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Waiting for the Sirens' Call
[Warner]
Hardly four years after "Get Ready" (which was released eight years after "Republic"), New Order's new album almost comes too soon; we were still under the charm of Crystal and the others gems that the four Mancunians offered us then. As soon as "Waiting For the Sirens' Call" starts, we find out that all the characteristical elements that make New Order who they are, are still present: Peter Hook inimitable bass, the synths, the guitar, the female choirs, and of course Bernard Sumner's voice, which is always as exquisite as ever. We could almost play the game of guessing from which album each of these titles come from. In a first time, this familiarity might wary you, but we assure you that the album is really excellent. New Order still knows how to juggle brilliantly with pop guitar (Hey Now What You Doing) and pop synths (Dracula's Castle), they still manage to play on the melodies and the emotions, offering us here a great moment of pleasure with these eleven tracks. Brilliant, as always.
Christophe Labussière |
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13&God
[Alien Transistor]
This is the group who introduced the Californian label Anticon's universe (where abstract hip hop, folk and electronica get along well) to the European public, thanks to their collaboration with the duo Themselves on the album "Cold House" released in 2001, and then on a magnificent split single in 2004 on which the track of Themselves outdid the one of our English friends with its beauty and strangeness. Now, it's The Notwist's turn to work with this trio founded by the rapper Doseone, the producer Jel, and Dax Pierson (who was recently hurt in an accident during his tour with Subtle), for a first EP "Men of Station", and an eponymous album, which is absolutely magical! There's a real alchemy here, and from the beginning of Low Heaven, it becomes obvious to the listener that these two prestigious bands, who master the sound each in their own way, managed to create together an unique universe made of strange landscapes suspended in time and space, between pop, folk electronica and abstract hip-hop. This is a real gem, surely one of the greatest of 2005 and a nice "stone" in rock history.
Renaud Martin |
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Jack Is Back!
[Limbo Records]
About twelve years ago, a new French formation was created, it was called 13th Hole. The band was in the groove of its time: extremely saturated guitars, wall of sound, monotonous female vocal, acoustical apocalypse, we were proud of our Sonic Youth made in France. Moreover, the band brought feelings to its music, which set them apart from the talentless followers of that time. But then, time went by with the Sonic years, at least with the meaning we gave to it then, because, we have to admit that we're always more surprised we still can go further, as nowadays, the noise has become the prerogative of MTV and the charts' leaders. Anyway, 13th Hole went on their own way, and now they're releasing their fourth album. The first emotion we have, while listening to it, is to be happy, because we find again the rage that enticed us, this dramatic intensity brought by the guitars. Then, we surf on the tracks, each intro seems also very promising: rage, anger, a bit of despair, some pogo for your body and your mind, everything is like we expected it to be.
But then, that's where it hurts. it would be dishonest to say that 13th Hole have lost one once of their talent. On the other hand, we could reproach them they haven't evolve at all. Of course, their sound has changed, it's purer, less confused and the singer isn't the same. But changing isn't evolving. Here, everything is more or less the same than ten years ago. So, why get wild for a record, even if it's a success, if it makes you feel like listening again to their first record, and even to all the records in the same genre that were released then?
It's a shame, and they also had a funny cover.
Frédéric Thébault |
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Funeral
[Rough Trade/PIAS]
Do you remember, at the end of 2004, the Canadian release supported by the word of mouth, which had upset your personal Top 10 of the best records you thought was set up for good? Well, this little gem entitled "Funeral", the first album of The Arcade Fire, a group from Montreal founded by the married couple Win Butler and Régine Chassagne, has just been re-printed by Rough Trade for a rejoicing European release. Those of you who missed them, will now be able to hear their feverish and fantastic rock, full of crazy guitars and frightened strings, which borrows as much to the new wave/post-punk than to post-rock a la Constellation. You'll be shuddering, especially on the first part of the record (the following Neighborhood) and on the poignant finale In the Backseat, sung by Régine.
The only drawback, is that to make up for this late European release, some bonuses would have been welcomed, for instance, we would have greatly appreciated the addition of the group's first EP, which is just as amazing as this album. But we won't sulk, and we end on a good news: the band comes back live at the Elysée Montmartre in Paris on May 16, and those of you who were lucky enough to see their great concert on March 10 at the Nouveau Casino, have probably already bought their ticket.
Renaud Martin |
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Untilted
[Warp/PIAS]
It's inevitably difficult to stay singular and atypical, to maintain one's status while one's essential desire is renewal. Obviously, this paradox doesn't scare the duo, it even motivates them, as proven by their productivity and the frequency at which they release their new productions. Hardly two years after "Draft 7.30", Autechre comes back to haunt us with "Untilted". It's always as difficult to dissect an album made by these two geniuses, as the perception one's may have of it depends on many elements. Here, the tracks are more rectilinear and longer (each of the 8 tracks is between 6 and 16 minutes long, that's 70 minutes for the whole). It shows an obvious intention to leave time for the listener, which he often lacks, to understand the complexity of their compositions. The complete work of Autechre is a real breviary that only Sean Booth and Rob Brown know the whole content of, and "Untilted" is simply another new element.
Christophe Labussière |
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The Bravery
[Mercury]
Announced by an imparable single you have been hearing on radios and on the English musical channels for a few months now (An Honest Mistake), the first album of The Bravery was keenly awaited by the armada of party people, the same that danced all along 2004 on Franz Ferdinand's and the Strokes' hits. These newcomers on the NYC scene (again), with their trash/dark dandies' look and their dance-rock hits, will easily satisfy all expectations. Especially now that rock music, freed of its complexes by formations such as The Rapture, LCD Soundsystem and Franz Ferdinand, has found its place back in the charts and carries along throngs of girls on clubs' dancefloors. The five beaus of The Bravery understood that well, they dress their dark and energetic rock with beats and electro, and the result is tremendous, somewhere between The Killers, Franz Ferdinand or Interpol on ecstasy. This record with many hits is a new proof that rock'n'roll has yet rejuvenated for the new millennium.
Renaud Martin |
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Some Cities
[Heavenly Recordings]
Preceded by an extremely good single, the blowing Black and White Town, "Some Cities", Doves' third album was much expected. And the least we can say about it is that this is a complete success. It would be easy to point out such a little chance taken as Walk in Fire, for instance, is pretty similar to There Goes the Fear. But it's also because Doves own a secret recipe which makes each of their track a classic, that we love them, simply because they can't disappoint any of us. Those who loved "Lost Souls" and "The Last Broadcast" take it for granted: "Some Cities" is in the same mood, written with the same honesty combined to that irreproachable gift for melodies. Between the furious guitars of Some Cities and the pale light of Ambition (which has been recorded in a church for its particular echo), this Manchester based trio links choruses up and develops its sound in such a moving way, that we can imagine them discussing every detail for hours. The sumptuous strings arrangements on Snowden make it the next single for sure, unless One Of These Days takes its place? You'll understand it, this gifted trio who once was called Sub Sub and invited Bernard Sumner to sing, doesn't have anything to envy to their glorious elders, since New Order's singer says it over and over: Doves is his favourite current Manchester band. With so much allegiance, and with some disrespect, we would also like to reply "it's ours too".
Bertrand Hamonou |
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Compilation
[Optical Sound]
Exceptional. The project imagined and created by Pierre Belouin of the label Optical Sound is simply exceptional. Those of you who knew the excitement of the French scene in the 80s and the 90s, will rush on "Echo Location". To re-play, to reinterpret, to remix a track they think is representative or is dear to them, taken from their discography, or sometimes a novelty (...) in order to hear each track with a new modern version. In a few words, here is a fascinating project maturated by a passionate person. Eighteen formations played the game, and the versions they propose us, be they completely changed or be they heard for the first time, are simply flabbergasting. Class, richness, intensity... to discover or re-discover these gems, like those of Marquis de Sade, Clair Obscur, Dazibao, End Of Data or Little Nemo is really pleasant. Here is the reflexion of an incredibly rich scene whose protagonists, resuscitated by this project, are now, as they were yesterday, admirable.
Christophe Labussière |
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Odyssey
[Capitol]
Until soon, Fischerspooner's story only consisted in two things: the track Emerge, a real massacre, and its video clip. The album, on which you could hear this single, "#1", was released several times because the band went from independent labels to sign with majors, and to tell you the truth, we doubted the duo had a real studio potential. Indeed, except for Emerge, Warren Fisher and Casey Spooner were much better on stage. A real encounter happened with the public (yet, the music was in playback), astonishing performances to the opposite we're (unfortunately) used to, in electronic music, with these ageless silhouettes frozen behind their laptops. So, we didn't expect much from "Odyssey", as Fischerspooner's adventure has been diluting for more than three years now. Yet, while the electroclash and its ersatz are starting to tire us, this new album is a real surprise and a complete success. The record is well built, alternating ballads and small bombs with varied melodies and classy ambiances on which, Casey's voice is really amazing. A square neat production for a really rich album. A very very good surprise.
Christophe Labussière |
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Une Saison Volée
[Warner]
We found out about Françoiz Breut, not in Dominique A's shadow, but beside him, like a ray of light who enlightened, with her so peculiar voice, the compositions of her mate. We awaited her first solo experience eagerly, but we have to admit we were a bit disappointed. Nowadays, while Dominique is less inspired ("Tout sera comme avant" is quite disappointing), Françoiz Breut goes on her own way and finally manages, with this third album, to mix all the good things we expected from her. A very nice, classy and nonchalant voice, very touching compositions, an ambiance we didn't experience before. Herman Düne, Dominique A, Jérôme Minière and Federico Pellegrini of the Little Rabbits collaborated to the writing of her songs (sung in French, English, Spanish and Italian), and the result is a real sweet and homogeneous album. With her bewitching melodies, Françoiz Breut will give the French songwriting a good reputation, like Dominique A did before (and with) her.
Christophe Labussière |
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Greetings From the Past
[Shayo]
In My Rosary is one of the many formations Germany sent us at the beginning of the 90s. Labelled darkwave, grufties or simply gothic, the Endraum, Elephant Vs. Bromley, kAlte fArben and other Printed At Bismarck's Death didn't benefit from the same emulation phenomenon as Das Ich, Project Pitchfork, Calva Y Nada or Wolfsheim. Although reduced to play the supporting parts, the duo In My Rosary survived to the anonymity and released in their thirteen years' career, no less than five albums and four EPs, to which we could also add the side-projects Griffin's Fall and Derrière Le Mirroir. A new compilation is now added to their discography, "Greetings From the Past", which comes back to their origins because you can find in it all the EPs "Those Silent Years" (93) and "Strange EP" (95). With the six nostalgic and minimalist songs of the first one, we hear a group, still young, shyly playing a dark folk with very nice melodies (Whare Freundschaft). And if the ghosts of Death In June or Engelsstaub can be seen on "Strange EP", the duo has gained confidence, adding action to their compositions, even daring electronic, a female voice and some very personal touches like the mad violin on Violation. More mature and better produced (while "Those Silent Years" was only recorded on an 8 tracks), "Strange EP" also got some good ditties, in which the melancholy perfectly merges with the keyboards that the band rather neglected until then (Why We Cried, Mirage). The catching up exercise ends with the very rhythmed Greetings From the Past, Liar and the Rose of the World, with new or re-recorded versions that bring a small touch of novelty to this good collection of souvenirs.
Stéphane Leguay |
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By Pass
Try Out
[Les Disques du Soleil et de l'Acier]
What a good idea Les Disques du Soleil et de l'Acier, the prestigious house from Nancy had, when they decided to re-release the two first albums of Kas Product. The first CD edition of "By pass" and "Try Out" have been sold out for ages, so this luxurious re-release pays tribute to one of the most innovating and the most representative bands of its time. May it be a dream or a true impression, but with its rhythm box, its bass modulations and its inventive arrangements, Kas Product seems to embody the French post-new wave sound, a scene that doesn't fear to be compared to the Anglo-Saxons', even if it's not popular. Yet, the force of this Franco-American duo dwells in a very simple frame: it's a brilliant alchemy between a suave and feline vocal (Mona Soyoc's) and electric and energetic machines (lead by Spatsz). The formula is quite clear, but it offers an amazingly varied musical spectrum. Even if you can find bits of Suicide here and pieces of DAF there, the jazz or cabaret influences of Mona often come in a synthetic, languorous, almost purring mechanism. From the hectic Loony-Bin, T.M.T. or Never Come Back to the very padded Pussy X and Sober, it's a big section of the 80s, we were talking earlier, that comes back to our memory... Outdated, but not washed up, the dry instrumentations do the splits between adrenalin and sensuality, but are never a incoherent experimentation. More than twenty years on, such a creativity and simplicity in the execution leave us aghast. There's also their enthusiasm, because the duo knows how to write songs, those that stay in your head willy-nilly and that you'll still be whistling in your shower the day after... Now they've been exhumed again, the two remastered treasures of the duo containing some excellent bonus tracks, can now benefit from a new childhood offered by the digital era. Somehow, this is a good occasion to catch up the lost time...
Stéphane Leguay |
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What Comes After The Blues
[Secretly Canadian]
Songs: Ohia isn't anymore since the magnificent "Magnolia Electric Co" released in 2003, and the following of Jason Molina's adventure now happens under the name of this last posthumous album title, as well as with a recently renewed line-up. So, last January we heard a live record, nicely entitled "Trials and Errors", which covered the classics of Songs: Ohia, but also some new tracks we can find here, on this new album. You might think that the difference between these two periods isn't very blatant and that the name change wasn't utterly necessary, Molina only seemed to go the same direction he already had taken since the end of Songs: Ohia, that is to say towards a more grave, more dense version of the folk a la Palace of his beginnings (from now on, the guitars blare, the rhythms are more obvious and Molina evolves in more US classic-rock, country rock or blues ambiances). But, don't worry, the songwriter, helped by Steve Albini on production and Jennie Benford on vocal (marvellous on The Night Shift Lullaby), still keeps his favorite themes and ambiances, and he offers us here, eight tracks that are melancholic enough to break the most hardened hearts.
Renaud Martin |
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Hotel
[Mute/Labels]
We knew Moby because of his multiple talents: as a DJ in Ibiza nightclubs in the mid-90s ("Everything Is Wrong"), as a pissed off singer and guitarist ("Animal Rights" in 1996, with the excellent cover of Mission of Burma, That's When I Reach for My Revolver ), as a talented bluesman and an annuitant sound architect ("Play" in 1999), in an emotional register (We Are All Made of Stars on his previous album) and above all for his good taste (with his remarkable cover of New Dawn Fades of Joy Division, the tribute to "Twin Peaks" on Go, and recently his leading role in the making of the soundtrack of the soon to be released movie on Ian Curtis\' life). Moby always manages to carefully craft songs that perfectly match the initial requirements, all the while succeeding to remain convincing. But generally, this deed didn\'t last an whole album. With "Hotel", things have changed. Whatever welcome this record will have, and if the advertising and TV reports\' sound illustrators will despoil it or not, we have to admit that it\'s perfectly done. This is a "real" album, more than a showcase of his countless facets, it\'s a wise and homogeneous compromise between emotion and efficacy, between pop, ambient and down tempo. From the very first audition, the quality "hits" follow one another, Raining Again, Lift Me Up, Where You End, Slipping Away, all are obsessive. The rest is a very good F.M. soup, the kind you would like to hear everyday. The only bad surprise, which is disappointing enough to be pointed out, is the cover of Temptation of New Order in a limp version on which Moby doesn\'t sing, leaving it to Laura Dawn. It\'s a shame, it shows Moby\'s influences, but this is the only drawback of an exemplary album.
Christophe Labussière |
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Paradise Lost
[BMG]
Since the huge "One Second", Paradise Lost is one of the rare metal bands as much appreciated by Depeche Mode's fans than the Sisters of Mercy's. With the remarkable "Host", the English combo had even taken a big step towards a dark rock where guitars were replaced by electronic... This left some of their fans nonplussed, hence their sudden change of direction with the mitigated "Believe in Nothing", showing a come back of hard guitars, but still with the 80s kind of melodies. This tendency was even clearer on the excellent "Symbol of Life", which cleverly incorporated electronic to organic (Rhys "Front Line Assembly" Fulber was in control), it had some powerful compositions with imparable melodies. Even heavier, "Paradise Lost" (always produced by Fulber) will probably reconcile the band with their original fans. But if the energy, the powerful guitars and the gothic lyrism are present, we are not hooked to compositions that are less convincing than in the past. Almost blameless until now, Paradise Lost disappoints us a bit with this tenth album, which doesn't bring anything new despite its massive production and its impressive darkness. Instead of putting themselves in danger, like they did on "Host", the band from Halifax chose safety and seem to go in circles despite some good obsessive tracks (For All You Leave Behind, Forever After). Therefore, the eponymous title of the album seems to ironically indicate that Paradise Lost makes... some Paradise Lost, and nothing more!
Christophe Lorentz |
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The 11th Hour
[Accession Records]
"The Eleventh Hour", Psyche's eleventh album, is presented by its father as the album of the last chance. But above all, it's a return to its origins, with Remi Szyszka's departure for a solo career, though he's co-written two tacks, and his replacement by Per Anders Kurenbach, previous Psyche member. From Bloodcurse first notes, we know it, the ambiance is deep, Darrin even changes the way he used to sing. His voice comes familiar again on songs like Defenseless or The Belonging Kind, which seems to have escaped the 2003 "Babylon Deluxe" sessions. But the illusion doesn't last: when the singer tries the spoken-words genre on 15 minutes, the song soon sounds like a vitamin-enriched version of Endraum. In fact, Darrin wanted to get rid off the embarrassing electro future pop cliché that came with the last records since the release of "The Hiding Place". Psyche isn't an ephemeral band surfing on hot streams, but remains accurate twenty years after its first album release. A peculiar innovation here offsets this smell of nostalgia: the cd releases a curious perfume when we rub it. Darrin Huss as a cosmetics salesman, that may not occur tomorrow morning, but one can bet that as long as he writes sumptuous tracks like the long Buried Alive, Psyche still has long years ahead.
Bertrand Hamonou |
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Pounded Mass
[Hymen]
The Healy brothers are pissed off and you can hear it. Maybe, the IDM label that was widely used to define some of their latest productions, annoyed them. Is it just a rebellion against their famous British colleagues or simply a resurgence of pride? Anyway, as the title of this new album suggests, it pounds, it hammers, in short it whacks hard, but not only. "Pounded Mass" is certainly a wise mix of the duo's typical sounds (distorsion and BPM are more than ever present), alternating with ambient tracks just as characteristical (there's a very calm opening of the album with the oppresive Machines Desire). A tested mixture which has been puting forward the virtuosity of the Welsh duo for ages; but John and Paul Healy, always experts in strange ambiances like "old-school Sci-fi movies' soundtrack" (Dead Space), also decided to add some changes like some unexpected scratches on Bathrobe Brawl V1. Nevertheless, we'll notice that this track (just like The Day IDM Crawled Up Its Own Arse) dates from 2003 at the best, which proves that the two brothers haven't given up this (bad?) habit to put on their album a digest of tracks made during numerous years. So, we won't talk of unity or novelty because there aren't really any... but, in the end, it doesn't really matters because the music of Somatic Responses represents by itself, a powerful universe which doesn't need any justification to prove its efficacy.
Carole Jay |
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Angel Milk
[Capitol]
At first, it's hard to say if "Angel Milk" is classier, more brilliant or simply more boring than "Genetic World", its predecessor. It's certainly more lounge because the ambiance coming from it is padded, like an extremely delicate, long and sweet lullaby. It's obviously neater because the sounds used are more subtle, of a dazzingly richness, which proves there's been a refine work on the settings. More consensual, with its formatted songs, all sung like dainty rhymes and tinged of sadness. But, in a way, the whole might appear more hermetic, almost monolithic, sometimes even a bit tiring, like on Love's Almighty and its exasperating voice and its excess of "strings". All the force and the richness of the album are finally revealed throughout numerous auditions. Take your time to apprehend it because, even if they seem less exciting than those on the first album, the fifteen tracks of this record are simply remarkable.
Christophe Labussière |
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Compilation
[Infrastition]
At a time when the French scene is bleaker and more morose than ever, the time may has come to turn around towards the past. We got the occasion to do it here with this compilation made by the label Infrastition, which is specialized in the French scene of the 80s and 90s. We found out about this young label some months ago with its first production, the re-release, for the first time in CD, of the complete work of Baroque Bordello, closely followed by two albums of Clair Obscur. Here, we've got a wider view of the years, that those who know them, will turn around to with nostalgia. Asylum Party, Baroque Bordello, Tanit, Opera de Nuit, Resistance, Kas Product, Martin Dupont to only name the more known, an insight of a dazzling beauty and candour, which might leave the youngest among us a bit sceptical, as the compositions of some bands might appear approximate, but it'll content those who still remember the day they held these records for the first time. Some tracks of "Transmission" have been remastered from vinyls, which shows the intention of Alexandre Louis, the creator of this compilation, to regroup the best of that time on one record. The few crackings ensuing give to the CD more charm.
Christophe Labussière |
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Ok Cowboy
[Different/PIAS]
How long it was to wait for this album! Whatever your musical tastes are, you certainly didn't escape to Poney Part 1 and Poney Part 2, two absolutely imparable tracks which have been devastating the dancefloors worldwide since 2001. There's only been one EP after that, "Fanfares" in 2004, which was a bit less exciting. Since then, we might have forget this French prodigy, but at last, "Ok Cowboy" has arrived in our players. The bad surprise is that Poney Part 1, Poney Part 2, La Rock 01, all taken from the two first EPs, are present on the album. That's as many new tracks less and it proves how difficult it was for the author to make his album. The good surprise is that this guy from Grenoble destroys everything. From the electro-rock, with a huge liking of guitars that seem to come from Daft Punk (on the single My Friend Dario), a real attention to the ambiance sustained by addictive synths, a real talent for fun (the organ on Wooo, Polkamatic's polka, the voices of the two Poney and Repair Machines) and an unquestionable talent and an indecent ability to make you sweat and move (how could you resist to No Fun). This is a slap in the face!
Christophe Labussière |
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Take Fountain
[Talitres/Chronowax]
Those who didn't witness the passage from the Eighties to the Nineties with the indie rock sound cannot understand what The Wedding Present represents in the rock history of the twenty last years. We all forgot, but without the Wedding Present, most of the current bands wouldn't exist. On the steps of the Buzzcocks, The Weddoes, as they were affectionately called, popularised a new genre nobody knew around 1987/88: a speed pop, imparable melodies, fast loud guitars, an ideal compromise between the rage of living and sensitive emotions, love pains and needs of revolt typical of adolescence. Two first magical albums put an end to the depressing post-punk years, they woke up a rock music that had become dead boring. "George Best" (87) and "Bizarro" (89), became the symbols of a youth who wanted to move a bit more. Then came the Pixies, then Nirvana, and the die was cast: the Wedding Present, after a perfect "Seamonsters" (produced by Steve Albini, if you please) and an anecdotical, but sensational "Hit Parade", disappeared little by little in the general indifference. Bands played louder, faster and made even more noise. In 1994, "Watusi" was too average, then "Saturnalia" in 96 was completely missed. In 2005, we're not in 1987 anymore of course, and the furious pop has disappeared. There's nothing left of what made the very essence of the Weddoes, what we really liked: a beautiful music, infinitely sad, with perfect melodies. Gedge isn't in a hurry anymore, he hasn't got anything else to prove. From now on, he takes his time, and perfects the emotion on his tracks, even if he still can create gems like Ringway to Seatac wrapped up in less than three minutes. "Take Fountain" is like a UFO if you compare it to what is made nowadays, it gives you the impression you once touched something unique and marvellous. Thank you, a thousand times.
Frédéric Thébault |
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Puyo Puyo is back with "The Love & Furry" (Ego Twister), a dense EP in every meaning of the word because the centre of the one-sided vinyl, is adorned with a sample of real fake fur of a micropet (drawn on the cover by the very hype Petra Mrzyk and Jean-François Moriceau). What about the music? Well, except that we're not tired of listening to 8 bit sounds on vinyl, Puyo the robot offers us, like he usually does, six fun electro tracks, full of different samples which seems to come from an alien console. A must which will make all the geeks of the cheaptunes' planet turn green.
In the same family, but in a "tougher" version, we find again Curtis Chip at Ad Noiseam with a compilation album. Indeed, after releasing two EPs on his own label, Zod Records, Ben Derickson gathers on "Eating Paste" one track of the first EP and the whole of the second, with a bonus track and numerous remixes (made by Eight Frozen Modules, Tarmvred, Larvae, Enduser, Binray, Ove Naxx and Xanopticon). For those of you who still don't know the syncopated rhythms of this artist, somewhere between bitpop and drill'n'bass, here's a good occasion to do so.
"Kabul", by Éric Aldéa & Ivan Chiossone, is the movie soundtrack which wasn't chosen for "Terre et cendres", Atiq Rahimi's movie. Indeed, although it's an order, the work done by the duo didn't convince the writer/film maker because he only chose one track among all those offered. So, the label Ici d'ailleurs decided to release a selection of these compositions made in Afghanistan and France, so that they will not be forgotten. Somewhere between Afghani traditional chants and musics, ambient and post-rock, this record is contemplative, introspective and rather dark at the same time; it's also an interesting evidence of the mixing of two very distant cultures, which, in the end, proves they can harmoniously complement each other.
In the "concept" records' section, Szkieve decided to pay a tribute to the Soviet aviation with a mini 7 tracks CD entitled "Ekranoplanes" (Ant-Zen), which was the name of several strange flying machines, half-boat, half-plane. Aquatic heaviness (there are some thick drones on the tracks) and aerial lightness (minimalist percussions and diluted glitches are delicately mixed), this is precisely what these acoustic textures evoke. So, we can say that, aesthetics-wise, Dimitri Della Faille won its bet, but it's not very original. Except, maybe, if you're a fan of aviation.
Finally, as it would be too easy not to talk about "Altmann's Tongue", by Brian Evenson with Xingu Hill and Tamarin (Ant-Zen), let's wonder what went through their heads and made them release such an album. During almost forty minutes, the writer Brian Evenson read a selection of his own writings to us, with on the background, some experimental dark and atmospherical music. Even if these texts are interesting, they only give the impression of another monotonuous and bland spoken words record, and it will left you all the more nonpluss if you don't speak English.
Carole Jay
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The heroic new-wave rock of Villa Vortex sounds a bit like one of these high school band, who conscientiously play their best in front of their school mates at the end of the year. Behind the classic structure guitar/bass/drums, lead by a quite catchy voice, there's a lyrical French vocal, a bit protest, the soul of Villa Vortex fluctuates between New Model Army and... Black Maria. Even if the five tracks of this EP don't sound achieved, they caught our attention, and the album which should be released during this year could unveil something rather interesting, at least if the group calm its guitars down and employ a producer that'll discipline them. Let's hope they'll have a better development than the controversial Maurice Dantec, to whom the band pays tribute as their name is taken from one of his novel. (Website)
It would be quite unfair to criticize No Tears while we praise, on this website, groups like Opéra de Nuit, the worthy representative of a 80s' French cold-wave. This project, which includes, among others, a member of Renaissance Noire and another of Neutral Project, two other unavoidable groups of the 90s, has a common point with these very bands, it offers an outdated cold wave lead by... an unbearable voice. The problem is that No Tears don't have the alibi of "old age", because this production could have had some meaning if it had been done in 1982 on vinyl, but unfortunately, as a 2005 release, "Borderline" (Str8Line) (which is also the title of Asylum Party's first LP) doesn't manage to stir our indulgence. (Website)
Neon Cage Experiment also look in the past, but they're more interested in Skinny Puppy and Front Line Assembly. We won't accuse them of plagiarism because it seems to be a tribute. There's no personality nor any originality, but there's an amazing ability to regurgitate the same sounds and ambiances, like if "Oscillations" (Cortex Records) was the album Bill Leeb, Rhys Fulber, Cevin Key and Nivek Ogre never had time to create. (Website)
From the very start of Nerve Exhibit's "The Horror of Amusement", you'll think of Museum of Devotion. Some rather typical synthetic sounds give to this EP a very special aspect, half way between New Order and Skinny Puppy. The five tracks straggle off, but perfectly complete each other at the same time. This is a curio whose apparent immaturity is the main interest, and which might be especially exciting on a whole album. We'll follow them closely. (Website)
Diaclase is a sombre and intense project coming from Bordeaux. They've got some interesting industrial ambiances' structures, far from any known model. The "vocal" is in French on three of the four tracks (30 minutes in duration). This is a brillant and exciting introduction for their album we're expecting this year. (Website)
This is a thrashing! That's what we can say of Inger De Fier and their four tracks "Deadly Games" (their second EP). This is a Roumanian, more groovy version of KMFDM, a kind of indus electro with rather dancing melodies, to which we'll make two major criticisms: the two members, IngerAlb and Bat, didn't dare singing on their compositions, and several times, the guitars sound a bit too "hard rock". So, sometimes, the result is quite unnerving. We'll follow them, but we're not quite convinced yet. (Website)
For some obscure reasons, Daft Punk don't seem to have the same success... it's like if too much success finally irritated people. Yet, "Human After All" is much better than their previous work, which now seems to be a simple transition between "Homework" and this album. It's perfectly well built and homogeneous, without any second-hand tracks, very efficient, and for once, not irritating at all. As for The Chemical Brothers, even if the method is different, more varied, more rich, the success is just similar. You won't resist the duo's sounds and beats. The prodigies aren't necessarily where we thought and the Chemical Brothers, just like Daft Punk, or more recently Fat Boy Slim, still impress us as much. Precursor and leader at the same time, they lead the dance like nobody else. Breathtaking.
Christophe Labussière
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At Constellation, they celebrate Spring like everyone else, but also the fourth album of Thee Silver Mt. Zion Memorial Orchestra & Tra-La-La Band, on which the sung formula is used again, like on the previous album "This Is our Punk Rock...". So, we find again the harrowing vocal of Efrim, but also the vocal of other members of the band as everybody is invited to sing along on this "Horses in the Sky", which is relatively more appeased than the previous albums, but just as poignant.
After Fourtet, Nightmares On Wax ou Turin Brakes, it's now the Flaming Lips' turn to try what the London label does for its compilations LateNightTales, that is to say, to do a mix of its most appreciated tracks. Like expected, the American choice is specialized and eclectic and you can hear universal references such as Miles Davis, Nick Drake and Roxy Music, more recent artists like Björk, Radiohead or Aphex Twin and 80s' bands like Chameleons and Love & Rockets. Let's also mention the excellent cover of Seven Nation Army, the White Stripes' worldwide hit by the Flaming Lips.
To finish, here's a little flash-back: remember the end of the 80s/beginning of the 90s, among the big names of the post-Smiths English pop, you probably listened to the Stone Roses or Ride, but also to The House of Love, who released some great albums (mainly the eponymous first two) and above all, some unforgettable hits like Christine or Shine On. After 1994, when the band split up, we didn't hear much about them, except when the singer Guy Chadwick released a solo album in 1998. Well ten years after, the band is now re-forming and Chadwick seems reconciled with the guitarist Terry Bickers. The result is an album entitled "Days Runs Away", in which we can find the same delicate pop and the undeniable know-how of the group with ten neat and sober songs. Sometimes, the whole sounds a bit outdated and lacks of eclat (for instance, there are no imparable hits), but the Englishmen didn't content themselves with repeating their previous successes. Here's a good come back and let's hope that the following (if there's one) will be more up to the reputation of this big name of the English pop.
Renaud Martin
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