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Démarrant sous de faux airs de délicatesse acoustique, grâce à une boucle de guitare entêtante autant qu’intrigante, ce disque d’Unspoken Logic est en fait un monument de metal aussi original qu’excellent. Sous de faux airs death, thrash et punk, les titres ici présents revêtent une qualité assez étonnante, notamment grâce au travail vocal. Loin de se contenter de hurlements et autres éructations n’ayant qu’une place assez limitée, les voix se font aussi claires que surprenantes dans un tel univers de bruit et de fureur. En total décalage, le chant apparaît plus rock et en retrait, sombre et désespéré. De même, certains passages plus clairs entre riffs au couteau  et rythmiques martiales et évolutives donnent à l’ensemble des respirations sonores plus que bienvenues, avant de replonger dans la violence verbale et musicale de l’ensemble. Chaque instrument reste pourtant audible, du fait d’une production assez impressionnante à ce niveau. Les riffs sont nombreux, variés et impressionnants de maîtrise et de fluidité, permettant ainsi à chaque instrument de révéler son propre language, et à chaque musicien de nous faire partager technique et savoir-faire; le dialogue guitares-batterie demeure le plus direct et impressionnant, dévastateur et virulent, puissant et lourd. Aucun répit, tout est aussi lourd que sombre et éprouvant, incorrect et pulvérisant. Plus que de ne chercher qu’à imiter autant d’influences que possible (Napalm Death, Machine Head, auxquels titres et voix nous font d’ emblée penser), Unspoken Logic se forge un caractère personnel et original, grâce notamment à l’apparition impromptue de voix off et d’arrangements électroniques saturés et salutaires, le monde musical du groupe révèle ainsi une facette peu commune dans l’univers si diversifié du metal. Aucun ennui ne demeure alors possible, tant la musique ici présente apparaît aussi puissante qu’intelligemment composée et créée; donc, pour chaque fan de musique extrême aussi défoulante qu’originale et étonnamment produite et interprétée, Sunshine Between The Leaves est indispensable et incontournable. Aussi surprenant qu’excellent, et l’on ne peut que vouloir encourager et suivre le groupe qui, soyons-en sûrs et croisons les doigts, saura sortir du lot...

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First appearing like sweet and delicate acoustic music, thanks to an hypnotizing and mysterious guitar loop, Unspoken Logic’s album appears to be a monumental metal album, as original as excellent. Under false death, thrash and punk lookalikes, songs are of amazing quality, thanks above all to the vocal qualities on this CD. Far from only performing screams and limited vocal growls, vocals are sometimes clear and amazing in such a noisy and angry musical universe. Sometimes sounding rock and folk, sometimes desperate and dark, voice is astonishing and surprising. Moreover, a few clear guitar melodies are in complete but perfect contradiction among rough riffs and martial rhythms., and sound like breathings during this particular journey through verbal violence and music. Each instrument can wonderfully be heard, thanks to a massive and perfect work on production. Riffs are as numerous as impressive and perfect in diversity, and such a musical basis allow each instrument to find its own language, and each musician, its personal technique and abilities; then, the dialogue between guitars and drums is straight and impressive, devastating and furious, powerful and heavy. There is no time for rest and sleep here, as music is heavy and rough, incorrect and exploding. But more than only trying to sound like a few influences (Napalm Death, Machine Head), Unspoken Logic get their own and original way of creating metal music, thanks to spoken words or oversaturated electronic arrangements which are more than welcome here. Then, there is no boring moment while listening to the whole album, as music is intelligently composed and created; so, for each metal fan who is in search of violent but clever moments when angriness and wrath have to be contained, Sunshine Between The Leaves has to be discovered and understood. A surprising as excellent, this music has to be encouraged and the band must be followed and supported; and be sure they will find their place in the musical universe...

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En se séparant des Neg’Marrons a à la fin des années 90, après le succès qu’on leur connaît puis, malheureusement, leur oubli peu-à-peu, Djamatik semble avoir choisi la voix de la liberté musicale qui lui convenait le mieux; et à l’écoute de Musication, attendu depuis plusieurs années, force est de constater que bien lui à pris! A l’écoute des titres de ce nouvel album, l’artiste apparaît dans un univers musical que l’on ne lui connaissait pas, et qui surprend par la manière dont il parvient à nous captiver de bout en bout. Tantôt confident, tantôt réaliste face aux difficultés quotidiennes pour survivre dans le monde musical et à l’implication personnelle si douloureuse que celà implique, et parfois drôle et expansif dans un rôle de séducteur atypique et doué, toute une palette d’émotion rarement atteinte dans ce style musical ragga-dub et parfois reggae, ou délicatement soul et rhythm’n’blues, est explorée, et authentifiée. Et là où la majorité des artistes se seraient contentés de ne pas dépasser les frontières d’un style particulier, voire de s’y complaire inutilement (ce qui est le cas la majorité du temps, avouons-le tout de même; et quel dommage...), Djamatik ne se repose jamais sur ses lauriers, explore, fouille, se met dans une situation de risque, mais va toujours plus loin. Et il interprète chaque émotion personnelle avec le style musical qui lui est propre, sans se limiter; chapeau l’artiste... Cris du coeur, cris de haine, révoltes, introspection, séduction; tout se résume en album complet et riche, toujours en évolution et jamais répétitif; quant à la voix, laissons-là revêtir les émotions fidèles et sincères pour chacune des chansons. Sans renier ses origines musicales, Djamatik insuffle une énorme dose de savoir-faire, d’expériences musicales et de rencontres fructueuses partagées au fil des années de silence, et explose littéralement dans ce remarquable disque; comme si le cordon ombilical enfin coupé avait libéré l’artiste, le vrai, qui sommeillait. Bien sûr, un tel défi n’est pas sans risque; mais sans parti-pris, sans se soucier des réactions, Djamatik se dévoile, nous fait sourire ou pleurer, et tire le bilan des temps glorieux et du silence. Un respect total doit être donné devant une telle dévotion à sa musique, et l’on attend avec impatience d’éventuelles dates de concerts pour assister à ce qui promet d’être un spectacle, un vrai: un don de soi, déjà magnifiquement partagé grâce à ce disque. Merci, pour nous avoir réconciliés avec un style musical qui, au fil des années, avait perdu sa réelle signification...

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While leaving the French band Neg’Marrons in the late 90’s, after a real success, then a long hard road in hell, Djamatik appears to have chosen a complete musical freedom he really deserved along the years; and while listening to Musication, which many people were waiting for so many years, all we can say is that he made the right decision. While listening to all the songs of this album, this artist reveals a passion for a musical universe he first wasn’t supposed to know and be able to share, and it is a real surprist for each listener to feel captivated from the beginning until the end of this CD. Sometimes in strict confidence, sometimes, realistic while fighting against all difficulties in everyday life and all the suffering one is having to survive in the musical area, sometimes funny and perfect in a playboy-like role, Djamatik shares many emotions with us, thanks to his ragga-dub and reggae, then soul and rythm’n’blues style. And while many artists wouldn’t have succeeded in such a perilous and hard way of composing and singing, or would have only played the same style again and again (which is the cas many times and in many albums, let’s not doubt about it, and it is such a shame...), Djamatik explores his own music, takes risks, and goes further and further again. And he also plays each musical style he needs to play for every feeling he wants to share; congratulations for such a talent, man... His music is coming from his own heart, hatred, inner-self, and seduction; all is told in this complete and amazing, evoluting and never-repetitive album. Then, vocals are full of sincere and personal emotions in each song. Without taking his musical roots apart, Djamatik makes them full of experience and passion, and musical meetings he’s made during long years; he then litteraly explodes in his own musical genre, as if he was flying from a closed musical past and spread his wings to fly away to magnificent shores. Of course, he is taking a lot of risks here; but he doesn’t seem to care, and reveals his own passions, feelings, thoughts, and makes us smile and cry, while summing all these years up and walking a new way, then taking a completely different artistic direction. Such a devotion to music has to be deeply respected; and all we need now is see this amazing artist on stage, and watch what will certainly be a real and moving show, a gift which is already given thanks to this excellent album. Thanks a lot, Djamatik, for comforting us with such a musical style and giving it his real significence back...

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« Alice is a wolf, and a wolf remains a wolf ». This song turns and plays in your head like an obsession you finally dive into: appealing, fascinating, it exerts an irresistible power of seduction. Bela takes us in THE true travel through Wonderland thanks to the two EPs Reverend Charles Dodgson 1 & 2. Through the reference to Lewis Carroll’s father, Bela’s inspiration does not merely look for blessing words from Lewis Carroll and opportunity to feed on his literary universe. The idea is to create music out of which could also spring the tense dream, the thoughts questioning the meaning of life, the relevant scrutiny of social relationships, hidden behind the simple fairytale for children written by the author of Alice’s adventures. Sorrow is the back side of joy, evil is the opposite of good, frivolous spirits confront thorough minds… Everything is said, through the empire compared to a house of cards, in Whatever I can: « You call it a life of born frustration, of wasted ambition, for ambition you had, I promise, I promise I’ll do whatever I can to forget your name ». How to express with music this imaginative way, so peculiar, to tell the real world? This is a big challenge that Bela’s electro-pop successfully takes up, in a very talented way… Thanks to a noteworthy play with various instruments, it puts the sensory perception of the reality around us under the control of mind. With the first lyrics and chords of Wolves, wolves, wolves, we experience the stream of consciousness Virginia Woolf or Somerset Maugham were so fond of. We hear a Lou Reed-like voice singing an uninterrupted speech punctuated by drum beats and sharp musical curves. And suddenly, in the same way we understand Post-Victorian England through Clarissa Dalloway’s thoughts or Flush the dog’s comments, we are able to see a flow of pictures and personal thoughts directly pouring out of the human brain. We feel the pulse, the heartbeat of the world in the drums of Comes night time and at the same time, we also see the darkness of night stretching out around us, swallowing everything, filling the cracks and chinks. The fancy is here, in a perception of life shaped by our mind: frustrations of past experience in A waltz ring through cello strings and bluesy rhythm. With Focus on the target, a faraway guitar writes in our head the drama tension induced by the scheduled death: « stronger than these blue pills in your hand, it’s more than a pastime, you race with the devil, you won’t reach the final ». The twinge of sorrow due to the break-up between two people is sweating from the shalalalas on Back on the shelf, wrapped up in the guitar chords and the jazzy drums. The sweet and slow routine, peaceful daily course of life is drawn by the violin play, stretching endlessly within Carry me home. Above all, the stress expressed by beaten piano keys in I’m just kidding, Brutus shows the hollowness of all the things we run after: « What’s remain of all these things? » hummed with a feverish tone, slightly strained reminding of David Bowie. The experience is also an experiment, as intellectual as it is sensory. That’s why it sounds so great. The permanent gap between the two levels, senses and soul, helps to create a supernatural universe so attractive, so moving. The discrepancy grows even bigger, the fancy becomes real fantasy, like William Burrough’s hallucinations, in The i in lie: the first notes sounding Asiatic style, almost zen, are the whistle of the locomotive flying in the night taking on board cello and sax. The same sax rocks the soft and tired lament of Heard the PLO: « take them by surprise » to show the life we have had could have been different, that’s what we wanted, but never managed to get. We could almost hear it in the background of Peter Weller’s rambling experience in the excellent movie Naked Lunch. Indeed, the weird strangeness, the essence of fantasy radiating from Bela’s music suits perfectly some features of David Cronenberg’s hallucinated and hallucinating universe. « Alice is a wolf »… The wandering and erring ways of mind staged and praised Bela are fascinating. The alchemy outstandingly works: we are just watching the world through the looking-glass.