z7pm- Les Trois Accords
« Gros Mammouth Album»

This band from Drummondville Quebec has, in no time flat,

become a force to be reckoned with! Their wacky lyrics blend irony
. with a touch of the absurd, and are set to catchy tunes inspired by
rock, punk and country genres. This out of
the ordinary band brings us a festive and
convivial style of music and an original
alternative to the current rock music scene.

LES TANS ACCORDS

The band came together between 1997
and 2002. Initially a duo composed of
Rue §©6 Simon Proulx (guitarist and singer) and Ol-

ivier Benoit (singer), they were soon joined
by Alexandre Parr (guitarist), Charles Dubreuil (drummer), ands
Pierre-Luc Boisvert (on bass).

Their hit song “Hawaienne’ was picked up enthusiastically by TV
and radio, and became the hit of the summer of 2004. The group
played to a full house at the Pigeonnier during the Quebec Sum-
mer Festival. They also played at the Francofolies in Montreal and
at the 18th anniversary of Musique Plus at the Bell Centre, to an
audience of more than 10 000 people for each of these two shows.

In just a few short years, Les Trois Accords have become the most
popular group in Quebec, as the prizes they have carried off at the
2005 ADISQ competition go to show: Group of the Year, as well

as Best Album, Best Sales for their Gros Mammouth Album, and

a nomination in the category Show of the Year, for singer/song-
writer/composer.

In between their two concert series in France in May and in July,
Les Trois Accords will be in Vancouver for the Francophone Sum-
mer Festival. The release of their second album is scheduled for
the month of August, to be followed by a new tour in Quebec in
the fall. A full roster!

gpm- Robert Charlebois « Tout écartillé »

Robert Charlebois has made his mark as a kingpin not only in the
Quebec music scene, but throughout the Francophone world.

His career began in 1965 and really took off in 1967, after a trip to
California, where he was influenced by the American countercul-
ture. It was at that point that his music became electrifying. In 1968,
his participation at the Osstidcho was triumphant, especially with
young anti-conformist audiences who were avid for the kinds of
changes for which his songs became the porte-parole. Charlebois
brought about a new beginning in music. His audacious man-

ner and his provocative sense of humour became his trademarks,
coming through especially at big shows like the Superfrancoféte in
1974 and the 1976 Saint Jean Baptiste Day concert on Mount Royal
in Montreal.