Jean-Francois Merieau's Cent Visages and Guided By Voices' Bee Thousand
Domaine Jean-Francois Merieau’s shabby tasting room and winery housed in a 14th century cave in the humble Touraine region of Loire Valley point to how the wines made there stand on their own. The same is true for Guided By Voices, a band conceived by fearless frontman Robert Pollard, whose sound and production quality is intentionally rough, lo-fi and disheveled, but extraordinary in equal measure.
Neither artist needs a fancy, modern, state-of-the-art environment to do their work. In fact, just the opposite is where they thrive and what defines them. GBV’s DIY approach to recording usually involves a four-track and homemade sound effects. Jean-Francois Merieau makes natural wine without the use of machines or commercial yeast in an ancient, underground cellar.
Perhaps these methods and mentalities are to thank for the extremely prolific propensities of Pollard and Merieau. To date, GBV has made 30 records in its lifetime since 1987. That’s almost one album a year for the past 33 years, not counting Pollard’s solo recordings. Merieau makes over a dozen different wines from plantings of seven different grape varietals, an intimidating amount for a small, independent winemaker.
All of Merieau’s grapes are grown on old vines. Some of those vines ranging from 50 to 100 years in age produce cot, better known as malbec outside of France’s Loire Valley. While malbec doesn’t typically blow my hair back, Merieau’s cot is quite frankly profound.
A cot bunch from a Merieau single vineyard. Photo by Leigh-Ann Beverly/ Bona Fide Productions
The Merieau Cent Visages cot comes from a single vineyard in the Touraine village of St. Julien de Chedon, fermented in concrete and aged for a minimum of 24 months. It reverberates with a floral rose and violet perfume. Juicy blackberry, plum and currant fruits are dominant with a trace of green herb, a slight metallic note and a savory hint of roasted nut on the palate. It’s plump and fresh at the same time. It’s like a super fun and magnetic party host you want to get to know better and hang out with.
GBV’s breakout “Bee Thousand” released in 1994 has a similar effect. This album that caught the attention of major label Matador who later signed them contains 20 short, mostly two minute songs with catchy pop melodies, pensive reflections, post-punk fuzz, poetic ramblings and overall brilliance.
A range of styles and tones are represented, like the playful and poppy “Hardcore UFO’s” and “Goldstar for Robot Boy”; the jaunty, Kinks-esque “Echos Myron”; the soothing “Goldheart Mountaintop Queen Directory”; and the beatnik delirium of songs like “Kicker of Elves”, “Hot Freaks” and “Queen of Cans and Jars”.
And then there’s “I Am A Scientist”, one of GBV’s most well-known songs for good reason. It’s wonderful on every level. These lyrics seem to epitomize and explain Pollard, his essence and his insatiable need to create music: “I am a lost soul, I shoot myself with rock and roll / The hole I dig is bottomless, but nothing else can set me free.”
“Bee Thousand” and Merieau’s Cent Visages are both unexpected, a little strange, intentionally and authentically crafted, fun and delightful. Despite GBV being overshadowed by its more famous 90s alt rock peers or Merieau’s home Touraine region by the more prestigious Sancerre, they’ve both carved out their own rightful space and their own loyal fanbase.
They do what they do out of a seemingly relentless involuntary instinct. And it sure is gratifying for us on the receiving end, so it’s a good thing that they’ll never stop.
