DN story

... before 1986 :

OTO

1986 :

Release of a compilation of bands from Nancy,
Double Nelson's appearance in a syrupy hot slow,
"Michèle king size".
First concert at the Printemps de Bourges selection in Frouard (Nancy) with 4 songs and a bass player, Pat.
Selected.......quickly compose other songs...
concerts in the region and in Bourges for that matter

Tchernobyl disaster

1989 :

Pat's departure, and recording in duo of the first album "Ceux qui l'ont fait" in the practice room of the "Excelsiors" and the "Suppositoires of love" in Metz with the MCP at the controls, Yves Wernert.
L'Oreille est Hardie à Poitiers (cf. Le Confort Moderne) is investing in the production of the album which is being released on the African music label (Cobalt), also producer for Marquis de Sade and FFF.
.

Overflight of Neptune by the Voyager 2 probe.

1992 :

Despite several attempts to record with a small mobile studio, in barns, apartments, in Marseille, in the Landes, at home, the scum persists, from the cable gnawed by rats to the tapes that got stuck in the player. The second album "Mange, Mange, Mange" is finally recorded at the Gam studio in Waimes, Belgium, produced by Cobalt.

Opening of Eurodisney

1993 :

Double Nelson mutates into a trio. First concert by bassist Casimir Rebelo (trained on the job), at the SAS in Delémont, Switzerland.

On the same day, death of P. Bérégovoy

1994 :

Composition and recording of the album "Des nouvelles du fond" in an attic near Rennes, still on Cobalt.
The last record with the MCP at the controls that goes to warmer skies and work.
Recording of Lobi Traoré in Bamako (Cobalt)

Discovery of Roentgenium (Rg), a chemical element with atomic number 111, at the GSI in Darmstadt, Germany.

1996 :

Wild recording session of an EP in a stable in Ardèche.
4 titles soberly entitled 'Double Nelson'. Simultaneous release in France (Musidisc) and New York (Roomtone)

Tour in England with Stereolab.

Olivier Panis wins the F1 Monaco Grand Prix

1997 :

Back to the Gam studio in Belgium for the recording of the album "Le Grand Cornet" released, once again, both in France and the USA on the same labels
as the previous EP.

Two months in the dark: underground residence
at the "Im Eimer" club in Berlin.

Death of the artist of bus shelters and giraudy panels
Victor Vasarely

1999 :

Dark period, with their own strength recording at home of the album "Indoor" released on the label Pandémonium based in Marseille.

Death of Stanley Kubrick

2000 :

No bug
but departure of the bass player for milder skies
and a new career.

2003 :

Composition and recording of the album "The so sorry spaceman, the so sick spaceman and the noisy shadow vs Double Nelson" on the stage of Magasin 4, a venue in Brussels. Release on AND (Achetez Nos Disques = Buy Our Records), a record company whose liability is limited but whose means are not!

The heat wave is either wreaking havoc or making people happy.

2004 :

Release of the DVD "The sum of the facts cannot exceed the quantity at all" (AND), compiling clips, live, and 2 short films directed by the charismatic director of Anvil Productions, Mogalito H. Ramm: "Frutti Chester" and "Prepare to appear in hell" (actors/music: Double Nelson)

Discovery of an asteroid named 2004 VD17, 500 metres long, with a mass of one billion tons, likely to collide with the earth on 4th May 2102.

2007 :

Composition and recording of the album "Pousser la voiture" (To Push the Car) on the stage of Magasin 4 (self-produced).
Creation of a science fiction theatre play
"Naguère les étoiles" with the Kinorev collective.

Invention of the 'bravitude'.

2013 :

Composition and recording of the album "Un sentiment étrange" (A strange feeling) at the Hotel Lillebone in Nancy (self-produced).

Lance Armstrong's confession about his doping.

2014 :

Creation of a pugilistic attraction "R.I.N.G." (Recherches Intelligentes sur la Nouvelle Génétique) with the Kinorev collective.
Everything remains to be done....

Nabila is in jail.

2016 :

Music and acting in "Lunaris Villa"with the Kinorev collective.
Lunéville (The Versailles Lorrain) in the grip of a spectacular extraterrestrial invasion.

The hole in the ozone layer closes.

2017 :

Relocation to Asquins 89450, at the edge of the Morvan Massif.
Music for the show "Yi ou le dernier soleil"
with the Kinorev collective.

The Art of the Neapolitan pizzaïolo registered to the intangible heritage of humanity by Unesco.

2018 :

Music and acting in a participative sci-fi web-series
"Lunaris Villa-la série" as always with the Kinorev collective that harassing us (for the good cause).

a bastard strike, we have Benjamin Pavard.

2019 :

Composed and recorded at home,
the ninth album « Erreur 89450 » is released in November 19 followed by a friendly tour with "Le Singe Blanc".

The Berlin wall fell down 30 years ago.

the future...

what is it like music ?
We're not in trouble !
Darkswing/indusgroove deviant (sexy), hypnotico/ultrabass/punkoïd (with some taste), electronoise/krautblues post industrial (what a joke!), supple but tense, dark but light...
More details, though, do you like that?
Can, Suicide, Ali Farka Toure, The Melvins, Kraftwerk, Lightning Bolt, Donna Summer, Snakefinger, submarine movies, Public Image Limited, Gill Scott Heron, David Lynch, Sepultura, Led Zep, Ween, Bars, Laibach, Oto, Nirvana, Hazil Adkins, Science Fiction, Zinzins from Space, The Supremes, Beastie Boys, Devo...o yeah!

How about the live?

Spain, Germany, Austria, Sweden, Luxembourg, Italy (including Sicily, Sardinia), Czech Republic, Slovakia, England, Hungary ... more than 2000 petrol stations ..

Crisis… ???

Live reviews:

"PULSZ #2" - about a gig in St-Etienne
Double Nelson: to hallucinate ear canals.
It is impossible to describe this music for the simple and good reason that Double Nelson is... unique: they succeed in mixing the avant-gardism and the groove of a quite exceptional industrial approach.
The songs are not pieces in the sense of a calibrated commercial product, nor are we in presence of compositions with a rock or pop structure (with choruses, bridges and transitions) but we are into Double Nelson's universe delivering organic pieces in constant evolution, giving us the impression they are created live as we listen. The DN have this senseless gift of getting us into their world without giving the impression of knowing where they are going: think again! They crush your hearing cells, manipulate your brain reminiscences, finish off your neurons to recompose judiciously mixed-arranged-manufactured sound samples, yet nothing would suggest the presence of the slightest sequence, the slightest software, so much it exudes life and humanity!
In fact, very few groups succeed in achieving this alchemy of sonic avant-gardism and an undeniable pleasure in handling sound collage. We could venture to quote Skinny Puppy ( "The last rights" era) and Tempsion, but limiting the comparison to two groups would be dishonest; the visual collages of Lynch would give another vision of this band as far as the delusional imagination is concerned.
In any case (too) rare are groups like Double Nelson who make people forget the duration of a composition, so much the musical structures are predictable in what we usually listen to...{…}
Don't stop at the first listening: their music demands more because it can't be consumed.
In short: a huge sound, a hallucinating imagination and songs to make you shake your flesh... What should the people ask for? Surely not bread and games but Double Nelson!
Kokoro Gatari

METAL SICKNESS/webzine: concert in Douai
It is at the Douai racecourse, the city's national theatre scene, that the concert takes place; not in the main hall (no jokes either) but still, it's nice to see extreme music genres welcomed within these four walls with a status not necessarily synonymous with rock'n roll.
Arriving as a tourist, Double Nelson's saturated electric beats caught me, I pushed the (heavy) doors of the room and there, bam! What a shock! No, the Mir station was not destroyed! It simply lied on the bottom of the Indian Ocean with its two forgotten astronauts from Mother Russia on board; and in its cramped module, the survivors have haphazardly set up a rock band with a whole bunch of broken down machines, worn out guitars - with a sound that no longer has much to do with music - and a wobbly drum set. It is hot, emergency lamps as lighting, an atmosphere of dementia prevails. The duo plays a pressurized rock from the jar, haunted by the machines, an improbable industrial DIY with acid beats and a lascivious groove that sometimes stirs up, sometimes tempers Gaze's voice. On stage, Double Nelson cultivate ambiguity; the spectator is destabilized by the blur between the pre-recorded and the live parts: vocoders, instruments through the octaver and the rhythm box disturb the markers. To the ambiguity of the sounds is added that of the bodies, a vicious dance of the satyr with a sweaty torso around his maenad that this aluminum paper in camera condemns to confront itself sensually without ever being consumed; a game of stalking, running away on a background of whirring chainsaws and wild riffs delivered to the limit. Double Nelson builds a very personal universe and the points of comparison are missing: it pitches from electro to industrial; it stares at punk and tickles noise; in short, a damn mess highly recommended for masochistic eardrums and a fully-fledged performance.
(Thib.)


Live reviews: "PULSZ #2" - about a gig in St-Etienne Double Nelson: to hallucinate ear canals. It is impossible to describe this music for the simple and good reason that Double Nelson is... unique: they succeed in mixing the avant-gardism and the groove of a quite exceptional industrial approach. The songs are not pieces in the sense of a calibrated commercial product, nor are we in presence of compositions with a rock or pop structure (with choruses, bridges and transitions) but we are into Double Nelson's universe delivering organic pieces in constant evolution, giving us the impression they are created live as we listen. The DN have this senseless gift of getting us into their world without giving the impression of knowing where they are going: think again! They crush your hearing cells, manipulate your brain reminiscences, finish off your neurons to recompose judiciously mixed-arranged-manufactured sound samples, yet nothing would suggest the presence of the slightest sequence, the slightest software, so much it exudes life and humanity! In fact, very few groups succeed in achieving this alchemy of sonic avant-gardism and an undeniable pleasure in handling sound collage. We could venture to quote Skinny Puppy ( "The last rights" era) and Tempsion, but limiting the comparison to two groups would be dishonest; the visual collages of Lynch would give another vision of this band as far as the delusional imagination is concerned. In any case (too) rare are groups like Double Nelson who make people forget the duration of a composition, so much the musical structures are predictable in what we usually listen to...{…} Don't stop at the first listening: their music demands more because it can't be consumed. In short: a huge sound, a hallucinating imagination and songs to make you shake your flesh... What should the people ask for? Surely not bread and games but Double Nelson! Kokoro Gatari
	METAL SICKNESS/webzine: concert in Douai It is at the Douai racecourse, the city's national theatre scene, that the concert takes place; not in the main hall (no jokes either) but still, it's nice to see extreme music genres welcomed within these four walls with a status not necessarily synonymous with rock'n roll. Arriving as a tourist, Double Nelson's saturated electric beats caught me, I pushed the (heavy) doors of the room and there, bam! What a shock! No, the Mir station was not destroyed! It simply lied on the bottom of the Indian Ocean with its two forgotten astronauts from Mother Russia on board; and in its cramped module, the survivors have haphazardly set up a rock band with a whole bunch of broken down machines, worn out guitars - with a sound that no longer has much to do with music - and a wobbly drum set. It is hot, emergency lamps as lighting, an atmosphere of dementia prevails. The duo plays a pressurized rock from the jar, haunted by the machines, an improbable industrial DIY with acid beats and a lascivious groove that sometimes stirs up, sometimes tempers Gaze's voice. On stage, Double Nelson cultivate ambiguity; the spectator is destabilized by the blur between the pre-recorded and the live parts: vocoders, instruments through the octaver and the rhythm box disturb the markers. To the ambiguity of the sounds is added that of the bodies, a vicious dance of the satyr with a sweaty torso around his maenad that this aluminum paper in camera condemns to confront itself sensually without ever being consumed; a game of stalking, running away on a background of whirring chainsaws and wild riffs delivered to the limit. Double Nelson builds a very personal universe and the points of comparison are missing: it pitches from electro to industrial; it stares at punk and tickles noise; in short, a damn mess highly recommended for masochistic eardrums and a fully-fledged performance. (Thib.)