FURVENT

The world is confused with coronavirus pandemic, nationalism / populism, riot, terrorism, or so. People all over the world feel uncertain. But please listen to Le GRAND SBAM's second album "Furvent", and we can hear that their sound style should always be confirmed, decent and credible. Their latest creation "Furvent", like the debut one, features complicated rhythmic basis, Zeuhlish female voices / shouts, and stylish, unified, completely matured melodic avantgardism. This combination might be noisy or harsh for avantgarde haters but for us Zeuhlers it would sound like an angel whisper actually.

Broadly speaking, this album consists of four parts - the topnote and masterpiece "La Trace", a short one "Nephesh", a magnificent suite "Yi Yin I", and a tiny epilogue "Choon Choon". Wondering why the masterpiece can absorb us ... the first shot of "La Trace" is dominant. Improvisation-like sound bombs are obviously deliberate and matured, and all instruments including voices, piano, bass, or percussion strictly build their rhythmic turf up, without any dissection nor dissonance. Cadent, modulated melodic development is also sorta treasure. This colourful appearance should grab our mind. In "Nephesh" we can enjoy fascinating piano plays, that be more and more complex than of Kagel but smart and beautiful, mysteriously. "Yi Yin I" is one of the most improvisational, most experimental stuff. It's pretty of Krautrock that randomized pieces of sound are precisely constructed to a brilliant musical jigsaw puzzle. Upon a burning desert ground, deep and heavy keyboard works, serious percussive voices, complex but incredibly supportive percussion plays, and explosive but rigidly harmonized instrumental summaries, are kinda killer. We the listeners should be immersed and intimidated all around for over 30 minutes but could feel like it wrap us up and end at a moment. The last track "Choon Choon" is very charming one, like samba, zamba, or tango ... as if we would listen anytime anywhere.

In conclusion, sounds like they say "There are lots of sarcastic or unexpected issues, but who cares? It's great our soundscape should maintain as it be". Really the second Grand Slam.

Lyon collective Le Grand Sbam are back with their second album, which in many ways follows on exactly where 'Vaisseau Monde' left off. There have been a few changes in the band, as Mélissa Acchiardi (vibraphone, percussion) is no longer involved, but Antoine Arnera (piano, electronics, voice), Boris Cassone (bass, Mellotron), Jessica Martin Maresco (voice), Guilhem Meier (drums, amplified percussion, voice) and Marie Nachury (voice) have expanded the band with the addition of Grégoire Ternois (marimba, toms, dun dun bells, gong), Mihaï Trestian (cimbalom) and Anne Quillier (Moog, Rhodes, voice). The addition of more voices, percussion, and keyboards, has allowed them to take their music further in the direction of crazed opera/RIO/Zeuhl/experimental prog.

It is massively complex, yet also hugely chaotic, and one can imagine Zappa comparing the scoring of this to that of "The Black Page #1", smiling, and saying "yep, they got it". Musically this is all over the place, structured yet free, and while it should never make sense it somehow does, and one can never fail but be enthralled by the performance. Just for the hell of it, this album commences with "La Trace" which is nearly 19 minutes in length, but in reality, all you need to do is listen to the first few seconds to understand what you may be letting yourself in for as a listener. Strange vocals, percussion, interweaving melodies, they are all there. About sixteen minutes into the piece there is a wonderfully high held vocal note, so pure and clean, which really makes it stand out. We get warmth and delicacy, strength and dominance, power, and submission, all in the same piece. The piano can be intricate and rippling, or it be crying in pain as it is being taken into new areas, with classically trained female and male vocals being both sublime and fractured, frantic and almost in pain. This is modern music which is being taken into new and exciting directions, and we are all the better for it.

Their debut from a year earlier blew my socks off, this not so much. I'm really surprised at the differences between the two. "Furvent" was released in 2020 and is based on a novel written by a leading neuroscientist. This record is surprisingly uniform with each track blending into the next with the female vocals and piano leading the way most of the time. The POIL trio who are the core of this band add vocals this time around but the two outstanding female singers just aren't nearly as impressive here.

An eight piece band this time from a six piece on their debut. The vibes/percussion player from the debut is gone unfortunately replaced by a marimba/toms/bells/gong player. They added a second keyboardist along with a cimbalom or hammered dulcimer player. The debut was 37 1/2 minutes this one is 60 minutes and includes an almost 19 minute opener. That track sort of encapsulates the whole album. I have to say I am disappointed with this one and I know the debut set the bar high but this one pales in comparison.

"Li(Le Feu)" the fifth track is the one that stands out in a positive way. Finally a song I can connect with and some actual depth to the music although mostly late. Still piano/vocal led though. Man that closer is one I cannot listen to. Sounding Spanish it is completely different from the rest and a tough one to get through. I can actually hear the bass on "Ken" but not for long.

This album just isn't as avant or as powerful as the debut and there were so many brilliant ideas on the first one. I can't go 4 stars here.