CLIVAGES

By the time I'm publishing this review, we're on the brink of the end of this year's first quarter, but still there is no doubt in my mind that Univers Zero's "Clivages" is a 2010 Top 5 album. In spite of the slow pace in which this band has released its latest efforts, it remains a consistent leading force in the realms of RIO and avant-garde progressive rock. The main factor in the untouchable greatness of "Clivages" is that it expresses a revitalized capture of the old sinister dynamics that had made UZ's first four efforts (from "1313" to "Uzed") undisputed RIO classics. The atmospheric sortileges that had stated an abundant presence in the last and penultimate albums are more subdued in "Clivages", which directly means that this Belgian ensemble goes for it when it comes to generating a powerful sonic frame where creepiness, mystery and uneasiness reign supreme. With the constant guide of drummer/percussionist Daniel Denis and the loyal assistance of lieutenant Michel Berkmans (oboe-bassoon virtuoso), UZ stays on top of its game as a current sextet after the departure of guitarist Andy Kirk. Nevertheless, the latter contributed with one composition and two appearances as special guest. Now, let's go and listen to the album itself. 'Les Kobolds' starts with agile moods set in a sonic architecture sensitive to the influence of exotic nuances: the piece's epicenter is focused on the fluid marriage of violin and woodwinds. Next is the epic 'Warrior' (Kirk-penned), whose mechanized-oriented prelude brings an air of unsettling expectation. Then, at the 2 minute mark, a languid darkness is installed while the violin begins to occupy the center stage. The thanatical element that invades the whole atmosphere is pretty much related to the "Heresie" and "Ceux Du Dehors" albums. The solemn monotony is fed with a clever framework of rich cadences that instigate an electrifying climax, which ultimately leads to a demolishing section that finds the bassoon and clarinet sharing the leading spot: from then on, we must be prepared for the final climax. 'Vacillements' follows this monumental piece bringing a somewhat fresh air of lyrical colorfulness. Then, 'Earth Scream' enters in and states an industrial sample (arguably, a satire of the modern man's technological world). 'Soubresauts' shakes us with startling ambiences in which the energetic articulated nuances seem designed to remind us of the "Uzed" days: the syncopated escalations elaborated from the 4 ¾ minute mark are simply terrific. I cannot stress this enough ? this album is a labor of reconstruction and refurbishment around the vintage UZ sound, and tracks like 'Apesanteur' and 'Three Days' happen to infinitely reinforce this notion. In the former track, the woodwinds create wonderful textures around the tight rhythm duo of Denis and Evers, while in the latter one, the strings and winds display a source of mysterious beauty, very much a-la Rachmaninov with touches of Grieg and Stravinsky. Next is 'Straight Edge', the other epic in the album. The crying violin intro is soon accompanied by menacing piano scales, and this is when the main body is starting to take shape. Not too long after the 3 minute mark, the group is lost in a spectacular trance of density and darkness, all the way to the 7 minute mark, which is when the piece shifts to subtler moods. The resulting atmosphere of uneasy intrigue lasts 4 minutes, and then, a window opens so the darkness begins to expand like a storm that was waiting to get in. the final blow is brutal, which would have made a wonderful album closer. But, since that is not the case, we can only appreciate the fact that 'Retour De Foire' comes in with a little fresh air through its calm motifs. Still, there are some grayish undertones revolving softly beneath the surface, which makes this piece a proper precedent of the closing track 'Les Cercles d'Horus'. This one has a special guest in it on drums ? Daniel Denis' son, Nicolas. This minimalist piece penned by Daniel bears a martial mood for the half-funeral, half-ethereal main motif. All in all, "Clivages" is an absolute progressive pleasure, and so, Univers Zero reveals that it still has lots of creativity and strength to go on providing us great classics for the present of avant-garde rock.