B.L.A.S.T. - B.L.A.S.T.
Second album découvert grâce à l'excellent et jeune label Eklektik Records, après Peter Digital Orchestra, B.L.A.S.T. risque fort bien de réconcilier les auditeurs avides de sonorités électroniques élaborées et de free-jazz hystérique et entêtant; en effet, impossible, à l'écoute de cet album, de discerner l'un de l'autre, tant ils apparaissent complémentaires et riches, évolutifs détonants. Ce disque, de par sa longueur et la diversité de ses titres, revêt un langage réellement intense et varié; entre moments de pure folie musicale portés par des cuivres dissonants et instants de délicatesse et de repos, aucun temps mort n'est décelable, et criticable. Chaque espace, chaque morceau est complet, rien n'est laissé au hasard ou au silence. L'écoute est éprouvante, tant ces élans de free-jazz, deep-house, ou funk, mais aussi ambient et soul, se bousculent, s'insinuent, et cherchent la place qui leur est réservée. Il faut cependant tenir, de peur de passer à côté d'un disque impressionnant et épuisant. On retrouve aussi bien des atmosphères de violence que David Lynch n'aurait sûrement pas renié dans le sublime Lost Highway (souvenez-vous de ce solo hypnotique du personnage joué par Bill Pullman sur fond de lumières stroboscopiques), que des temps plus calmes et détendus, voire apaisants, surtout dans la seconde partie du disque. Tout s'étire, improvise, les rythmes électroniques revêtent un costume jazzy et martial (ce qui semble pourtant impossible au premier abord), les nappes instrumentales et les basses apportent une structure musicalement ouverte sur laquelle le cuivre se coule et se dessine, et parle dans ses propres termes. Toute l'originalité de cette musique réside dans cette évidence: malgré des structures droites et strictes, la musique s'évade, creuse, se cherche, et implose pour mieux s'exposer aux regards. Tout l'art de B.L.A.S.T. devient ainsi innovant et captivant: elle est un temps de rencontre, un instant d'intelligence dans la composition et la structures des titres, un réel temps de folie douce, amère, ou juteuse. Cavalcades et pauses s'enchaînent, s'entrelacent, et dérivent vers un style peu entendu jusqu'alors. Une prestation admirable et forte en tous points; B.L.A.S.T. devient, en l'espace d'un album, une référence dans le domaine du free-jazz et de l'electro, et un groupe à suivre, en ne sachant pas ce qu'il nous réserve, après un album aussi complet et élaboré.
Slug
After introducing us to Peter Digital Orchestra's first EP, French label Eklektik Records produces this amazing album from French band B.L.A.S.T., which is about to unite electro and free-jazz fans; rarely an album perfectly mixed both of these styles, and they can't really be disconnected here, as they appear to be in total union and density, evolution, and explosion. Thanks to its length and intelligence, this record gets its own full and intense musical language; sometimes sounding hysterical and crazy, thanks to roughly running horns and saxophones which sound as detuned as peaceful and calm, all songs go their way without stopping and resting. Each musical space is full, and there is no place here for silence and new ideas. Listening to this album is a real hard and tiring moment, because of free-jazz, deep-house, funk, ambient and soul musical pieces which go on and never stop. Sometimes, music sounds like what David Lynch would certainly like to use in one of his movies (remember this amazing scene in Lost Highway, in which the character played by Bill Pullman hysterically improvises a saxophone solo while stroboscope-like lights shine all around him?), and sometimes it all slows down and gets peaceful moments (in the second part of the album). Music grows and improvisations take their own place; electronic rhythms sound as jazzy as straight (which seems to be purely impossible in the first place, doesn't it?); instrumental soundwaves and bass give a complete and intelligent structure on which saxophone can find its place and draws its musical lines, then finds its own language and expression. Such a musical quality is now an evidence of the ban'd's amazing talent: allthough all musical structures seem to be straight and strict, music runs away and looks for new frontiers, while imploding and finding its own place into the each listener's mind. B.L.A.S.T. 's art is then captivating and new: it allows different styles to be performed together and find a brand new identity, while being intelligently composed and built in each song. There are moments of pure musical madness, or juicy times, if I may say so. Music sometimes runs away, meets new styles, then is played again and again, and each musician learns from the others to create a never-heard-before musical genre. Such a talent must be discovered, and admired; thanks to this album, B.L.A.S.T. is nothing but a reference in free-jazz and electro music, and has to be followed; but nobody can say what the band is about to compose in the future, after creating such and elaborated, and intense album.
Slug
www.myspace.com/blastcaen
Slug
After introducing us to Peter Digital Orchestra's first EP, French label Eklektik Records produces this amazing album from French band B.L.A.S.T., which is about to unite electro and free-jazz fans; rarely an album perfectly mixed both of these styles, and they can't really be disconnected here, as they appear to be in total union and density, evolution, and explosion. Thanks to its length and intelligence, this record gets its own full and intense musical language; sometimes sounding hysterical and crazy, thanks to roughly running horns and saxophones which sound as detuned as peaceful and calm, all songs go their way without stopping and resting. Each musical space is full, and there is no place here for silence and new ideas. Listening to this album is a real hard and tiring moment, because of free-jazz, deep-house, funk, ambient and soul musical pieces which go on and never stop. Sometimes, music sounds like what David Lynch would certainly like to use in one of his movies (remember this amazing scene in Lost Highway, in which the character played by Bill Pullman hysterically improvises a saxophone solo while stroboscope-like lights shine all around him?), and sometimes it all slows down and gets peaceful moments (in the second part of the album). Music grows and improvisations take their own place; electronic rhythms sound as jazzy as straight (which seems to be purely impossible in the first place, doesn't it?); instrumental soundwaves and bass give a complete and intelligent structure on which saxophone can find its place and draws its musical lines, then finds its own language and expression. Such a musical quality is now an evidence of the ban'd's amazing talent: allthough all musical structures seem to be straight and strict, music runs away and looks for new frontiers, while imploding and finding its own place into the each listener's mind. B.L.A.S.T. 's art is then captivating and new: it allows different styles to be performed together and find a brand new identity, while being intelligently composed and built in each song. There are moments of pure musical madness, or juicy times, if I may say so. Music sometimes runs away, meets new styles, then is played again and again, and each musician learns from the others to create a never-heard-before musical genre. Such a talent must be discovered, and admired; thanks to this album, B.L.A.S.T. is nothing but a reference in free-jazz and electro music, and has to be followed; but nobody can say what the band is about to compose in the future, after creating such and elaborated, and intense album.
Slug
www.myspace.com/blastcaen