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Benedict Pignatelli

Introducing Peeve One, A Paris Discovery


© Peeve One


Hidden in the underground music scene of the French capital, INJECTION Magazine may have found Paris’ next big thing.


Paris. The city of Piaf, Hallyday, Gainsbourg and Daft Punk. And after a truly Olympic performance, we can surely add Aya Nakamura to the pantheon. Creativity isn’t just a hobby in Paris. Being an artist, a creative generally, is a respected and time-honoured profession, regardless of the medium. Artists, both accomplished and up-and-coming, fill the streets, the alleys, the boulevards, the wine bars, and the cafes of the city.


I met Peeve One at La Caverne, a little cave (in the 6th arrondissement, for those planning a trip). It was loud, people were drinking or drunk, and no one was paying attention. Then Peeve One stepped onto the stage and time stopped. You could have heard a pin drop in the audience. I was no different, captivated by what I saw.


After that evening, I followed the Franco-Dutch artist around from gig to gig until they agreed to do an interview with me. We met in Au Chat Noir over cheap coffee and the noise of creativity, and the dulcet tones of Ulf Lundell on the speaker. 


© Peeve One


Let’s start with the obvious - you sometimes sing in facepaint, in a modern Pierrot style. Could you talk a little about that?


When I started writing my songs, it was something I was doing in my room, so when I left I wanted a sort of character. I get inspired by lots of things but I don't want it to be autobiographical, so I found a character for my work. After trying a few different things I stumbled upon this pierrot character. 


I tried it at concerts a few times and it really worked. The audience reacts well to it and it allows me to be a bit more theatrical. It’s very dramatic as well, all that white! But I’ve been trying out a few variations of that, with or without the facepaint, without the white outfit, and it has such a heritage, a history, which is nice. 


Your guitar is very unique, can you tell us a little about it?


It’s got nylon strings, it’s acoustic. It’s not classical enough for a real classic acoustic, it’s not got a sound hole, but it’s not an electric guitar either. It’s an in-between that works great for me and my sound. It works because I get to use my pedal and use some effects you wouldn’t be able to hear if you were worrying about feedback and amplification. It’s just very practical. It’s quite common in Brazilian music, so I found it that way. I bought it off some Jehova’s Witnesses in some random part of the banlieue [the Paris suburbs]. It was their HQ, it looked like some abandoned building where I was going to be attacked, but inside they were all so nice and friendly - a little too friendly - then I saw the banner and the bibles and it made sense. So the guitar has a good history. 


That reference to Brazilian music leads me to my next question. Your music is simple, graceful, melancholic, and beautiful. Have you any key musical influences that have helped create this sound?


There is a lot, and as you guessed Brazilian music has been a key influence. I love Brazilian music, the Brazilian community in Paris is so welcoming and I’ve learned so much from them. But there’s one other artist in particular: Ichiko Auba. They play the acoustic guitar with nylon strings as well, and I have been very influenced by them. But it’s very much a mix otherwise.


© Michaël Méliet

You sing in English and French. What prompted you to sing in English?


I was living in Amsterdam, and my life was in English. Those songs are just older, from when I was still there. Now I’m back in Paris I tend to sing in French, but I like both. In English, there is more of a thing with rhythm and less of a need to rhyme. In French it sounds super good when it rhymes, in English sometimes it’s a little on the nose, haha. So generally in French, I have to make it rhyme. It feels like meditation sometimes. So I guess I like both.


Your songs, both studio and live, tend to be very minimal, just your voice and your guitar - the studio versions have some light drums and strings in the background. Would you experiment with a more involved production in the future? More instruments, or a bigger backing band?


I would love to try it but for now, it’s not likely. I only want to work with top musicians, and I cannot currently pay for top musicians! I tried it in Amsterdam with five or six others and it was great. I think for now my songs will remain very simple, just my voice and guitar, and the cello and light drums in the background. I think it helps build the strength of the voice. But more instruments can give more options so I’m not against the idea.


© Michaël Méliet


Peeve One started with classical music in Paris before studying at the conservatoire as a jazz bassist (something noticeable in the chord structure of some of their songs) and continues to work as a freelance stand-in for bands as a source of income. A bit of a hired gun, as they mockingly described themself. Their acoustic guitar and singing came from just experimenting, and they like to set up gigs as motivation to finish songs. Like Ichiko Aoba and Marion Rampal, Peeve One is keen to put out an EP and get a tour underway, of France and beyond. London, watch this space.


Follow Peeve One on Instagram and Spotify.



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