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Formless
[Hymen]
Some formations like Gridlock or Haujobb are lucky to benefit from a rather special status which allow them to impose themselves as a reference and rise the interest of most although their talent dwells more in the quality of adaptation and of digression than in pure creation. This is a very enviable situation which allows this American group to surround each of its production by a protective and seducing aura. Nevertheless, the kind of electronica in which they excel today distinguishes itself from their models' by its amazing savoir-faire, the know-how of always introducing organic elements and puting in their compositions an accessible melody. Although the colour of "Formless" is metallic, some omnipresent, but always advisedly used synths bring to the whole a rather padded atmosphere, even when the rhythm gets tougher. And if these ambiences are less complex than what we usually like here, there are not simplist and Gridlock offers us here a maybe, uneven record (some of the tracks like Done Processing are superfluous), but, in the end, it's particularly pleasant.
Christophe Labussière |
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Flicknives
[Quartermass/Tripsichord]
Two years after a label's change (Novamute) and a not very convincing side-project (Uniform), 2nd Gen comes back to shake our walls with a new album, a worthy following to "Irony Is". Nevertheless, "Flicknives" starts slowly with Evox, a long ambient track supported by a thick and rumbling loop, which itself contrasts with the more aerial sounds of a violin. A clashing mix which perfectly serves the very intense, repetitive second track typical of 2nd Gen... The only problem is that "Flicknives" is so worthy of its predecessor that we could think these two albums have been recorded one after the other. With the same saturated sounds, the same obsessing rhythms, all the tracks use the same elements as before. It doesn't mean that "Flicknives" is a bad album, but after two years, we could have hoped for something different. Certainly, Wajid Yaseen's inventive amalgam of industrial, techno, free-jazz, hip-hop and eastern music is unique. A mix of this scale could easily end in a shapeless collage, but here, the result is well mastered and immediately recognizable. That's why 2nd Gen's first album was a success, but it would be a shame it contents itself with this experience, endlessly going in circles...
Carole Jay |
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Silicone
[Yellow Productions/East West]
There isn't only the group Air who lives in Versailles, there's also Xavier Jamaux who, after working with the duo with Alex Gopher in the group Orange, created Bang Bang, an electronic project not to be confused with the Icelandic band who surprised us in 2003 (see our chronicles of November 12). His second album, "Silicone", which is released like the previous one on Yellow Productions (Bob Sinclar's label), evokes the icy and decadent VIP's universes of the hip night-clubs that could have been taken from Brett Easton Ellis' "Glamorama". If the nostalgic melodies and the mechanical rhythms of some tracks (Silicone, Stranger at Your Side) will inevitably remind you of the eighties' spirit, it would be unfair to summarize Bang Bang's music to a simple tribute to the past: because from the amazing Shoot the Model where an imaginary David Bowie sings to Auntie Aviator (of John and Beverley Martyn) and the irresistible groovy beats of Don't Care or the superb pop ballad Tao, we feel that all is mastered from begining to end. Mixing glamour melodies and acid humour in an open, elaborated and inventive electro, "Silicone" is a record we'll remember and probably one of the best French electronic album of this year.
Renaud Martin |
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Democrazy
[Food]
In a band's career, after some years, there's always a moment where one member or the other feel like going solo. We know that this exercise is dangerous. In Blur's case, we're rather surprised to see Damon Albarn going solo because we thought he was the soul of the band. His escapade with Gorillaz was very successful, Blur's last album was said to be the man's masterpiece, maybe this wasn't enough for him. Whatever his motivation may be, Damon Albarn offers us here a solo album. What could we say? First, he's cautious because "Democrazy" won't be widely broadcasted (it's a double vinyl release on a 5,000 copies' limited edition). Despite this, and with all the good intentions, we have to admit that it didn't stir us. With its listless ditties, its cheap rhythms' box, bad minimalist guitars, its sleepy voice more whispering than singing, this record reminds of the early tries of Lou Barlow in Sentridoh, with the "I take my fucked up 4 tracks, my guitar where three strings are missing and I record in my kitchen" kind of attitude. A nice attitude, but a deeply boring result, it's no use trying to focus on it. Let's hope this missed digression will be anecdotic in Blur's career, and that Damon and his mates will go on recording inventive, sweet and sour music like they know so well. As for "Democrazy", the best for it would be to become a collector (which it already is since it's a limited edition!) for the hardcore fans...
Frédéric Thébault |
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Defixiones, Will and Testament
[Mute]
Mute
The Greco-American diva never tried the easy way. Like a Pithie in trance, Diamanda Galás uses her voice (an impressive instrument covering four octaves) like a mediator between suffering and the outside world. Her wails that could trigger seismic tremors and her rough vocalizations can chill the listener or at least, never leave him indifferent. After dedicating a part of her work to illness and AIDS (which killed her brother), she approaches on "Defixiones, Will and Testament" the theme of genocide, especially the Armenian, Assyrian and Anatolian Greek genocides of the begining of the 20th century. Presented live since September 1999, this performance which was taken on a worlwide tour, is now burnt on a double CD. Juggling with the Armenian, Arabic, Greek, Spanish, French, German and English languages, the diva also plays with the atmospheres. Sometimes possessed, her voice makes you shudder, sometimes more melodic it's closer to eastern chants. But it's always quite violently that the piano and the vocal describe its dark subject.
As for "La Serpenta Canta" (also a double CD recorded live), it's a collection of re-interpretations on piano of blues, soul and American country classics. There are, among others, I Put a Spell on You of Screamin' Jay Hawkins and tracks of John Lee Hooker, Hank Williams, Ornette Coleman, etc. As always with Diamanda Galás, the listening must be solicitous. Those of you with sensitive ears should abstain!
Laure Cornaire |
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Humana
[Equilibrium]
After their first ep "Moments" released in 2001, Dwelling carry on their singing on the same path, without any compromise nor technical abuse. The tracks are recorded live in the studio, without any synthesizers nor samplers, we are told. In fact, based in Lisbon, the band quickly decided to avoid artifices and to compose an ethereal and acoustic music, qualified as neo-classical. Despite a more or less assumed "Heavenly Voices" direction, the music only made out of an acoustic guitar, one voice, a violin and a bass doesn't really compare to the Black Tape For A Blue Girl's electronic darker atmospheres. Catarina Raposo's singing reminds of Collection D'Arnell-Andrea's, but the comparison with the French band doesn't go further, as the electric arrangements are missing here. Even if the violin playing sometimes sounds like the Legendary Pink Dots' one in the mid 80's, it's hard to make it out among all these songs that all have quite the same sound. Portuguese songs luxuriously cohabit with the ones in English, and the listener will feel like his blood temperature will warm up with that sunny language, carried by a crystal-like music, as proved by the intro of Silêncio Intemporal. A record to listen to near the fireplace, waiting for the milder temperatures of spring.
Bertrand Hamonou |
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Cast of Thousands
[V2]
With "Cast of Thousands", Elbow, a Mancunian quintet that shook the British press up because they thought they were the successors of Radiohead when they released "Asleep in the Back" in 2001, offer us their second album. Even if the infatuation was only British, this new album proves they're a very good band indeed. This isn't a revolutionary album, but the melancholic pop of "Cast of Thousands" immediately moves you and the efficiency of this subtle album is amazing. You'll be reminded of Coldplay with the drawling vocal (on Crawling with Idiot), the listlessness of the compositions and the complexity of the sounds evoke the Doves or Woven Hand (on Fugitive Motel or Switching Off). And even if the gospel choirs bring some warmth and that tracks like Fallen Angel are quite carefree, the general tone of the album is rather bittersweet. An album you must have.
Catherine Fagnot |
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Don’t Try This at Home
[Gammon records]
The brainchild behind this one-man band is Jesse Hartman, a younger Eddie Izzard in appearance whose vocal intonations are reminiscent of Beck. According to the album notes and photos, Hartman collaborated with a group of supermodel type girls. Upon closer inspection of the photos, it becomes obvious that they are in fact mannequins. Our lead man here obviously has a wry sense of humour and it appears in his music as well. The slick '60s rock-tinged songs relate to his adolescent experiences trying to make it as a musician in New York and the ups and downs of love life. "Don't Try This At Home" starts out strong and original. It keeps a cool pace throughout the first half of the album but then seems to lose a bit of its steam. The second half becomes slower with less variety. They are not really bad tracks but the change in pace from the upbeat, snappy and amusing first half to the slower second half was kind of depressing. Despite this, there is plenty of witty angst in the lyrics throughout the entire album, which makes up for any shortcomings. Be careful. Despite the less inspired songs, this album can grows on you. It ages well with each new listening. After one listening you're not sure what to make of it, after two, your interest is perked and after a third you'll have many of the damn songs stuck in your head. Much like a quality stinky cheese, (I mean that in a GOOD way) Laptop ages well and if classy, wry humor and slick sound is your thing you'll be hooked.
Ron Sawyer |
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Fashion Victim
[Ad Noiseam/Season Of Mist]
Larvae loves modeling sounds and you can hear it. After their EP "Monster Music" released last June and a split with Miles Tilmann, the trio (Larvae is really a one-man band, and the man is Matthew Jeanes) offers us their first album made of simple, devoid of any useless tricks, melodies. Devoid doesn't mean "empty" but purged. Larvae goes to the point: the tracks don't have illusory and showy arrangements or any sounds gimmicks. Each sound has its place and beautiful materials flare up in a way that seems very organised. The tracks crunch (Refuse), fizzle (The Voice Collapse), crackle (Tonystark), vibrate... Far from the "fashion victim" which gives its name to this album (an issue title for M. Jeanes, who's quite irritated by the predominance of appearance upon being), here, there's no accessories, everything seems to have been done to avoid superficiality, even if it sometimes falls in a routine or the musical anachronism. But the tracks are elaborated in emulation of each others, the rhythmics alternation is pleasant and the whole is very accessible.
Carole Jay |
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Threshold to Disharmony
[Cold Meat Industry]
Coming from Eskilstuna (Sweden) like their colleagues of Arcana/Sophia, Lithivm is one of the last newcomer in the steel works Karmanik and Co.. This unicellular project orchestrated by Gustaf Hildebrand releases a first, cold and lugubrious as it must be done at Cold Meat Industry, album advisedly entitled "Treshold to Disharmony"; behind a pretty digipack ornated with deserted warehouses and rusty machines hides a quite disturbing program. After these warnings, Lithivm steps over towards disharmony without reaching, the industrial depths of Brighter Death Now. Nevertheless, the nine tracks of this end of the world opera will make you shudder. Martial and static, the ambient noise struck by Gustaf is accompanied by the most unhealthy tinsels (screams, clown music, undefinite growls), and the whole is treated with distorsion. A first disturbing try, although it's sometimes a bit too "scholastic" with its industrial clichés you can find here and there (the Neubauten-like squeakings on City of Machines Segment II), but its corrosive efficiency will ravish the fans of this genre.
Stéphane Leguay |
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Dirtier than the Dirt
[Steelwork Machine]
After a two year gestation, Neon Rain finally releases their first album "Dirtier than the dirt", and it seems obvious that dirt makes as much noise as hammer drills which decided to attack your building early in the morning. How can't we think of the famous Skinny Puppy's Brap samples at the end of Perpetual Symposium, minus the Canadians subtlety. It's no use to panic though, this record is intended for the ones that get used to experimental music, and who will be able to listen to noises and screams of all sorts for about one hour. Fans of wild experimental and noisy rhythmic industrial will be pleased, and will appreciate to hear their relatives tell them that "this is no real music at all". Worms and the Realm of Flies is a smart almost 4 minute long schizophrenic scream, which will be calmed down by the intriguing and claustrophobic Absence of Breath. After such an ode to death, the welcome Unleash the Plague is a oxygen breath with its sounds that Coil would claim. By the way, there's maybe a contest started with Coil's "Constant Shalowness leads to evil", and that will reward the good wills decided to create the most noisy experimental music, and we're not aware of it.
Bertrand Hamonou |
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PopArt
[Parlophone/EMI]
If there had be a university of modern pop somewhere in the world, Neil Tennant et Chris Lowe would dispose of one chair for life each, as special category Professors. Their "PopArt" released both as a double/triple CD and DVD, gathers all their singles (half of them inexplicably ignored by France) should synchronise French watches with London time. For if they're prophets in their own country, the Pet Shop Boys seem to be ignored by the French audience (which they expect to delight with the French exclusive version of Paris City Boy) since the release of "Very", back in 1993. But still, they've never stopped to compose perfect melodies, as delicious as chocolate golden nuggets, luxurious on the outside and tasteful inside. Each of their singles is so evident and clever, that it's sometimes hurtful for their contemporaries. How can we resist to the dance perfection of A Red Letter Day or to the more "rock" orientated I Get Along? Among those 35 hits, the scatterbrain will remember, at best, It's a Sin and Always on My Mind, and at worst, Go West. However, by creating modern and sophisticated arrangements for their songs (Yesterday, When I Was Mad), Neil and Chris did manage to write tons of classics like So Hard or Domino Dancing, and more recently, Home and Dry and it's very efficient chorus. Let's hope that "PopArt", digest of modern pop history, will be a second chance exam for the more inattentive of us, whom can be assured that the story goes on with the exclusive wonderful track Miracles. Evidence, if we need one, that pop can be agreed with longevity.
Bertrand Hamonou |
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The Day Before
[Minuswelt Musikfabrik]
The first good surprise when you see the cover of Pzychobitch's new CD: the German trio (in which Stefan of Mono No Aware and Sina of S.I.N.A take part) seems to have definitively given up the bad pseudo manga graphisms of their previous albums, "Master of Myself" and "Eden". Second surprise: the efficiency to which this combo got us used to is still present, and the eight tracks (five are remixes) of this EP which announces the album that should be released at the begining of 2004, will please all the muscled German electro fans: between the usual industrial influences (Killing Smile, Life Could), the techno-punk references (with the two versions of Caress) and even the future pop influences (the synths of My Day and its remix), there is everything to please everybody. Now, if you ask "is that quite enough?" or "is this record worth something once out of this completely saturated scene?", the answer will, unfortunately, be no.
Renaud Martin |
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presents TWAT v.04
(The War Against Terror)
[Intone]
The brain of Cabaret Voltaire has just produced a new composition. The narrow mindeds would say it's an album, even if it's really one musical intrigue with several parts. In this case, the idea of concept album is the most adequate to qualify "TWAT V.04.". Like a theatre play going from act to act, "The War Against Terrosism", pursues the anti-tyranny theme that Richard H Kirk is fond of since always. You could say that a musical work is a ridiculous counterattack to a bombing, but this artist sneers at the political reach of his actions. He's a reserved and lonely man. His activity/activism is only a personal expression of his distaste for the modern civilisation. What about the creation? There's nothing revolutionary at first, we've got the feeling that the improvisation predominates on the sometimes Eastern, sometimes African leitmotivs. The loops turn relentlessly in a void. The same tempo ornated with samples taken from TV news, in the street or during his travels, lead the whole. Kirk appears to go the same way his ex-colleague Chris Watson went as an audio-documentarist. The latter had left Cabaret Voltaire at their begining to take a job on TV and to dedicate himself to the diehard sound research, like concrete music engineers did then. So, we might dream of an alternative information channel, a "CNN" uniquely governed by humanist interests.
Anthony Augendre |
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The Sonic Aura
[Minuswelt]
Stefan Vesper, alias Steve Dragon, is the machine master of the German dark electro band In Strict Confidence since their last album "Mistrust the Angels" and before the next one entitled "Holly", offering some more technoid sounds and a kind of groove in a deeply sombre group. Strong with this new -and rather successful- experience, Steve Dragon offers us his first solo, totally instrumental album, quite far from In Strict Confidence in its musical style and its ambiences. The background here is less dark and agressive, even if it's just as mysterious. We're somewhere between German psychedelic trance (Psytrance) and mystico-asian chill-out, some tracks are clearly inspired by India and Africa. That's ten rather cool tracks (between 6 and 10 minutes each), particularly meditative but not revolutionary, except for the very Eastern Nag Champa and the whole is well produced (by the very gifted Denis Osterman, the main man of In Strict Confidence since their begining). Let's mention that the title Morph the Visions also goes with the new single (CD2) "Babylon" of In Strict Confidence. This side-project could be likened to a Delirium's or Conjure One for a band like Front Line Assembly, and Steve Dragon is the lighted side of the force, even if, contrary to the band cited above, the mastery isn't here yet... But let's be patient. With principles like his, like Music is Universal Energy or The Present Is a Present, we bet that the young Dragon will offer us one day the best of his wisdom.
Stéphane Colombet |
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Itching
[Brume Records]
Former member of the industrial band Nox and founder of the late label Odd Size, Laurent Perrier has been multiplying his solo projects for a few years now, (Cape Fear, Zonk't, Heal). His last and resolutely electronic album is released under the name of Zonk't. A subtle adventure built on endlessly changing rhythmics constructions. Laurent uses the creative force of the machines to develop real fractal sound which motive evolve throughout the tracks. The album starts with repetitive cold and metallic loops (From Time to Time), then the rhythm accelerates and gets more intense (Speed Ball) to bow out to a real electronic dub (Banging Shutter). From time to time, the well oiled machine goes ape in some uncontrollable rhythmics swerves (Gasped). Some sounds' accidents then come to debauch these clever constructions (Dreamsmaker). Sometimes, the motives get more ludic (Arsenal) and lively (Sleet). The tension finally falls down with Soft in the Middle which starts with synths and ends on an electronic swing. The album finishes on two excellent remixes made by Flint Glass and Oil 10.
Delphine Payrot |
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Robert Henke has finally decided to come out of his lair in Berlin to offer us his new album Monolake on his own label, Imbalance Computer Music. Between two sessions of coding, the co-founder of Ableton (this record has been completely conceived with the software Live) found the time to gather some of his latest compositions, proving so that he gets better as time goes by. Cern, the first very good track of this album entitled "Momentum", takes off like a rocket with a virtual match of ping-pong, a kind of opportune cross between Solar X and Cylob. After... well after, you'll find the usual Monolake, more contemplative, who offers us his compositions between robotic funk and linear electronic pop, in the best meaning of the word. Monolake's music is all except bad taste.
Magwheels et Stone Glass Steel (alias Philip Easter, more known these lately for his work at the American label Malignant records) decided to reunite to release an atypical split album. This record entitled "Pane", has nine tracks. Until there, nothing surprising, except that where Magwheels proposes us seven new tracks, Stone Glass Steel tries in two times twenty minutes to rebuild, with his very industrial vision, the whole discography (which, fortunately for him, isn't too important yet) of his colleague. The result is rather successful, very ambient, almost more hypnotic than the original. What could we say more, except that those of you who loved the previous opus of Magwheels won't be surprised by the second part of this record. To be discovered.
"Condensed", the last release of Lusine Icl on the label Hymen has the right title because it is a collection of tracks released during the last four years which were originally only available on vynil or in various compilations. Let's also mention, among all these re-releases, the presence of a novelty entitled Cascade which could by itself encapsulate the music of the prolific Jeff McIlwain. The variety of the compositions of this American unfurls in incessant waves of styles, from the most trite minimal dub to the catchiest electronica and drum'n'bass or frankly experimental loops. With this very varied compilation, Lusine Icl offers us a summary of stunning styles but also shows us a constant: the melodic mastery of his compositions aren't always very original but they are very efficient.
Carole Jay
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