 | |
Tour de France Soundtracks
[EMI]
This album was undoubtlessly the one the fans of the electronic music most expected of the 90s, so much the German quatuor is the pioneer and a myth since the begining of the 70s. The last original album of the band, "Electric Cafe" dated of 1986. Since then, a compilation of remixes "The Mix", in 1990 and an EP, "Expo 2000", in 2000, were supposed to make the fans wait patiently before the release of a real new album that was more and more improbable. The very scarce concerts the band made, especially in France at la Cité de la musique in 2001, didn't reveal any new tracks, except a very techno instrumental. So, we were begining to resign ourselves, considering the old age of the two survivors of the band then, Florian Schneider was 57 and Ralf Hutter, 58. But the band has always cultivated its surprises' effects, it finally announced at the begining of July through EMI, the release of a new album for the end of August. So the rumours started to run... or rather to pedal, because instead of finding a new concept (after radioactivity, motorways, trains, computers and telecommunications), Ralf Hutter and Florian Schneider tried to inspire themselves of their favourite sport, cycling, a sport which already inspired them the track Tour de France a long time ago. Then the questions multiplied, first, how cycling could generate the creativity on a whole album. The answer can be found on the first audition: the concept is more about sport than about cycling alone. Indeed, what inspired our old German robots are the ideas of physical efforts, breathing, performances, speed, health, stamina and above all -an universal theme for Kraftwerk- harmony between man and machine. In a first time, the result should logically disappoint the fans, due to the less catchy, more ambient, maybe less pop character of some melodies and the less and less human and so less and less naive vocals; but afterwards, the Kraftwerk's magic should operate again, and like for each album, makes of this new production another unavoidable source of inspiration for the years to come. If you listen closely, you'll notice the perfect work with the new sounds and the new ambiences. Cold, smooth, techno, but not too much, electro, not too much either, pop, just what's needed, accessible, elitist and refined at the same time, the new tracks Tour de France 2003 and its three stages (already there on the EP which preceded the album of a few weeks to coincide with the real competition), Aéro Dynamik or La Forme prove that the Kraftwerk's contribution to the electronic music is not only justified but it's far from finished. Obviously, this is an essential album, at least for the next twenty years to come.
Stéphane Colombet |
|
| |
Remixes & Collaborations
[Ninja Tune]
This Englishman of Brazilian origins started his career with the pseudonym of Cujo. After he signed with the label Ninja Tune, Amon Tobin worked under his real name, mixing jazz, hip hop, drum'n'bass and electronic music. A register in the musical line of Ninja Tune. His very personal style seduced numerous artists of the time who brought their contributions to this album: Kid Koala starts with a groovy, indian-like track, then Bonobo comes in with an excellent drum'n'bass rhythms' title, P-Love brings his scratches on a very amusing music, then Steinski follows with a very robot sounding voice and Double-Clik ends with warm bass lines. After, four remixes of Verbal taken from the last Amon Tobin's album "Out From Out Where" follow. Prefuse 73, Topo-Gigio, Kid 606 and Boom Bip pander to the exercise bringing their personal touch to the track without distorting it. Far from the usual electronic composers, who sometimes loose themselves in noisy experimentations, Amon Tobin gives the priority to the musicality. His sense of melody and his clever use of samples, which constitute his main source of inspiration, make of him an unique artist.
Delphine Payrot |
|
| |
Fuzzy Warbles 3/4
[Ape / Virgin]
Let's forget for a moment the great career of XTC, and let's focus on the brain of this band, Andy Partridge, singer and composer. The man, although very often controversed, still is engaging. He's XTC, but XTC created its own universe from which it's hard to escape: a great and complex pop, bright and intellectual, which is sufficient unto itself. So, since his begining, Partridge gets away on his own, far from XTC, and let loose his craziness and shows his a brilliant musician. "Fuzzy Warbles" gathers all his twenty-odd years' wanderings. Nowadays, the third and fourth volumes are released, which represent with the first and second albums, nearly 80 tracks. Well done, we hear you say, but who's interested, except the hardcore fans of XTC? Well, all the others! Those who like the inventive craziness, boiling ideas, all kind of experimentations, just out of curiousity. This is precisely what we like in these "Fuzzy Warbles": the madest tracks, the almost comical songs as different as amazing. Let's be honest: in the end, four albums might be a bit too much, but after all if we could do without some of the tracks, nothing really bother our ears.
Frédéric Thébault |
|
| |
Duplex
[Shitkatapult]
In German Apparat means "device". In French, we could translate it by "appareil" which is a cooking term defining the mix of all the ingredients composing a dish. We can say this word also perfectly defines Sascha Ring's music. Because beyond the fact that he spends most of his time programming algorithms, the co-manager of the label Shitkatapult loves more and more to mix his "machine" music with classical instruments like guitars, saxophone and clarinet. We can even say that he perfectly masters the art of mixing these elements which isn't that easy (a lot of people failed at it). Sometimes a voice (Klas Yngborn's), the most organic instrument, is also delicately mixed to this already complex combination. Except for some saxophone's sounds we could do without, especially on the last track ("Negro Modelo"), Sascha Ring proves with his second album, that he can marvellously mix electronic and acoustic, giving so a deeply sensitive and light music. The imponderability of Apparat's sound creation never seemed so mastered. It is a good album, but you will have to listen to it with a finger in the ear if you're allergic to the acoustic/electronic mix and more especially to saxophone.
Carole Jay |
|
| |
| Black Rebel Motorcycle Club | |
Take Them On, On Your Own
[Virgin]
Let's talk about cooking. Last year, you found a new engaging restaurant, the "Black Rebel Motorcycle Club". Tempted by the nouvelle-cuisine, you tried your luck and you had a delightful time. Of course, this little restaurant was copying the greatest masters, like, for instance, the Jesus & Mary Chain, but whatever, it still was very good. This summer, you decided you would like to go there again, and you find the address. But things have changed, first the restaurant got bigger, probably victim of its own success. Anyway, you settle at a table, and from the starter, you find the same sensations you felt the first time: a good singing bass, covered by electric guitars, the whole wrapped by a dull vocal, snappy and nonchalant at the same time. A real delight. The next course is also delicious, nevertheless there's no novelties. Then comes another course. Same taste, same ingredients, you begining to think "all right, but now, I can't wait for the cheese and the dessert the chef must have prepared". Alas, the dishes come one after the others, again and again, but there's no dessert, nor cheeses. Well, this "nouvelle cuisine" isn't that new after all, the dishes all taste alike and you begining to feel a bit stodgy, even if the waiters are still real nice. So you left before the end, before the dessert which never came, feeling a bit nauseous. You said goodbye to the chef, who was even nicer than the waiters, but you're not sure you'll come back next year. Well, actually you might reconsidered, you won't bear them a grudge, but let's hope they make their menu a bit lighter the next time.
Frédéric Thébault |
|
| |
Farewell
[Pandaimonium]
We must admit, Ronny Moorings rather irritated us with his opportunist come-back, the prestigious 4AD's years and a disastrous try at baggy sound (1992/93) were long gone, promoting a goth attitude which got stuck in all stereotypes of the genre. But nowadays, the Dutchman manage to stabilize his boat. Indeed, he offers us with "Farewell" a sensible compromise between this so peculiar sound which you can find in the everlasting A Day, Stranger and Louise or Michele (on the albums "Clan of Xymox" and "Medusa"), and some melodies and a voice a bit less personal but nonetheless interesting which sometimes remind of the Sisters of Mercy's. Nevertheless, we're far from suffering of the ramblings of a Andrew Eldritch's clone, because the Clan of Xymox's compositions are high quality ones, and even if some tracks like One More Time or Into Extremes don't match the past ones, they still have a real consistency, offering a wise compromise between a kind of goth-pop and a vintage cold-wave.
Christophe Labussière |
|
| |
Client
[Toast Hawaï/Mute/Labels]
Having been announced for several months by Andrew Fletcher, their producer -you know the lanky listless guy who does nothing in Depeche Mode except keeping the band in a semi-coma- the mysterious and female duo, Client (we never saw their faces on a photograph) finally offers us their first album, after some very good quality MP3s which can be downloaded on their website and a rather promising EP released last Spring. And this album is very good, surfing (logical with a name like that...) with a rare talent on the yet too "fashion" wave of electroclash. On the program, some very 80s retro-electro music, digital synthesizers which remind of the great Moroder, some very British rhythmics in a very Pet Shop Boys' spirit, a determined, almost overbearing and yet sensual, female voice evoking Propaganda or Eurythmics or a Ladytron that would be less experimental, anyway some nice, simple, efficient melodies, sometimes fast almost agressive, sometimes appeasing and poetic. One can only be delighted by this first successful try, like soon to be unavoidable tracks such as Rock and Roll Machine, Here and Now and Love All Nite. Bravo Mister Fletcher, you've got some flair.
Stéphane Colombet |
|
| |
The 21st Door
[Interdimensional Transmissions]
To reduce GD Luxxe to a substitute of New Order like we often heard before shows narrow-mindedness, even if Mr. Potuznik doesn't help us: listening to Minds (already present on the "The 20st Door" EP, just like five of the tracks of this album), the first track of "The 21st Door", you might think you're hearing Bernard Sumner singing Heart and Soul (!) so much their voices sound alike. Musically it's different, and the next five tracks, most of them instrumentals, set the score right, they mix electro rhythms and diverse experimentations evoking the already experienced musical past of this musician. But what's bred in the bone will come out in the flesh: indeed, Gerhard Potuznik is a big fan of the Manchester's scene and he doesn't hide it, but he also loves some even more ancient sounds. So, he favours us with a very good cover-song of T-Rex, Pain & Love, adorned with keyboards inspired by those of The Perfect Kiss and Bizarre Love Triangle! Going even further in the nostalgia, you may like to learn that this track has also been released as a single (in a very limited edition) with a cover of The Sisters of Mercy's This Corrosion on the B-side... So this record will unite the open-minded electronica's fans, the nostalgics of the best of the 80s and the always satisfied nu-electro fans.
Carole Jay |
|
| |
Compilation
[!K7/Pias]
If you have ignored the 149 first productions of !K7, an improbable hypothesis indeed, so much the German label's history is linked to all the prestigious and exciting electronic productions, an unhoped for occasion is offered to you with this compilation celebrating the 150th reference of the label. On the program, a varied and complete insight of the !K7's team (Funkstörung, Swayzak, Terranova, Playgroup, Tiga, Kruder & Dorfmeister, Smith & Mighty...) which harbour with the same consideration some electro formations, sometimes minimalist, sometimes house, often downtempo but always neat and of quality. "!K7 150" gives us a glimpse on what the future it will offer us, as a major actor of the electronic scene, by proposing some of its recent discoveries as well as some old sure values. In the end, this is a real immersion in a particularly comfortable universe, as varied as it is coherent. A DVD goes with the double-CD, it shows 14 video-clips, some of them surprising like I Dance Alone of Swayzak, No Peace of Terranova and Grammy Winners of Funkstörung directed by Designer's Republic. All that for the price of one CD.
Christophe Labussière |
|
| |
WAT
[Mute/Labels]
It's difficult to approach a Laibach's album without taking part in the harmful game in which the Slovenian formation has been trying to drag us for nearly 20 years now. Cover-sleeves with strong meaning symbols, tracks' titles with obvious intentions, like Reject or Breed or Anti-Semitism, lyrics full of ambiguous messages, Laibach plays with fire and they do it with an obscene pleasure. The systematic remakes of "rock" standards which are their trademark, have always been the only "funny" gap we can find in the band's undermining work (how to stay believable or to present a serious message by covering Europe, Opus, Status Quo, The Beatles, The Rolling Stones or Queen), even if paradoxally, some of these tracks are their main hits (Leben Heisst Leben/Life is Life, Geburt Einer Nation/One Vision or Final Countdown to mention a few). With "WAT", all the stigmatas of the damned children of the electro-indus scene are present: minimalist industrial ambiences (with a big tribute to DAF on Tanz Mit Laibach), irresistible Wagner-like choirs (B Mashina), a rather subtle electro, an unique voice... We notice that the Laibach's sound evolved well with rather successful compositions (except for the puffy Du Bist Unser, a strong reference to Maurizio's dub and to the Berlin school), all are original songs (no covers), for an undeniably efficient album. These Slovenians manage to come back with a disconcerting ease. The announced come-back, always delayed, of the less acceptable band of Mute, is, if we forget the polemics, a total success.
Christophe Labussière |
|
| |
Whale Rider
[4AD]
Here is a record both appeasing and worrying. Lisa Gerrard got us used to movie soundtracks for a few years now, and alone, she composed the one of the New-Zelander film, "Whale Rider". This is not here a big Hollywood-like production like the soundtrack of "Gladiator", nor the remains of her previous album "Duality", as it was the case for the soundtrack of "The Insider". The fifteen tracks of this record are marked by a gentleness and a rare subtlety, which tear the air and the water, can she be of the ocean. The tracks are simple as if to only keep the gist of a primitive language. The music is so oppressing, it seems it has been composed under water, but it still is magical: even if this record doesn't speak the language of the whales, it breathes at the same rhythm. After diving in the depths of Journey Away and Rejection, Biking Home allows us to come back up to breathe before going slowly down again with Ancestors. Even if most of the tracks are instrumentals, we can hear the voice of the Dead Can Dance's singer on gentle tracks like They Came to Die, Empty Water and Pai Calls the Whales. An out-of-this world record where the human voices are music, to only carry emotions instead of words that would be insignificant here. Lisa Gerrard proves once again with this record that her melodies are universal. What if her music, her voice and her language could break the species barrier?
Bertrand Hamonou |
|
| |
Pole
[Mute/Labels]
The German scene has always had a preponderant role in the field of electronic music. Stefan Betke alias Pole doesn't deviate from this rule. This versatile Berlin artist, is a musician, a DJ, a producer and he's also got his own label, ~Scape. For the anecdote, the name Pole comes from the day when Stefan Betke let his Waldorf 4-Pole filter drop and once broken it then produced crack sounds that the musician used in his tracks. His new eponymous album stands out by a sudden infatuation with hip-hop (Slow Motion, Arena), with the vocal of the rapper Fat Jon on four tracks of the album. The other tracks are purely electronic, with sometimes a touch of jazz introduced by a bass and a saxophone (Bushes, Green Is Not Green Yellow). Always concerned with minimalism, Pole offers us a very subtle album which will please the fans of this genre.
Delphine Payrot |
|
| |
Echoes
[DFA]
A lot of things have changed for the New-York band, The Rapture since their rather unnoticed begining (with the album, "Mirror" and an EP "Out of the Races & Onto the Tracks"): but thanks to their new label, DFA and two magnificent EPs ("Olio" with its house rhythms and its Robert Smith-like plaintive vocal, and "House of Jealous Lovers", an irresistible and frentic disco-punk hit), the band has been launched by many clubs' diffusions and the praises of the press which made of them the stars of this new millennium rock made in New-York. The eagerly expected "Echoes", recorded a long time ago but with an always delayed release, is (wrongly) considered like their real album. If we can find two hits of the already mentioned EPs, the rest of the record is exactly in the same vein: some dancing groove on I Need Your Love, some heavy electro synthesizers on Sister Savior and some very post-punk rage on Echoes or The Coming of Spring, Luke Jenner's exceptional voice serves marvellously this mix of rock and house, of electronic and instruments. Light, mastered, perfectly produced and full of energy and ideas, "Echoes" is one of this record we listen in loops, that we know by heart and that we never grow tired of. A breath of fresh air for the rock of New-York (and elsewhere) and one of the unavoidable record of September.
Renaud Martin |
|
| |
Waves
[Ignition]
The release of this compilation of Ride's radio sessions is the perfect opportunity to re-discover this noisy-pop band from Oxford, who with its two excellent first albums ("Nowhere", 1990 and "Going Blank Again", 1992), equalled My Bloody Valentine and charmed most of the critics and Robert Smith before a much less interesting following and end of career. Recorded between 1990 and 1994 on the John Peel, Mark Goodier and Mark Radcliff's BBC sessions, the 17 tracks of this compilation cover a big part of the band's career and include hit-tracks such as Like a Daydream, Dreams Burn Down, Time of Her Time) as well as rarities and cover-songs (Sight of You of the Pale Saints and Severance of Dead Can Dance). Even if we regret the absence of some major tracks (Chelsea Girl, Drive Blind, Leave Them All Behind or Chrome Waves), the whole gives a good insight of the band's career and, by stirring up old memories, remind us how much we missed them.
Renaud Martin |
|
| |
Never, Never, Land
[Universal/Mo Wax]
We didn't expect them anymore, yet U.N.K.L.E., the super band of James Lavelle (also the boss of Mo'Wax) is back with this "Never, Never, Land". Let's be frank, this album has few common points with the previous album ("Psyence Fiction", in 1998), except for the concept (many prestigious guests) and the name. This time round, we won't find DJ Shadow or Mike D (Beastie Boys) who played a major role in the rap sound of the previous album: from the start, "Never, Never, Land" puts the emphasis on the 70s with a cheeky sample of Ozzy Osbourne's singing. Going through this concept-album (how could we call it otherwise?), we quickly notice that it (brilliantly) succeeds where the last Future Sound of London's album failed: to mix 70s high ambiences with the best of the 90s' electronica, inserting a zeste of very 80s feeling, which is more and more used, a kind of sadness tinged with existential depression. The single Eye 4 An Eye, a fantastic track, is the perfect example with its techno rhythmic, its psychedelic sitar and its languid violins. So, we're sometimes reminded of Underworld, like on Reign (nicely interpreted by two members of the ex- Stone Roses: Ian Brown, already present on "Psyence Fiction" and his former bassist Mani), of Mike Oldfield (yes indeed) on the intro of In a State; we really appreciate the presence of Josh Homme (Queens of the Stone Age) on Safe In Mind and even more the one of 3D (Massive Attack) on the brilliant Panic Attack (enjoy the pun and the Joy Division's sample!); we revel in the gliding I Need Something Stronger (Jarvis Cocker of Pulp, and Brian Eno, nothing less!), and even more, for a moving, sensitive album.
Is a recap necessary here? "Never, Never, Land" will be the album of September, or even the album of the year, and U.N.K.L.E. is one of the most clever band of the latest years.
Frédéric Thébault |
|
| |
Version 3.X Crimson
[www.realvast.com]
Jon Crosby decided to drown the VAST fans under tons of mp3s on the band's website. Hardly three months ago, he was proposing ten compositions of an album called "Version 3.X Turquoise", and now he offers us ten new tracks on this magnificent "Version 3.X Crimson". He was recently saying in an interview that he could even put on line seven albums, each of them with a different colour name! Could VAST be the link between the record industry and altruism? The cost of these productions being more than reasonable ($2.99), we can safely bet that the fans worldwide will rush on it, and this new album will delight most of them. There is always this slightly lazy voice like on the gentle Lost, and these splendid melodies that only Jon has the secret of. Some of the tracks already sound like classics, such as Winter in my Heart and its intro close to Clocks by Coldplay, or the very modern All I Found Was You. That's my Boy offers us a sample of Lisa Gerrard who struggles with Jon's voice and guitar for four minutes: a real delight! Evil Little Girl and its omnipresent violins reminds that the band's range is huge and that never an American group had a better name. VAST is capable of creating tracks with multiple arrangements, and it proves once again that diversity breeds cohesion, as long as there's talent.
Bertrand Hamonou |
| | |  | | |
| |
|
Maybe do you remember NOX, this industrial band who played, some years ago, under the leadership of Gerôme Nox. After the split of the band in 1994, the latter devoted himself to compositions of music for theatre and contemporary dance. The album "Ventre" is his latest solo project. It looks like a sound track which immerses us in a worrying and tormented universe. An abstract music which materializes by rather gloomy electronic sounds and sustained rhythms. The tracks let the auditor's imagination free, provoking strong and upsetting emotions.
Another solo project with Paddy McAloon, the leader of the legendary Prefab Sprout. Disabled by a serious eye problem in 1999, the composer listened a lot of radio which became his main source of inspiration for his new album "I Trawl the Megahertz". This album, he himself qualifies of "talking book" has nothing in common with Prefab Sprout's pop except for the quality of the compositions and the sense of melody. This is a symphonic album, happy and languid at the same time. Our attention is especially drawn towards the excellent track I'm 49 influenced by his radio listenings, also Sleeping Rough, the only track on which appears the singer's deep voice. Except for the first track which includes the monologue of an actress, the other titles are instrumentals (violins, trumpets, brass) with jazzy sounds. A really delightful.
Until now, the famous English label, Ninja Tune, got us used to uncommon productions. Once isn't the rule, the last record of 9 Lazy 9 disappoints us. "Sweet Jones" is an ambient album inspired by jazz on which you can find the most varied instruments (trombones, guitars, flute, bass...). Although a bit boring, this album is easy to listen to, but it doesn't really convinces us.
Delphine Payrot
|
Guitars, bass, drums, samples and keyboards, here are five basic ingredients for five deep and unsettling tracks. Sibyl Vane, a formation from Pau, releases a very promising EP, "Prêt à Porter", balancing dark minimalist electronic instrumentals, wild noise and melancholic pop. Each track explores a singular universe and far from dispersing themselves, this dandy quatuor shows a rich personality and an obvious creativity (www.thedresscode.net).
We're not as keen on Maria Blonde's six tracks EP who offers us an irreproachable emocore regarding the compositions, but rather classical, in direct line of Portobello Bones or Drive Blind. "Hearts Always Bleed" is tense, sensitive, powerful, but the vocal is too raw on It's Time to Know, although it's got a good intro. This is a shame because tracks like My Prayer ou Empty Headed , which sounds a bit like Sonic Youth, are excellent (www.mariablonde.com).
Once does not make the habit, we'll talk about pop-folk to underline the remarkable work of Jim Moray, a 21 years old English prodigy and a multi-instrumentist, who's more a crow than a dove on "Sweet England". Three quarter of the album is made up of pop-electro re-interpretations of traditional folkloric British songs. Jim Moray managed to create with his arrangements some romantic atmospheres sometime restrained, sometime strong, and to get close to the finesse and the gravity of Tori Amos' compositions all the while keeping close to the original melodies.
Catherine Fagnot
| |
