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VAISSEAU MONDE

Le Grand Sbam

RIO/Avant-Prog


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Le Grand Sbam Vaisseau Monde album cover
4.07 | 7 ratings | 2 reviews | 43% 5 stars

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Studio Album, released in 2019

Songs / Tracks Listing

1. Dins o sbam (06:33)
2. Les lotus ont fleuri, je suis assis à côté d'un éléphant aux oreilles usées (12:05)
3. Kouïa (06:42)
4. Woubit (05:32)
5. Vishnu Foutrôline (06:39)

Line-up / Musicians

Mélissa Acchiardi / vibraphone, percussions
Antoine Arnera / keyboards, composition
Boris Cassone / bass
Jessica Martin Maresco / vocals
Guilhem Meier / drums, composition
Marie Nachury / vocals

Thanks to Nogbad_The_Bad for the addition
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LE GRAND SBAM Vaisseau Monde ratings distribution


4.07
(7 ratings)
Essential: a masterpiece of progressive rock music(43%)
43%
Excellent addition to any prog rock music collection(57%)
57%
Good, but non-essential (0%)
0%
Collectors/fans only (0%)
0%
Poor. Only for completionists (0%)
0%

LE GRAND SBAM Vaisseau Monde reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by DamoXt7942
FORUM & SITE ADMIN GROUP Avant/Cross/Neo/Post Teams
4 stars Another grand slam (aka grand sbam) of the year 2019, and at the same time one of fantastic, fanatical debut opuses in avantgarde- progressive scene. Le GRAND SBAM's debut album "Vaisseau Monde", much-awaited by every avantgarde-progressive rock fan, has been launched in the last month of 2019, and surprisingly appreciated for only a month. No more expression needed because lots of Lyon-oriented avantgarde warriors like ni., PoiL, Chromb!, and so on. And of course, massive energetic, powerful sound connotation you can hear all through this creation.

Plenty of sound approaches and technical appearances come up to your ears. The first shot "Dins O Sbam" is a killer. Sarcastic, deeply heavy, incredibly complicated melodic / rhythmic movements with female voice / shout madness should absorb your brain and inner mind without breath. Oh God. Not only guitar heaviness nor dissected percussion / drumming salad, but also Japanese shakuhachi (amazing) or quirky synthesizer dances will invade deeply in. Quite enjoyable is a chase of female voices and heavy fuzzy guitar sounds in "Kouia" ... in such a melodic confusion, you would find something methodical and methodological. Weird really.

And imho my favourite is the fourth turf "Woubit" featuring hippy spacey ghostly Kraut-y psychedelia. Reminds me like Fille Qui Mousse meet Mahogany Brain. Always feel I would drive myself deeply beneath the sea of the track. In the last one "Vishnu Foutr'line" addictive combination of beautiful lines and adherent complexity can be received here and there. But hey as their sound compilation this track can be felt, methinks.

In conclusion, cannot call this creation as diverse nor colourful easily but for every avant-prog or Zeuhl fan this opus should be of much pleasure. And let me say thanks to Dur et Doux for recommending such a fine production.

Review by kev rowland
SPECIAL COLLABORATOR Honorary Reviewer
4 stars Back in the Nineties, there is no doubt in my mind that the most important alternative musical magazine was the mighty Organ. It's anarchic layout, the way they raved over bands (they made the decision only to write about music they liked), the in-depth knowledge and the way Sean and Marina were seemingly at every gig in London, made it invaluable. I used to swap copies of Feedback for it, and then take it home and try to make sense of what they were writing about. Needless to say, I am always intrigued when Sean recommends a band to me, given their predilection to bands such as Cardiacs and Poisoned Electrick Head, and he pointed me towards a video of Le Grand Sbam in concert. I watched the clip, then watched it again, but my brain still could not comprehend what on earth it had witnessed. The only thing to do was of course track down the debut album, and now my ears have joined the club, and they have no- one to blame but themselves this time, as at least last time around they could say it was the eyes which were at fault.

I should list the guilty parties, namely Jessica Martin Maresco and Marie Nachury who are the singers at the front of the stage. Obviously professional trained, they stand there in readiness to give virtuoso performances which indeed they do, but I have never heard anything like this as they perform vocal gymnastics and bounce all over the place. The supporting musicians, Mélissa Acchiardi (vibraphone, percussion), Antoine Arnera (keyboards), Boris Cassone (bass) and Guilhem Meier (drums) are also here for the fun, moving between simplicity and complexity and often seemingly at odds with each other, yet somehow it makes musical sense. This is RIO/avant music in the extreme, music which the vast majority of listeners will switch off as it is such a noise, but I believe this is progressive music in its truest sense, pushing boundaries and refusing to accept norms. The percussion can be in control, sometimes the voices, whereas at others it is total anarchy, but anarchy with a purpose. This is music which is jagged, designed to make the listener think, as far away from being a warm comforter as anyone can imagine. Bleak and harsh, it is a work of some importance.

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