OISOLÜN

1. "OisoLün" (2:21) ethereal female vocal breath-singing in French over a gentle weave of acoustic instruments. This results in an unusual, oh-so-French (I can picture the Gainsbourgs walking on the beach--in black-and-white, of course) and oh-so-beautiful song. (10/10)

2. "Summer 19" (6:46) the few straight-forward measures of 4/4 beats in the opening minute take me by such surprise that I notice them! But then, after two minutes of introductory slow-build, the funked-up bass comes in. It feels quite a bit like it has the melodic sense of James Jamerson despite the un-Jamerson characteristic of being so effected and forward, (it's mixed far in the lower front--as if Pierre is standing at your table with the rest of the band back on the stage). In fact, the bass takes over as the most dominant instrument despite so many other things going on beneath, behind, and around it: the other instruments become more staccato and syncopated--even the delivery of Mélanie Gerber's airy vocals. Some of the other background instruments in the weave (harp, muted trombone, flutes, xylophone) seem to be providing an almost Japanese melodic element with their arpeggiated note deliveries. The rest of the song is highlighted by the brief appearances of banked CHICAGO-like horns (trombones) and lots of dynamic shifts, loud and soft, smooth and truncated. Unfortunately, the ending comes rather suddenly and unexpectedly (every time I listen to it!) The highlight of the song, for me, comes in the infrequent and fleeting instances in which the entire ensemble come together to generate these "big chords" and full band sounds. (13.25/15)

3. "Les grands équipages de lumière" (6:04) hypnotic tuned percussives and sensitive cymbal play support what sound like a male choir singing a church-like Beach Boys-like harmony (singing in French). In the second minute, more confirmational evidence that the electric bass (Pierre Wawrzyniak--the Ghost of Pierre W-Cheese) is fully in the lead with this group comes as the instrumental field widens and fills. The jazzy bass takes the lead in the second minute and never lets go--despite the integration of the choir (singing in the background) and the arrival and continual presence of the wonderful harp and horn section (all trombones?). Wonderful segue into Motown-ness 2:50-3:00 before returning to the choir's theatric homophonic ejaculations--all the while, the bass continues to present his infectious funk lead melody lines. This is the first song that reminds me of the crazy unpredictability that Pierre's CAMEMBERT project presented with their two masterful albums (2011's Schnörgl Attahk and 2017's Negative Toe). I actually really like this ever-morphing choral vocal style--it has something in it that reminds me so much of our Western heritage: from monasteries to church cathedrals to school choirs to Burt Bacharach. (9.5/10)

4. "Le concierge" (7:29) Mélanie at her breathiest singing up front and center in her heavily-accented English while being accompanied only by harp and some tuned percussion. Then, at the end of the first minute, bass notes, rhythmic hits from background trombones and some keys and more tuned percussion fill more of the sonic field. The musical tapestry somehow produces a "What's Going On?" field effect while Mélanie singspers and the harp, vibes, and trombones interject their intermittent epithets and outbursts. In the second half the trombones, vibes, bass, and harp come forward to present a Zappa-ish chord and melody structure using lots of layers of staccato notes played within a regulated syncopy. In the fifth minute the trombone takes the lead, mirroring the bass, while Motown rhythm guitar and vibes offer their support. Mélanie takes up with the horns and bass for the sixth minute, using their melody line to deliver her own vocalized words, but then she is left rather starkly among minimal instruments to carry the song forward in the seventh minute (now singing in French). Militaristic snare drumming and return of horn section arrive at the end to relieve Mélanie and take us out. The melodies of this song alone are enough to keep me under its spell but the vocal treatment and arrangement for Mélanie and company elevate it to even greater heights. Simply wonderful! (15/15)

5. "Frogs Might Disappear" (8:42) a journey of collectively gorgeous melodies and chord structures--a journey of such utter and sheer delight that I find my mood elevated every time I listen to this. There are just so many amazing, individualistic lines and sounds being woven into the fabric of this loose crochet--but it still works to embrace, envelope, and comfort us like an afghan shawl on a cool summer night. And, there are so many amazing motifs presented, interspersed, recapitulated, and rewoven into and out of the rainbow weave. I am simply astounded, mesmerized, befuddled, and over-joyed at the number of twists and turns this nine minute journey takes me on. It's like driving in the narrow, twisting and turning streets and alleys of an ancient mediæval city: every few measures (seconds or meters) a totally new and surprising view, smell, soundscape, and or temperature might be encountered, enriching yet confusing and often overwhelming until one has to simply let go and enjoy the ride in a fit of unbridled laughter and screaming! Definitely one of the most amazing, joyful emotional experiences I've had in a long time! Amazing what music can do! Amazing what the future of music and art can hold! (19.75/20)

6. "So Empty It Looks Real" (7:16) acoustic guitars and soloing bass are soon joined by trombone and whistle to present a Celtic-like melody and soundscape. Again, such an unusual spectrum of instruments for "this" "type" of music. I know Pierre has a method behind his vision and boy! do I want to hear it. Harp, acoustic guitars, Irish flutes, breathy female vocalist, trombones, funky electric bass, and lots of tuned percussion all make for something quite new and unique and yet so perfect, so fulfilling, so "full-spectrum" and holistic! The most disparate song on the album but it's still gorgeous. Unfortunately this song seems to be about the ruination of our planet and our own living spaces--an uncharacteristically cynical and condemning lyric to close out this album of otherwise overwhelmingly positive and uplifting music. (13.25/15)

I can see why Pierre and the band decided to describe this music as "futuristic" as it definitely has very little in common with the musics that have come before--except that I have to admit that it feels linked to French Beat poetry scene of the 1960s and the soulful jazz of 1960s and 1970s American R&B.

One Bandcamp commenter posted their personal comparisons of OisoLün's music to: "Yes, Jaga Jazzist, Sigur Ros, Stereolab, King Gizzard." To this list of esteemed referents, I would add Ryuichi Sakamoto, Inner Ear Brigade and Frogg Café, and Motown's James Jamerson. Would that I knew more about French musical traditions because I feel that there is much to be owed to the French pop and lounge scenes of the 1960s.

Once again the sound engineering and reproduction is totally deserving of all superlatives (thanks to the supreme talents of both Paolo Botta and Udi Koomran). Such a joy to listen to!

A/five stars; 2023's first masterpiece--and a wonderful look into a future that I very much want to be a part of.

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