Musique Noise
Musique Noise

Musique Noise

A l’affiche

Concerts à venir

  • Samedi 27 Octobre 2018, 20h : Musique Noise & Eskaton à L’Ogresse, 4 rue des prairies, 75020 Paris. Réservation conseillée par e-mail (lien Contact à gauche). Ouverture à 18h. Il est conseillé de dîner sur place à partir de 19h.

Concerts passés

  • Samedi 28 Octobre 2017 : ERGH, Musique Noise, Eskaton à Esches, Les Méliades. Hommage à Cornélia 2.
  • Samedi 25 Mars 2017 : ERGH, Musique Noise, Eskaton au Koto. Hommage à Cornélia 1.
  • 14 octobre 2011 : Maison de Quartier du Landy, St Ouen
  • 30 avril 2011 : Konfituur @ Koto
  • 18 décembre 2010 : Konfituur @ Koto

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Musique Noise à l’Excalibur, Paris 1987
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Musique Noise aux studios Luna Rossa, Paris 1988
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Musique Noise sur la toile, 1989
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Musique Noise au Caf’ Conc’, Paris 1994

Musique Noise : Fulmines Integralis (ProgRock)

This is a re-release of Musique Noise’s debut (tracks 1 through 5), enriched with four tracks (6 through 9) already recorded for the never to be released follow up.

The music :

Opener Pas Encore immediately shows of several Magma style forms, the duup-duup choirs, the jazzy drumming, seemingly meaningless chanting and neurotic brass. Initially the track floats about a bit, but gains in purpose after several minutes and manages around a theme.

Unique Au Monde is based on the alternation of male and female choirish humming, accompanied by gentle keys. This tends to float on a bit, until a sax forces a break, creating room for keys and more elaborate rhythms.

The short Mise Au Point brings up the speed and refires the neuroticism full blast.

Pour Qui Sont.. starts somewhat slow, with male vocals backupped with witchy langhing. From this the track builds, also opening up for Nina Hagen like vocals, musically pressed on by organ and drums.

l’etroi Huit is less controlled by the typically neurotic vocals, and with taht show more room for melodical development. Despite the fact of neuroticism creeping in during the track, it’s still more driven than most others and finds a better balance. This track concludes the original 1988 debut.

Vision Intempestive sounds more direct than the older material, but this is mostly caused by a more live, less produced sound. Stylistically this material blends perfectly with that of the debut.

Ecco initially has a more acoustic feel, with dominant piano and mostly sole male vocals. As the track progresses sax comes in, and the vocals become less gentle. As the female vocals return, we have built back up towards the band’s regular sound.

Ragnarok takes no prisoners. I’m not sure I’m happy about that, there’s no peace for the wicked. The Keys are particularly neurotic in this track, make the experimental intermezzo a near reprieve. From this the track develops pretty decently. A bit jazzy, and rather instrumental. The ending is rather abrupt.

Villiers has more vocals, and possibly due to that sounds more live, and somewhat amateurish. Having said that, the synths sound a bit insecure too.

Pzkr ! holds high speed samples of other material with odd voices interlaced. Sort of a funny closing for the album, but more tongue in cheek than you would expect. Conclusion As often is the problem with zeuhl, it tends to wear you down a bit (especially the vocals), aside from the fact that the music can be rather non-committal at times. All the elements of zeuhl are abundantly present on this album, unfortunately more often than not vocal parts give neuroticism the overtone. If these vocals are no problem, or you manage to listen through them (practice makes perfect), this is definitely one to reckon with.

© Roberto Lambooy

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Mise à jour : dimanche 30 septembre 2018