Interview with Mickaël Mottet of Angil + the Hiddentracks

There is a time when new music just hits you in the face with its musicianship. Thus was the case with Angil + the Hiddentracks‘ latest, Ouliposaliva, an album filled with so much musicianship, it was borderline absurd. And now, Mickaël Mottet, the mastermind behind it all, spoke with DOA’s Bryan Sanchez about the album, his newest music and what’s in store for him and the Hiddentracks.  

Delusions of Adequacy:  OK, so why the name Angil?

Mickaël Mottet: I just made it up. There was a precise reason for it when I started writing songs and made up my mind to use this word, but as I was 14 or so, I can’t really remember it.

DOA: How many people/musicians make up the Hiddentracks?

MM: 14 as they are now. Besides the usual rock instruments, we have brass, strings, woodwinds, percussion… We hardly ever play altogether live, because the Hiddentracks are from all over France. There is usually 6 or 7 of us on stage, though we keep changing (I even do occasional solo shows).

DOA: So what’s ouliposaliva mean?

MM: The Oulipo was a French literature movement in the 1960s. They used restrictions and mathematics as a tool to write fiction. Lots of crap, and some very interesting works too! “Saliva” is a reference to the way Francis, the Hiddentracks’ saxophonist, plays. You can hear his saliva running through the brass if you pay close attention. I love it! 

DOA: So you’re the mastermind behind this grandiose album (Ouliposaliva), what is the real story behind the concept?

MM: I meant to write a record based on brass and woodwinds, as a tribute to Francis. He said ‘OK, but never use the E chord’, as E is a tough key for alto sax. So I literally never used the E chord, and decided to adapt it to the lyrics too. 

DOA: Honestly, how hard was it to come up with the music and the lyrics?

MM: Easier than ever! For some reason, I’d never written that fast before. It seemed everything flowed very smoothly from the moment I’d chosen the restriction on. 

DOA: So would it be safe to call this a jazz album?

MM: I’d appreciate it very much! This is actually one of the first things I wrote about Ouliposaliva, while preparing it. The Individualism of Gil Evans was a major influence on it, as well as Trygve Seim’s Different Trains. 

DOA: There’s a lot of music going and yet, there is a sparse instrumentation, was this is a conscious decision or did it just feel right?

MM: Thanks again! One of my favourite composing principles is: ‘get rid of the core’. For example, if a guitar was used in the composing process, I like looking for ways to avoid the use of guitar when recording the song. And have its parts played by a clarinet and a trombone, for instance.

Also, I like musicians who know how ‘not to play’. Being able to limit yourself is a very complex thing! 

DOA: What exactly was your goal in making an album like this?

MM: Doing something after which I could die happy. Fuck, this sounds awkward, doesn’t it? But I’m just being honest. I don’t see the point otherwise.

DOA: Tell us a little bit about the artwork

MM: Thanks for asking! My very talented friend Guillaume Long did it. He also sang and played percussion on the record. We sometimes do shows together. He’s a relatively famous cartoonist in France. 

DOA: This has definitely garnered some serious attention, how does it feel?

MM: Rewarding, and reassuring too: I was a bit anxious at how English speakers would respond to the lyrics. 

DOA: Any plans to tour the U.S.?

MM: We’re just back from a tour in Canada and New York. No other plans for the moment, but I’d love to come back!

DOA: Have you thought about your follow-up?

MM: Absolutely! It will be untitled The And. We’ll have one guest singing on each of the songs (which makes it a duets album, I guess). The Radar Bros’ Jim Putnam should be on it, as well as Emma Pollock, and some other friends of ours. We’re supposed to record it next summer.

DOA: Will it be a grand departure?

MM: Not really, though it won’t sound as ‘jazzy’ as Ouliposaliva. The main influence on it should be Tindersticks’ second LP. I’ve been listening to it a lot lately…