Et Sans latest release (and first) on Canadian label Alien 8 is an
album that finds the band pushing themselves in familiar yet
challenging directions. The four tracks here burst at the seams with
ideas and inventiveness, all while managing to remain uniquely
accessible to those unfamiliar with their influences.
Though the Montreal quintet features members of such well established
groups like Le Fly Pan Am, Shalabi Effect, and A Silver Mt. Zion, this
is hardly a stepping stone for the band. Instead of falling back
on those groups' varied approaches, Et Sans mines the realm of the late
1960s and 1970s, touching on Suicide’s keyboard vamps, Kraut Rock,
psychedelia, and baroque pop. The first track, “Lachose Nue Nue Nue Ou
l'Amoncellement Spectral du Mac,” begins with slowly percolating beats,
with distant murmuring voices and washes of ambient static. The 18 plus
minute centerpiece “Une Bouche Végétale, Des Creatures Soufflent des
Sécrétions du Tout Fout l” follows and immediately dispels the eerie
calm established by the last song. Over an unrelenting Farfisa,
manipulated vocals, shrieking electronics, and pounding drum, the song
reaches its noisy zenith until slowly fading out to just a groaning
keyboard and a drum and handclap providing the rhythm at about the
seven minute mark. As the track progresses, it slowly begins to pick up
the pace, until it has regained the tempo it utilized in its first
section. Whereas earlier the vocals were hidden behind a gauze of
electronic manipulation, they are more prominent here, with the lead
voice intoning mantra like verses while backing vocals provide cheerful
“bah, bah, bah’s.” The song in many ways resembles early New York
keyboard noise mongers Suicide, but also draws comparison to Stereolab
in its extended length, and sublime pop frenzy. “Made Moiselle Ogive,
Un Tremblement Osseux Dans Lederriére” manages to match the intensity
of the previous song through the usage of one percussive piano chord
which provides the rhythm for much of the song. The delicate sense of
urgency is increased by more classical instrumentation, such as a harp,
backing strings and hushed vocals, all of which infuses the song with a
beautiful haunting quality. The final track is perhaps Et Sans most
accessible. “Les Courbes Sanglantes Entendues de l'Organe Trop Uraíment
Halluciné” is built on Felix Morel’s capable drumming, which drives the
song over its 11 minute course through a panoply of keyboard, breathy
vocals, and squirming electronics. While some may balk at their length
and unwavering rhythm, they are really missing the point. Par Noussss
Touss les Trous de Vos Crânes! is an album that manages to skillfully
balance Et Sans predilection for the experimental and the accessible,
making for a challenging and infinitely rewarding listen.
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