LES FOUS D'OR

Les Fous D'or follows in the same path established in Igor Wakhevitch's albums prior works, but includes minor differences. Les Fous D'or is much lighter chamber orchestra arrangements, and the music focuses completely on the intermingling between prominent experimental electronics and increasingly bizarre vocals. The electronic elements are much more important on this album, making up the "music" portion of this album. Avant-garde buzzing, cascading sequences of waterdrop-like synths, and ambient drones of blackness, all of which are collected in full on the finale "Ritual Of The Master Of The Doll", which is mostly an accumulation of the electronics portion of the album condensed into a single track. The vocals are much stranger on this album; they squeel, bark, scream and yell over the strange electronic soundscapes.

Again, another solid release from Igor Wakhevitch in the avant-electro-choral arena, if there is such a thing.

Fourth and very schizophrenic album, Les Fous d'Or is again in Igor's logical musical continuity, going more experimental, but keeping a lugubrious doll-related esoteric/religious concept, that I won't even bother understand and explain. Figure it out for yourselves, but the artwork his from his brother George. Just know that the project was coupled with a dance choreography under Carolyn Carlson's direction.

Opening on some kitschy French-spoken narrative, the Cornerstone side features some lengthy soothing and cosmic electronic soundscapes, interrupted by dumb liturgical mass lectures. A while later, one has to "suffer" some Devil's Trill violin lines with some agonizing diva (Eva Brenner) yodels, rendering the listening particularly difficult if you're afraid of ridiculous and sinister rising-from-the-dead ambiances. The Fous D'Or flipside is not much easier, because the agonizing diva hasn't croaked yet and she's billing overtime hours on your brains' patience budget. Even the 'tronic soundscapes are patience-grinding and are fast eroding it, especially once the newborn cries, loony laughter and clown-horns are spilling from your speakers.

To be honest, this is easily Igor's lesser and more ridiculous work, mixing French narratives and declamations with English titles. To think it took two years for Igor to generate such nonsense is actually just as mind-boggling as the music is, but this is not a positive thought. Best forgotten if you ask me, but you might not have a choice in avoiding it, because it comes in the 6-discs Don boxset, but no doubt it will stay at the bottom of the box.

Not much is known about Igor Wakhevitch, but from what I gather he was pretty messed up in the head, where tales of hallucinogenic chemicals are legion.

'Les Fous D'or' is an avant garde opera replete with wobbly Eve Brenner soprano vocals. Add to this some cello and stabbing trumpet all drenched in reverb and you'll have some idea what this strangest of all Wakhevitch albums sounds like.

The cover artwork sums it up well. It sounds how it looks - like a mentally deranged 'Peter and the Wolf'. Doom laden piano chords appear half way through which are guaranteed to put shivers up your spine.

Frederic Lodeon and Henry Smith's vocals gradually emerge from mid album beginning off just unusual, but steadily becoming more and more bizarre the further into the album you get, particularly on 'Ritual of the Masters of the Doll' where you'll be left looking over your shoulder nervously, expecting ghosts to emerge from walls.

This is the kind of music I'd expect the baddie from 'Blair With Project' would listen to in a deep, dark forest all alone, just waiting on a victim.

A fascinating piece of strangeness which is continually captivating and ultra odd with its mixture of electronics and opera.