Tanz Mein Herz, "Quattro"
I began 2021 not knowing a single goddamn thing about Jeremie Sauvage, the Standard In-Fi label, or France's fascinating Auvergnat/avant-folk milieu, but I am certainly ending the year as a somewhat obsessed fan. Weirdly, this year was not an especially prolific year for the milieu, though Yann Gourdon and Sourdure had fresh releases, yet this album, the Sourdure album, and a pair of France reissues seemed to reach a lot more ears than usual and two of those ears were mine. The linguistically astute may successfully deduce that Quattro is Tanz Mein Herz's fourth album, but details beyond that are minimal and the recordings actually date from a two-day "public recording session" back in 2016 (the band's entire discography seems to have been recorded between 2014 and 2016, in fact). There is also some poetic information provided in French that makes repeated references to drones, vibrations, resonance, infinity, suspension, immensity, and a "pendulum of dreams," which I found both apt and predictably alluring. Admittedly, many of those descriptors could also apply to a host of disappointing drone albums, but I suspect the "pendulum of dreams" bit is probably the secret ingredient that makes this particular album so transcendent. That said, Quattro can also be quite challenging at times, but it unquestionably captures a very unusual acoustic drone ensemble at the very height of their eclectic and hypnotic powers, so it invariably winds up somewhere compelling no matter how prickly the voyage may become along the way.
I am not sure how constant Tanz Mein Herz's line-up is (or was), but at the time of the Quattro sessions they were a seven-piece ensemble and damn near everyone involved has ties to some other notable project (France, Toad, Sourdure, La Baracande, Faune, Omert√†, etc.). I suppose that makes this project some kind of fitfully convening all-star team that brings together all the best threads of a flourishing scene, which seems to unexpectedly be a winning formula these days if one also considers Enhet F√∂r Fri Musik. In any case, Quattro consists of six pieces that stretch across four sides of vinyl and most of them are quite long (even the shortest piece ("Outro") clocks in at over seven minutes). In a surprise twist, my favorite piece is among the album's shorter ones, as "Tales From the Middle of the Night" crams a hell of a lot of brilliance into just over ten minutes. The piece is built upon a repeating marimba-like melody and heavy buzzing drones, but it does not take long before it blossoms into a mind-bending phantasia of sliding, smeared, and howling strings that calls to mind La Monte Young‚Äôs Theatre of Eternal Music trying their hand at exotica (yet another winning formula, for those keeping score). As it unfolds, however, it only gets improbably better and better and burrows deeper into my mind, which is exactly what I want from psychotropic drone (and I would be hard pressed to think of anyone else who does it quite this well).
Remarkably, the only real difference between that highlight and the rest of the album is merely that the other pieces simply take a bit longer to truly catch fire. For example, the 20-minute "Magical Stones and Shiny Mud" starts off on a somewhat unpromising cacophony of bagpipe-y drones and flutes, then detours into a radiant and languorous drone-rock groove. I initially suspected I would not be able to connect with it at all, but then the final five minutes darken into a killer drone rock finale that seamlessly incorporates space rock, dub, and Eastern-tinged melodies. In a perfect world, it would admittedly not have taken fifteen minutes to get to that payoff, but the important thing is that they eventually got there and that it is quite wonderful once it happens. And there is certainly not anyone else who is doing the same thing in more impressive fashion, so I am happy to experience Tanz Mein Herz's singular vision in whatever goddamn shape they feel like presenting it in. Elsewhere, "Spiegel Haus‚Äù has a more promising and exotic-sounding central theme, but otherwise follows a similar trajectory, as the band pleasantly treads water in an Amon D√º√ºl II-style communal jam vein before eventually erupting in roiling cacophony of bubbling, spacey electronics and howling guitars. The following "96" is a bit more focused, as a looping bass hook steadily builds into a jangling and howling nightmare of sharp drones and ugly harmonies, while the minimal "Alor" sounds like drones from an ancient war horn or something that Yoshi Wada might have built. Given that, it is safe to say that Quattro is a seriously ambitious and oft-"difficult" album, which may throw some listeners who are less forgiving of extended durations and long, slow build ups or those less attuned to Wada-esque dissonance. For those who are unfazed by such rough edges, however, Quattro will likely feel like an absolute godsend, as it beautifully channels the late ‚Äò60s glory days when Eastern drones, freeform improvisation, and heavy psychedelia converged in spectacular fashion (and it throws in some welcome new twists as well).
Samples can be found here.