We know Gilles Snowcat as the energetic, polyglot creative musical force with roots in Belgium, Vietnam and Japan, for his brilliant lyrics and proficiency on several instruments, including genius level keyboard skills. But before Gilles appended his name with the Snowcat moniker, there was a younger Gilles, founding member of the Brussels-centered European/Vietnamese Hybrid “Awaken.”
Aside from traveling the world collecting experiences to write songs about (beginning in the ’80s with Awaken and culminating in 2015’s “Nama Time”), Gilles is also a sharp critic of rock music and culture. I asked him to comment on his 1989 tune “Memories of a Teenage Cat,” which was just re-released on Bandcamp in its original form, and asked him about the tune’s connection to the origins of the Snowcat persona. I got much more than I bargained for, including a lengthy critique of popular music in the 1980s and ’90s. Check out his provocative thoughts, and the classic tune below!
Q. Is this the beginning of your transformation into the Snowcat being?
Gilles writes: “The Snowcat exists since he’s born, though I can locate the explosion, the big-bang that made him come alive for real early, very early 1988. 1987 was when he tried to pop out, and suddenly 1988 came and so did the Snowcat. It was exquisitely exciting, because from that moment on everything became a song. Life was a huge source of inspiration, and in return songs inspired life, and that’s how the early Snowcat grew.”
“It was exquisitely exciting, because from that moment on everything became a song. Life was a huge source of inspiration, and in return songs inspired life, and that’s how the early Snowcat grew.” Gilles Snowcat
Q. So what were the ’80s like for you? Please reflect.
Gilles: “The ’80s were the last decade of creativity, musically speaking. It’s the last part of what started in the cotton fields, that led to jazz, evolves into rock, then all the fusional music of the ’70s and then the synthesizers and all that crazy stuff. It was meant to be mostly commercial and still wonderfully out of control, the sounds were out of this world, the Fairlight, the DX7, all those machines created incredible moods. You like it or not, but you can’t deny there was a real substance to it. It’s the best evidence that money and art can work together pretty well.The ’80s were a wonderful boom of excesses, it was all too much but in the most superb way. An elegant decadence, a party that goes too far but if it doesn’t go too far it goes nowhere.”
“The ’80s were a wonderful boom of excesses, it was all too much but in the most superb way. An elegant decadence, a party that goes too far but if it doesn’t go too far it goes nowhere.” Gilles Snowcat
“Then the ’90s came and the party was over. Like someone had decided to remove colours and taste from music, as if it was too dangerous. And suddenly safe music was born, and art should never be safe, so it was a very bad move. The ’90s created condom-music.”
“Most of the radio-friendly stuff of the ’90s and beyond are terribly boring. You hear the first chords of anything from Natalie Imbruglia or Oasis and it screams boredom, it pours safety from every note. Or Joan Osborne, you know ‘One Of Us’? Same chords.”
“Sure there was some uneventful music in the ’80s too, Simple Minds or U2 to name a very few, but it wasn’t the rule. In the ’90s, it was. It seems that no one was able to write songs anymore then. Some say the ’90s were a return to the guitars of the ’70s but it’s complete bullsh!#. There’s nothing interesting in the guitars of the ’90s, just dull chords played boringly by some idiots who got a recording contract for reasons that I don’t really get. Even those who seemed to have an attitude and good ingredients were just releasing inoffensive, safe sh!#. Look at Oasis, how come with such a good background and great ideas the result was so annoyingly normal? Yes, that’s the word: music became normal in the ’90s.”
Original “MOATC” Lyric sheet: