritime » est, d’entrée, explosif et préfigure à merveille, la tonalité globale du programme proposé en vous faisant, déjà, entrevoir, grâce à la qualité de l’enregistrement, sa mise en espace, la stratification des voix et instruments, ce que ce morceau peut donner sur scène !
It goes without saying that this Celtic and "maritime" rock is, from the outset, explosive and perfectly foreshadows the overall tone of the program being offered, already giving you a glimpse, thanks to the quality of the recording, of its staging, the layering of voices and instruments, and what this piece can deliver on stage!
Ce vigoureux, respectueux, mais personnel « cover » d’un titre appartenant au répertoire de l’un des groupes inspirateurs des membres de B.R.E.T.O.N.S., ouvre la voie… la voix, les voix, à d’autres emprunts, comme, en piste 6, « Sally Maclennane », du groupe de punk celtique anglais, The POGUES.
This vigorous, respectful, yet personal cover of a song from the repertoire of one of the inspiring groups for the members of B.R.E.T.O.N.S. paves the way... the voice, the voices, to other borrowings, such as track 6, "Sally Maclennane," from the English Celtic punk band, The POGUES.
Ici, très joliment préfacé du tin whistle de Nicolas TEXIER, dont la légèreté est vite rattrapée par le déferlement des guitares, toutefois aéré des différentes voix intervenantes d’artistes invités comme Bert YATES de BOOZE BROTHERS, groupe de folk rock, originaire de Toulouse et Topher LOUDON, nord-irlandais, auteur, interprète, guitariste, venu de Belfast, en Ulster, mais posé en Bretagne, depuis plus de 35 ans et co-fondateur du groupe breton d’Irish Folk Rock, DORCHA COBS (Notre chronique), voici donc, « Sally Maclennane », composé par Shane MacGOWAN et figurant sur le deuxième disque du groupe, intitulé « Rum Sodomy and the Lash » (1985).
Here, beautifully prefaced by the tin whistle of Nicolas TEXIER, whose lightness is quickly caught up by the surge of guitars, yet airy with the different voices of guest artists such as Bert YATES from BOOZE BROTHERS, a folk rock group from Toulouse, and Topher LOUDON, a Northern Irish singer-songwriter and guitarist from Belfast, Ulster, who has been settled in Brittany for over 35 years and is a co-founder of the Breton Irish Folk Rock group, DORCHA COBS (Our review), here is "Sally Maclennane," composed by Shane MacGOWAN and featured on the band's second album, titled "Rum Sodomy and the Lash" (1985).
Le texte est inspiré de la vie d'un bar que son oncle possédait et qui servait les ouvriers irlandais de l’usine automobile Ford, à Dagenham, ville située à l’est de Londres.
The lyrics are inspired by the life of a bar owned by his uncle, which served Irish workers from the Ford car factory in Dagenham, a town located east of London.
« Well, Jimmy played harmonica
in the pub where I was born.
He played it from the night time
to the peaceful early morn.
He soothed the souls of psychos
and the men who had the horn.
And they all looked very happy in the morning. »
[…/…]
« Jimmy jouait de l'harmonica
dans le pub où je suis né.
Il en jouait de la nuit
jusqu'au petit matin.
Il apaisait les âmes des fous
et de ceux qui possédaient cet instrument.
Et au matin, ils avaient tous l'air heureux. »
[…/…]
Emprunté au répertoire des grands standards de la chanson et de la culture irlandaise, vous trouverez, en 10ème piste de « D.a.o.u. », une interprétation de la légendaire ballade irlandaise « Foggy Dew ».
Borrowed from the repertoire of great standards of Irish song and culture, you will find, on the 10th track of "D.a.o.u.," an interpretation of the legendary Irish ballad "Foggy Dew."
De nombreux artistes ou groupes ont colporté ce titre, dont, The DUBLINERS, The CHIEFTAINS, la regrettée compositrice-interprète et musicienne irlandaise, Sinéad O'CONNOR.
Many artists or groups have spread this title, including The DUBLINERS, The CHIEFTAINS, and the late Irish singer-songwriter and musician, Sinéad O'CONNOR.
En France, une autre célèbre version de « Foggy Dew » a été enregistrée, en 1972, lors se son mémorable concert à l’Olympia, par Alan STIVELL.
In France, another famous version of "Foggy Dew" was recorded in 1972 during his memorable concert at the Olympia by Alan STIVELL.
Annoncée sur scène, par le harper breton, comme « une chanson sur la révolution irlandaise », et, en quelque sorte, introduite par un texte chanté en breton, « Telenn Gwad », cette séquence a été, très amplement, rythmée et applaudie, ce soir là, par un public conquit.
Announced on stage by the Breton harpist as "a song about the Irish revolution," and somewhat introduced by a text sung in Breton, "Telenn Gwad," this sequence was widely rhythmical and applauded that night by a captivated audience.
« As down the glen one Easter
morn to a city fair rode I,
There armed lines of marching men
in squadrons passed me by.
No pipe did hum nor battle drum
did sound its loud tattoo,
But the Angelus Bell o'er the Liffey's swell rang
out through the foggy dew. »
[…/…]
“On a Easter morning at the foot of the steep valley,
As I was heading towards Dublin,
There, armed lines of men
Who marched in squadron passed me by.
No voice was humming, no war drum was sounding?
But the bell of the Angelus rang
crescendo
Above the Liffey into the misty dew.”
[.../...]
It should be noted that the author of the previously mentioned song, “Sally Maclennane,” and singer of the band The POGUES, Shane McGOWAN, performs, in duet, with the iconic Breton musician, this same “Foggy Dew,” as the fourth track of the album “Again” by Alan STIVELL, released in 1993.
B.R.E.T.O.N.S. offers us here a more extensive textual version than those of the aforementioned artists, closely resembling that of the Irish music group named The WOLFE TONES, after the Irish patriot Theobald WOLFE TONE, one of the leaders of the Irish rebellion of 1798.
Keeping the spirit of the ballad, the “heavy” of the collective fades, and, with banjo and whistles, the guitars create beautiful melodic lines.
The solo voice and the choruses follow a well-marked rhythm where the cymbals are quite present, giving depth to the phrasing.
Beyond a simple cover, here is a very beautiful and personal version to listen to attentively.
A piece to rediscover, skillfully and aesthetically transcribed more than correctly, but remarkably transposed by the richness of the arrangements signed by B.R.E.T.O.N.S.
Up to this point, we have addressed the neo-Celtic “Anglo-Saxon” covers that the collective transcends and “passes,” but B.R.E.T.O.N.S., as its name indicates, is Brittany; that of the 5 departments, with, as in its opus “Back to Breizh,” the singer STIVELL, in a coherence of roots and a generational dynamic, its islands, but also its glass cities, let’s mention, for example, the prefectural cities, Nantes, Rennes, Vannes, Saint Brieuc, and… Brest, Brest, Brest?
“Do you now hate me,
For having been able to leave Brest one day?
The harbor, the port, what remains of it,
The wind in Avenue Jean Jaurès.
[…/…]
[…/...]
The Recouvrance that we neglect,
Rue de Siam, its nights of intoxication.
It’s not out of lack of politeness
Just the wear of clouds and your caresses.”
[…/…]
You have, of course, recognized the lyrics of this contemporary standard rooted in Brittany, which the Brest native, Christophe MIOSSEC, published on his fifth album, “1964,” the one of his consecration, released in 2004.
B.R.E.T.O.N.S. offers us, on track 8, an emotional, yet lively, Celtic, almost danceable version, with a more pronounced, more upbeat rhythm than the original version, notably featuring the uilleann pipes of Anthony MASSELIN, which introduces it, and during the musical presentation, we are joined by the delightful violin of Jessica DELOT, “passing the Iroise”…
Without betraying the original, here is a very pleasant, innovative transcription, one of those that perpetuate the heritage, even if contemporary, by giving the roots… new wings.
Track 5 of the live CD recorded at Bobino and at the Kertalg festival in 1973 (Le Chant du Monde LDX 2741081 – M 65- 1973), by the GOADEC Sisters, the plinn "The Widow's Wardrobe"?
or
Track 3 of the first album "Dañs An Diaoul" released in 2007 (Vinyl FZM LP012 by LES RAMONEURS DE MENHIRS), the same plinn, "with a twist," celtic-punk-rock, the volcanic "Dañs Gwadek 1"?
There is no doubt about the newly arranged cover version by B.R.E.T.O.N.S., even if, as indicated on the cover, the authors remain the legendary trio of Costarmorican Breton singers from Treffrin, known in Breton as "Ar C'hoarezed Goadeg."
« Hag eñ lâre laket e dog,
Mez bremañ an intañvez lak stal ar ribod.
Hag eñ lâre laket e chupenn,
Mez bremañ an intañvez lak al livitenn.
Hag eñ lâre laket e roched,
Mez bremañ an intañvez lak ar chemizet. »
[…/…]
« I used to wear my shirt,
But now the widow wears the skirt.
I used to wear my trousers,
But now the widow wears the dress.
I used to wear my hat,
But now the widow wears the shirt. »
[…/…]
Originating from tradition, the music is credited to Eric GORCE, Laurent KALTRAKAZOS, Maurice JOUANNO, and Richard BEVILLON, current or former members of the RAMONEURS who have contributed, it is safe to say, their stones to the edifice!
In "D.a.o.u.," it is, of course, the arrangement by B.R.E.T.O.N.S. that you hear, in what seems to us to be a "one finger more rock" style than the raw punk of the "Dancers of the Devil," with, notably, rich guitar interventions.
In any case, it is safe to say, "it... blows away" the traditional Costarmorican headdresses of the three sisters!
And to think that Maryvonne, Eugénie, and Anastasie, who maintained very friendly and frequent relations with one of their most fervent admirers, Alan COCHEVELOU, who became professionally known as STIVELL, were, nevertheless, doubtful, even very reserved, about the electrification of traditional Bretons!...
As generations evolve, the daughter of Job EBREL and, indeed, one of the GOADEC Sisters, Eugénie, the much-missed Breton singer Louise EBREL, on her part, did not hesitate to combine her traditional voice with the "very trendy" guitars of the RAMONEURS DE MENHIRS or RED CARDELL, being convinced, as she confided to us during a concert with the Quimper rock group, "that a culture that does not evolve dies."
The key is that the evolution is finely carried, as here, by B.R.E.T.O.N.S., in respect and structural authenticity of its roots.
The two groups, DIGRESK and KERVEGANS, making up the B.R.E.T.O.N.S. collective, being already individually concerned with social currents and events, it is not surprising that in November 2024, celebrating the 100th anniversary of the Penn Sardin revolt in Douarnenez, the "consolidated" artistic and musical entity released a single titled "Penn Sardinn," which faithfully reprises the melody and text of the song written in 2008 by the author, composer, and performer from Concarneau, Claude MICHEL (See website) to music by Jean-Pierre DOVILLIERS.
Transcribing, then, the words of B.R.E.T.O.N.S., AZTEC Musique recalled the events mentioned in this song with this presentation:
"France, 1924: Women took the initiative for a strike, blocking production at the sardine factories in Douarnenez. They would be called the Penn Sardin. This event marks an important milestone in the history of women's emancipation and had significant national repercussions due to the involvement of the city and the violent reaction from employers. The strike began on November 21 in a single factory. Three days later, on November 24, all the factories in Douarnenez (the main sardine port in France at that time) were blocked. On January 6, the employers conceded, and the female workers achieved their demands. It is to this movement and this victory that we want to pay tribute by presenting, 100 years later, our version of this song written by Claude Michel and Jean-Pierre Dovilliers."
This title, released individually, is specifically included as track 3 of "D.a.o.u.", featuring the recognizable solo voices of Jessica DELOT, Brieuc VALLEE, Kevin COGEZ, Gweltaz ADEUX, and the entire choir, alternating, responding, or merging together. It is rhythmic, dense, and convincing; Jessica's violin flutters, the bagpipes "hover," the flute carves its path, and the drums and percussion take the tempo of hooves striking the ground, creating a beautiful memorial tapestry that "rocks," sometimes, through the male singing, almost "raps," perfectly aligning with the melodic breaths carried by Jessica's very lovely voice.
[…/…]
"As long as there’s fish, we must get used to it
We must work, there are no hours.
At the end of their fatigue, to avoid falling asleep
They sing in chorus, they must hold on.
Despite their work, they hardly earn a salary.
And far too often they live in misery.
One day, all together, these women rise
Thousands of them go on strike."
[…/…]
FINAL CHORUS
"Listen to the sound of their hooves
Their anger is over
Listen to the sound of their hooves
It’s the victory of the sardine workers."
We will not overlook the complete composition, text in Breton and music, that the legendary Gweltaz ADEUX wrote specifically for the album, with "An holl a gevret," which can be translated as "Everyone connects." It is always a pleasure to hear the highly resonant voice of the leader of the former E.V., who, after the cessation of the group, released two solo albums: "Ehan" (2012) and "Eyjafjallajökull" (2018). The part in French rap that occurs halfway through the piece sheds light, for non-speakers, on the subject matter, including:
[…/…]
"There’s no good concert,
Without mixing things up.
Love is universal,
Too bad for those it bothers.
For all the fools.
Know that there is still time,
To finally see life,
Differently, than in black and white."
[…/…]
"Jamais assez," by DIGRESK, and "Idiocratie," by KERVEGANS, appear as tracks 4 and 12, respectively, in the program, which concludes with the traditional "Les filles des forges," pressed as the first track on side A of the first vinyl by the Nantes group "3 Jeans," "An Naoned," released in 1972. For the older ones, do you remember?:
"Digue, ding don, don, they are the girls of the forges
Digue, ding don, don, they are the girls of the forges
From the forges of Paimpont, digue ding dondaine
From the forges of Paimpont, dingue ding dondon."
[…/…]
B.R.E.T.O.N.S. delivers here a version that is vocally, intentionally, light, reminiscent of the original, as the subject remains structurally playful, yet with an instrumental arrangement of guitars/bagpipes/drums that is ultimately quite "heavy" and in line with the particularly rock colors of the record.
Before "putting down the pen," we will mention, among the two and only instrumentals originally composed by the collective for "D.a.o.u.," track 11, "Farandolenn," an infernal dancing Celtic spiral, with its whiffs of the famous "Pop plinn," from the "couple" Alan STIVELL / Dan AR BRAZ who introduced it to us, in public, during the memorable and foundational concert on February 28, 1972, held at the Olympia, the famous music hall in Paris.
What a success with this magnificent persistence of bagpipes, its torn guitars, and its more than stubborn percussion, for a piece that is indeed massive… but not lacking in subtleties, with its moments of breathing that always foreshadow intrepid relaunches.
In the meantime, or to extend the essential stage performance for which the entirety of the pieces from "D.a.o.u." are not simply conceived but very carefully elaborated, whether you are fans of rock or lovers of Breton and Celtic music, the two styles not being, as for us, incompatible, far from it, get your hands on this dense and rich recording as soon as possible, which, moreover, proves to be very well produced, with remarkable recording quality and sound.
It is very well set up, in space, finely stratified, for optimal perception of each of the interventions from the fourteen musicians - immense applause to Jessica, who combines the beauty of her instrumental and vocal strings! -
Let us pay tribute to the technical work of Lionel RIGAUDY, at the Nantes studio (44-Bzh), "Le Batiskaf" (See site) , joined by Clément BAYSSE at the Dourdannais studio of L'Orangerie (See site) , for "Jamais assez."
Not to forget, Nicolas MOREAU and Pierre LE GAC, at the Rezé studio (44-Bzh), Le Garage Hermétique (See site) , for "Penn Sardin."
From the very first self-titled CD, which we presented to you, it was clear that the members of B.R.E.T.O.N.S. had grown up between the Interceltic Festival of Lorient and Les Vieilles Charrues.
Through this opus, they confirm it by transcending the two root inspirations of their music.
Rearranging key traditional or Celtic-inspired tracks, sometimes even a bit forgotten or unknown to new generations, without distorting them, in a stylistic and linguistic plurality, plunging them, frankly, into a strongly spiced rock sauce, punk, sometimes rap, this goes beyond a simple "revival" and into an upward artistic continuity, B.R.E.T.O.N.S. undertakes a foundational work that can only guarantee, we repeat, the heritage's sustainability.
A beautiful perspective, prospective, for the opus "Tri"... which surely will not be called that, but which we are already looking forward to!
Gérard SIMON
Sound illustration of the page: B.R.E.T.O.N.S. - "Shipping Up To Boston" - Excerpt from 01:02.
Other sound excerpts on the Culture et Celtie site, the e-MAGazine: HERE
The official site of B.R.E.T.O.N.S.: bretons-legroupe.com
The tracks from the B.R.E.T.O.N.S. CD: "D.a.o.u.":
01. Shipping Up To Boston (Dropkick Murphys) - 02:33.
02. An Holl A Gevret - 03:59.
03. Penn Sardin - 02:53.
04. Jamais Assez - 03:33.
05. Dans Gwadek - 04:08.
06. Sally Mac Lennane - 03:07.
07. Mil Nozvezh Karantez - 03:54
08. Brest (Miossec) - 02:57.
09. Cofaidh & Lionn - 03:49.
10. Foggy Dew - 04:16.
11. Farandolenn - 03:46.
12. Idiocratie - 03:19.
13. Les Filles des Forges - 02:51.
Total duration: 45:05
B.R.E.T.O.N.S. CD "D.A.O.U."
Release: April 10, 2026.
Ref: CM5170.
Production: Marzelle and AZTEC Music (See site)
© Culture et Celtie
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