L' INFONIE

Their improvisation-based play along with the basis of the original "Paix" is remarkably unified and polished as well. Filled with effective sound effects and melodic toys, dissected instrumental darkness or distorted sound mischiefs has got more and more powerful, and mysteriously I imagine they have launched kinda forcibility or unreasonable occasion coincident with explosive, powerful avantgarde-ism. On the other hand, their unreasonableness should come back to fantastic harmonization.

Suppose this suite alteration might have been released as the final construction they wanted to approach. Pros and cons have been around them is well understood, but they might have completed their combo career with exaggerated suite confusion. And yes, the last is quite so quiet enough that we can get immersed in perfectly. Let me send them my full regards personally.

In conclusion, there is not enough necessity to listen to this album (that is not available all over the world except in some used vinyl shops ... very expensive really though) if you enough have enjoyed the previous "Vol. 333", and no high recommendation for all avantgarde-progressive rock fans. Of course I love this stuff, let me say.

From the beginning ... the starter "Paix Prélude" enough advocates their colourful diversity. The first distorted sound explosion is so powerful enough to knock us out, and their improvisation-oriented sound presentation would get delightfully harmonized as the song makes progress toward the Paix Sections. "Paix Section 1-17" can be called also as a one-man theatre by the vocalist Raôul. His percussive, precisely rhythmical voices is too splendid and too creative to be mimicked by anyone. And all of the rock commune support him upon their brilliant instrumental arms. This is exactly a cooperation in the L'Infornation. On the other hand, a sudden explosive shout by Raôul in the beginning of "Section 19" reminds us of old-fashioned funk. What did they think on the play? Another one-man stage, very interesting, impressive.

A great mass of classical essence, incorporated into this project of theirs, gets mixed, merged into avantgarde environment naturally but deliberately. "Ode To Joy (via in the final movement of Beethoven's Ninth Symphony)" is featured in the middle part of "Section 33-50" or Ravel's "Boléro" in "Section 1-17". Could say so effectively I guess. "Concerto En Ré Mineur" Allegro and Adagio are completely classical concertos featuring brilliant piano play and a chamber ensemble. The last "La Tounne Platte" is such a free jazz, flooded with sound extremity launched by the whole rock commune, and can be mentioned as one of the symbolic tracks in this double album.

I'm sure there are pros and cons upon their soundscape (sounds a tad eccentric, purposeless or less strategical I'm afraid) but why cannot we call this their originality? This creation should be the one that appears L'INFONIE's decent attitude for music itself.

'Vol 3' reminds me quite a lot of the soundtrack from Jodorowsky's 'El Topo' film, with it's repetitive one note bass, sputtering horns and continuously crashing percussion.

Comprising just two long tracks - each one is very hypnotic and trance inducing. I can easily visualise this horde of musicians, bedecked in those dodgy togas and funny hats, performing this free-form orchestrated rabble rousing cacophony. Some may find it repetitive and annoying, but personally I really like this nonsense. It pushes all the right buttons with me. It's so self indulgent, without a care as to how many of the public were going to purchase a copy.

The longer it progresses, the more shimmering and interwoven all the sounds become. All stemming from the premise of a couple of notes at the outset which pretty much continue throughout.

It's all very acceptable to my weird ears and brain which has been infiltrated for decades by strange and wonderful music.

Raôul Duguay isn't the best vocalist you'll ever hear but at least he sings in French, lending an air of authenticity to the music. He does however, sound like he's downed 3 bottles of wine before picking up the microphone...

This is a wacky, unpredictable sprawling double album consisting of no less than twelve musicians. '333' sounds quite Zappa-like minus the smut in many parts. The recording quality itself is nothing special sounding a bit tinny throughout. Some parts degenerate into 'Musique Concréte' territory in what can only be described as someone dismantling a bicycle whilst tuning a shortwave radio. Even Beethoven makes an appearance amongst squealing guitars and crazy percussion.

A real mixed bag and one that I'm still not sure about after 6 years of occasional listening. This is controlled chaos where you can tell it's partly scored and partly jammed. There's a strange sense of timing and quick jump cuts throughout which leaves me a little bewildered, but I guess that's half the charm. Although hearing a piccolo being played cheered me up no end.

Disc 2 is easier on the ears but is less conventional, beginning with a 20 minute take on Bach's "Concerto in D Minor' which is played with precision but without any emotion at all. Really odd and confusing, especially during the last five minutes where there's screaming and shouting during what sounds like a dirty striptease act.

Never boring, sometimes inspired and at others too tuneless and directionless to be of much interest..

A difficult, decadent yet ambitious album that will have more haters than lovers.