VOIX DE SURFACE

If you thought you had problems distinguishing RIO from what the Archives call Avant- Prog, things are not about to be simpler if you pick this album up. This project is the second stage of Swiss Momo Rossel and JV Huguenin's (Rio-extraordinaire multi- musician) three-stage musical rocket. After Debile Menthol at the start of the 80's and before L'Ensemble Rayé at the start of the 90's, Nimal is has released three albums, of which this second one is the best-regarded by specialists. Half the album was recorded live in a festival, but you'd have a hard time guessing it, from the quality of the recording but also no public: the odd between tracks spot you hear applause. The live half is much better and livelier than the first studio part. Most likely, this was either two different Vinyls or two separate releases. There are a few new versions of tracks present on their first album.

Just like L'ER, this group uses predominantly acoustic instruments (only a few electric guitars), but the music is much more twisted, much wilder and more challenging for the casual listener. If it could appear that L'ER was a bit light on prog rock contents, Nimal certainly changed that and they sound a bit like a crazier Miriodor crossing Alamaailman Vasarat, the presence of the accordion helping on this last reference. The instrumental music (certainly not described by the album's title) veers from Circus music to atonal (even abstract at times) music to a rather positive (and happy) kind of Univers Zero. Interference Sardine is also not far.

Most of the tracks are quite energetic, some even reaching diabolical and frenetic pace with the cellos going nuts (James River), some even reaching infernal chaos (Animal Triste's start) others are radiant and happy (Le Soleil and La Marelle), but the huge majority of the Rossel-penned tracks are very impressive.

Personally if you ask me, I find Nimal much better than L'ER, even if they will be much less of a cup of tea of your non-prog entourage, but then again as most progheads come from a rock background, chances are that you will not really play L'ER or Nimal to your buddies, but your chances to get laid are better with L'ER. An excellent album, but not one to recommend to newcomers of the Avant/RIO realm, Voix De Surface is Nimal's best shot at Prog history. Haunting and just short of stunning!!!

As likely as it sounds, now that I've put some thought into it, there felt something rare in a Swiss band with RIO sensibility; I guess I've not come into contact with much in the way of any Swiss art. But those involved in Nimal certainly had already, and continuing hereafter, made their mark. And if you tell me Nimal is ready-made for fans of Samla et al, I think that'll just about do it; I'm in. I feel, too, I know ultimately little from Avant-Prog/-Rock released after the '80s. Voix De Surface (1990) is the second of just three albums released by this actually international group, a mix of studio and live recordings [Thank you, Sean Trane, ca. 2007 haha].

"Une Lucie" launches right into Euro folkways, with bright instrumentation--I heard bouzouki is featured, and its clearly heard for a solo (by bandleader Momo Rossel? could be three peoples) approaching 2:00--and more prominently accordion. Quirky rhythms, all full-steam ahead, a happy collision of bowed and plucked strings and percussion. This is the style in which, I always immediately think, Estradasphere has a home. At the close, it's pure drama, all dropping down deeper than half-time; just made this great opening track even moreso. Tension picks back up on "In tenda"! Our feature soloist from the start is Tom Cora (Curlew, Skeleton Crew, The Ex) on the cello, at times performing in a most alien manner. Delicious; spunky, funky oddity. "Sale temps, mais les couleurs sont belles" is next, an eerie number befit with creepy crawlers and Art Zoyd ambience best to psych you out. Percussion picks up and up, and we relax into more East-Euro tune (harmonically, to the Patton nerds, reminiscent of "John Travolta/Quote Unquote"). Quite a lot more lighthearted is "Tarotska"; the accordion just goes and goes, now with even more yodeling! It's still pretty mad haha.

Turning over to an apparently new page, "Le Soleil" picks up with brightness and queer optimism. It definitely feels more like a traditional/folk dance; but its silly nature is definitely an additional winning factor. Being yanked back to some slightly more tension, next is "La marelle". Shoutout indeed due to drummer-percussionist Pippin Barnett, also of Curlew; he really holds down each track's individual uniqueness. "Le 4eme jeudi de la semaine" is a track for which I'm incredibly grateful, an unexpected reprieve. Beautiful and mysterious. "James River" has a cool vibe, but there's something about it that felt a tad monotonous and grating, sharp/harsh melodies aside. A total release must occur following that, as "Maligne" thereafter is peaceable, for starters, but still oddly tense. Maybe it's a little early for some of this music haha. This is followed appropriately by "Le 2eme Jeudi", a solo taken up on, I assume, accordion; it doesn't not sound like melodica (either way, assumed by Slovenia's Bratko Bibic of Begnagrad). Definitely more traditional Euro-folk than it is RIO, but no fear...

"Le 3eme Jeudi" (the tracks translating to "The 4th...", "...2nd..." and "...3rd Thursday", respectively) is here, with a great return of bouzouki. Another case of who's-who, assuming the great, more prominent (though still muddy) bass is from Jean-Vincent Huguenin. Definitely a favorite track of the whole. Another with more digestible tension is "Animal triste". "Le Tram" to follow reads 'so Eastern European' to my ears, it is carnival; frankly, I've always loved this sort of thing. It eventually devolves still happily into a certain madness. Under more control, we haven't left the nuthouse, in my head haha, on "Au Zoo" ("At The Zoo", how fitting). I don't think my memory is lacking here: another I identify as sort of proto-Estradasphere. Low, slow and dramatic, this'n. And finally, after a whopping 14 tracks, we get "Un drame", initially low and slow, evoking sort of worldly tribal intensity. It's got balls, even with the instruments down lowest. Percussion is absolutely winning here, though, as compared with most of the album. And a solid closer all round, at that, the intensity crescendoing steadily throughout to a sudden halt.

True Rate: 3.75/5.00