SOUNDS SO WRONG

BEND THE FUTURE avant-garde French group born in 2019, electro prog rock, jazzy, Balkan yes I confirm; at times heavy, at others soaring; protean, heady and innovative music; sound reminiscent of SEVEN IMPALE in groovy-jazzy rock; soul, psychedelic, electronic, krautrock even and progressive chamber for their 3rd opus, unclassifiable.

'Desert Eagle' starts groovy with a drums/sax duo from the Balkans then a fat synth at the bottom letting the thread of the air land delicately; guitar arpeggio and airy vocals then a magical fluid melodic line and a final heavy sax, everything but well done and which moves directly away from conventional rock. "Jemlemat'r" hypnotic and spatial, electronic, inventive, a gripping, bewitching sound, metronomic half jazzy, half festive, half new wave that's 33% that; the hovering side becomes haunting, atmospheric, on a MASSIVE ATTACK, an EZ3KIEL with an intoxicating sympho rise. 'Fall Apart' arises and changes tune; dark, a disturbing, sinuous, electro groove before leaving the jazzy evolution to the sax; a new sound that goes far from the prog but which keeps its soul with changes of tempo; melodic with these string instruments. "Somewhere Beneath" continues with this time the dark bass arpeggio and the fruity keyboard, the guitar on Andalusian rock, on reverie, memory of KUSTURICA at times with the hypnotic sax; the crystalline and heady piano in an adrenalytic crescendo, the notes torn from the instruments sound the charge of a frenzied zappatesque chase. 'Vaste' reverts to a calmer sound; voices in chorus like serenades, rather magmaian instruments; yet another haunting mantra musical score, closer to Andalusian chamber music than a progressive tune, closer to a cobra dance than any rock tune; mounted again with a frenzied piano and an unbridled sax asking only to scream. 'Miniature II' as an answer to the Miniature of 'Without Notice' for a rhythmic interlude of two repeated chords, repeated like a trance; a moment when the jazz-prog aspect takes on its full meaning here. 'Those Small Things' starts with crystalline, ethereal electronic sounds made of reverberation like drops of water falling from a waterfall; the quartet then takes the stage to combine everything, surprisingly. 'Not Even' between the two, redundant, repetitive guitar harmony that flows into a bottomless pit; New contemplative tune that combines rock groove with idyllic atmosphere, an ambient cinematic interlude well accompanied by drums. 'Now Is the Moment' for the album error, sung and breaking the air; yet the electro synth allying with the sax puts you in a trance and the guitar amplifies the groovy electric, funky, jazzy and basic rock sound; good the voice leaves the angelic notes of a choir and the digression, the progression comes just before mid-course; a pin-pon sax arrives to put you back in a trance on the Balkans and it becomes singular and pleasant to listen to.

BEND THE FUTURE is strong; a sound from elsewhere, not rock though, jazzy but not everything; ambient yes but; oriental yes but not only; festive and circus yes too; the motor on the drums which breathes the rhythm and lets guitar and string instruments intoxicate us with complex sounds, far from rock but devilishly playful, modern and fluid, a musical slap that borders on OMNIesque, inventive and unequaled, a major jazz-rock fusion.