Bon Voyage
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Biography
There are three bands with the name Bon Voyage.
Bon Voyage is a side project of Starflyer 59 frontman Jason Martin, with his wife Julie Martin providing the vocals.
They have released three albums on Tooth & Nail Records and two 7” records on Velvet Blue Music.
Bon Voyage is also a Japanese bossa nova/pop/lounge/indie band from Japan. Members: Asako Yoshihiro and Yutaka Kaburaki. They have released four albums: ‘magnolia’, ‘kaleidoscope’, ‘Taking the air’, and ‘It’s a beautiful day’, as well as several singles. The band has also appeared on numerous cover projects and compilations, including the numerous ‘Cover Lover Project’ releases and ‘The Best of Bossa Covers’ series.
Bon Voyage is also a French “synth-wave and soft focus disco” band on the Stendec label. It’s a curious but intriguing concoction, joining the dots between library disco, Casio boogie and the weirder end of Italo. There are moments of fuzzy disco warmth (“Sw”), glacial synthscapes (“Ahk”, dreamy opener “Meutre A Nha Trang”), Giallo-inspired spookiness (“L’Imperatrice”), and even a dash of John Carpenter-ish ghostliness (“Rockabye Hong-Kong”). Throughout, it’s vintage style papers over any perceived cracks.
Bon Voyage is a side project of Starflyer 59 frontman Jason Martin, with his wife Julie Martin providing the vocals.
They have released three albums on Tooth & Nail Records and two 7” records on Velvet Blue Music.
Bon Voyage is also a Japanese bossa nova/pop/lounge/indie band from Japan. Members: Asako Yoshihiro and Yutaka Kaburaki. They have released four albums: ‘magnolia’, ‘kaleidoscope’, ‘Taking the air’, and ‘It’s a beautiful day’, as well as several singles. The band has also appeared on numerous cover projects and compilations, including the numerous ‘Cover Lover Project’ releases and ‘The Best of Bossa Covers’ series.
Bon Voyage is also a French “synth-wave and soft focus disco” band on the Stendec label. It’s a curious but intriguing concoction, joining the dots between library disco, Casio boogie and the weirder end of Italo. There are moments of fuzzy disco warmth (“Sw”), glacial synthscapes (“Ahk”, dreamy opener “Meutre A Nha Trang”), Giallo-inspired spookiness (“L’Imperatrice”), and even a dash of John Carpenter-ish ghostliness (“Rockabye Hong-Kong”). Throughout, it’s vintage style papers over any perceived cracks.
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