NOUVEAU

The Pax Cecilia is one of the most interesting new bands situated in that particular branch of the post-rock movement that some have entitled post-metal: that is, the use of atmospherics and psychedelic vibrations in a context where the rock elements arise from the shocking tensions of experimental metal (death, black, speed, whatever?). Even though the post-rock and post-metal labels themselves tend to be vague, and even disowned by many bands that usually get tagged under these descriptions, the fact remains that The Pax Cecilia has been offering very interesting music in the avant-garde areas of contemporary experimental rock. Their sophomore album "Blessed Are The Bonds" has deservedly received praises from all over the world, and from what we can hear in their debut release "Nouveau", talent and energy were crucial elements in this band's music from the very start. The album kicks off with a beautiful string duet, soon joined by soft guitar arpeggios ? this starting point is 'Opening Monologue'. Once 'Beneath Every Powerline There Is Still A Graveyard' gets started, things get intensified in an electrifying demonstration that soon gets rough and aggressive. In this way, an alternation between languid passages and darkish explosions settles down the track's main body in an agile play of contrasts. 'An Aurora: The Crux Candide' brings a more consistent focus, bearing a compositional framework rooted in sober, dense textures: the rhythmic scheme evolves in a pertinently moderate fashion. 'MDCCLXXV' is the interlude that reiterates the introspective magic of the opening monologue, but it is just an interlude, let's not forget it. The fury of 'Fluorescence A.D. 1429: Burning The Body Of Joan Of Arc, Or Cupid', cleverly alternated with ethereal slow passages, states a splendid sonic portrait of uneasy creepiness, as if exploring the inner world of a ghost who hides an inscrutable secret. 'Phosphorescence A.D. 79: Burying The City Of Pompeii, Or Psyche' follows right away in this road of creepiness, starting with chamber moods, then evolving solidly into a well-ordained alternation of mysterious subtleties and raw rocking flourishes. At one point, some flute lines remind me of the main theme from Polanski's movie "Repulsion". 'Phosphorescence A.D. 79' is, in my opinion, the most majestic example of The Pax Cecilia's core essence in this album. 'England: Theatre Of The Air', on the other hand, delivers the album's ultimate climax, reaching a magnificent pinnacle of thanatical cruelty: mentally picture a hybrid of SGM and early Kayo Dot, and you'll get to the point I'm trying to make here. Finally, 'A Denouement' closes down the album. Starting with a piano motif that states an evocative stance, the path is set for the elaboration of a more expanded demonstration of sound: but in this case we don't meet an explosion of nightmarish gloom but an explicit intensification of the underlining melancholy. Even though I feel that this piece should have evolved into a more bombastic ambience, still it works fine as a clever closure for a very interesting album ? "Nouveau" is a declaration of principles for higher learning in the world of experimental rock, and so, The PC guys are graduates with high grades. 3.80 stars for this one.