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POIL

RIO/Avant-Prog • France


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PoiL biography
Founded in Lyon, France in 2005

POIL were formed as an experimental rock trio by the frontman Antoine ARNERA (keyboards, voices; Le GRAND SBAM), Boris CASSONE (bass, voices), and Guihem MEIER (drums, voices; UKANDANZ). Without any limitations, prohibitions, nor traditions, they've combined raw madness and virtuosity evoking thoughts of avantgarde-progressive basis like Frank ZAPPA, classic essence like Frederic CHOPIN or Igor STRAVINSKY, and theatrical approaches like Charlie CHAPLIN according to what they say. Their debut album "L'ire Des Papes" has been released in 2008, during massive gig shower.

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Dur Et Doux 2019
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AltrOck
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DINS O CUOLDINS O CUOL
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POIL discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

POIL top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.96 | 5 ratings
L'Ire Des Papes
2008
3.71 | 16 ratings
Dins O Cuol
2012
4.23 | 68 ratings
BrossaKlitt
2014
4.18 | 12 ratings
Sus
2019

POIL Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

POIL Videos (DVD, Blu-ray, VHS etc)

POIL Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.50 | 2 ratings
L'ire Des Papes / Dins O Cuol
2017

POIL Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.25 | 4 ratings
Mula PoiL (split)
2018

POIL Reviews


Showing last 10 reviews only
 Sus by POIL album cover Studio Album, 2019
4.18 | 12 ratings

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Sus
PoiL RIO/Avant-Prog

Review by TCat
Collaborator Eclectic Team

4 stars PoiL is this off the wall RIO/Avant Prog band from France that was founded in 2005 The band was founded by Antoine Arnera (keyboards, voices), Boris Cassone (bass, voices), and Guihem Meier (drums, voices). "Sus" is the band's 4th album, released in April of 2019. The album consists of 5 tracks with a total run time of just short of 41 minutes.

"Sus la peira" starts things off with an obvious melodic element that actually stays down to earth for a few minutes before things quiet a bit and then odd layered vocals come in and things move to a definite art rock style, with ever-changing mood swings and meter shifts. Thematic elements come and go, and these are presented by all three band members, not just leaving it all up to the keyboards, but allowing the crazy bass to lead at times, and the drums also churn out mad rhythmic patterns When vocals come back the 2nd time, the vocalizations are kooky and then real chaotic punk attitude comes in with every instrument going wild, but still actually improvising around a single thematic element.

"Lo potz" is basically an acapella track with the three members singing in harmony, with some interesting intervals. This is quite short. "Luses Fades" follows and begins with a tense and warbling sound created by all three members including processed vocal sounds. Soon, the voices and the instruments start playing against each other, then the instruments are allowed to play on in a progressive and complex manner. Vocal harmonies return from time to time in their odd and humorous ways. At times things go quite chaotic and at others you get an avant-garde style jazz sound. Don't rely on things to stabilize for too long or even settle on a single texture or melody for any length of time, it's all just crazy, yet well thought out musical escapades. Even with no guitar, per se, the bass seems to create sounds that make you think there is a fourth member as he sometimes plays it like a regular electric guitar.

"Greu Martire" starts off quite dissonant and loud, immediately just immersing you in a harsh and abrasive musical collage that seems to have no melodical values except for a quick riff that keeps repeating. Things finally quiet down a bit as dissonant harmonies and contradicting melodic lines swirl around. Soon the harsh music starts again with only short interruptions, usually involving strange vocal harmonies. All of the tracks are inaccessible, but this one is the harshest of them all.

The last track "Chin fou" is the longest at over 14 minutes. An atmospheric drone takes you into a darker space, and chanting vocals that revolve around single harmonized notes keep things mysterious. Tempo speeds up a bit later as a start/stop instrumentation backs up more melodious vocals and these sounds clash quite effectively. After 2 minutes, things settle in to an improvised synth solo based around a middle Eastern dance style, but very staccato and jumping around in crazy intervals. This track actually takes on more of a melodic feel, especially in the vocal lines. Don't expect it to be accessible however, it's still quite quirky. Later, there is a strange sound that sounds like a singing cow, but the theme ascends for a while, then suddenly turns to a thick and heavy riff that drives the track in a direction that sounds like Primus on acid, except the synths are involved again. Even later on in the track, the band follows a strange chord progression that is led by repetitive notes from the keyboards, then we return to the quirkiness of it all again.

The overall sound of this album is quite harsh and brutal. It is definitely avant-prog and not meant to be accessible. The sound is quite relentless in it's inaccessibility, there isn't anything here you should expect to hear in the local grocery store anytime soon. The "words" in this music (and the titles) are in Occitan which is a regional dialect, an odd mixture of French, Spanish and Italian. The music is quite technical and brilliant, however, the one flaw that this album has can be in its heaviness. Just because it is avant-prog doesn't mean that it can't still have some softer sides. But that doesn't take away the fact that the music is still enjoyable and brilliant, just a little variety could have made it rise to the next level.

 Sus by POIL album cover Studio Album, 2019
4.18 | 12 ratings

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Sus
PoiL RIO/Avant-Prog

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

4 stars Let me say, sounds like they always play authentic, acceptable avantgarde progressive filled with wit, and such an authenticity has been justified perfectly also via their newest album "Sus" released in April 2019. Regardless of their ludicrous, nasty appearance (sorry), their musical diversity and variation - like joke, sarcasm, irony, seriousness, sincerity, or humanism - can be heard all around the creation. And amazingly their various elements above mentioned is not put in fragments but unified with other ones. Their attitude to construct one musical collective with lots of sound approaches should be certificated through every album they've released. Ah of course, I do not say kinda difficult methodological issue but that they play in a pleasant, enjoyable manner. That's all for them. ;)

They create everything they can create without hesitation. Listen to such a contorted, dissected sound explosion with artfully stabilized music balance in the opening track "Sus La Pe'ra". The very first tip reminds you of tech / extreme metallic polarity, that belongs to their extensive soundscape definitely. Beautiful melody lines here and there amongst violent sound / noise structures, or mellow chorus with meaningless phrases, should be fantastic too. In "Luses Fadas" you can hear something like boiling melodic anxiety beneath the sea, but in front of their funky performance. Such a unique song should be enjoyed upon a gig, I think strongly.

"Gr'u Martire" is one of the most complex tracks in this album and slight psychedelic moments tinged with Krautrock- ish flavour can be found here and there ... it's apparently of comfort. Their sound essence notifies you of much more attraction as the audience. The longest epilogue "Chin F'u" is greatly seasoned with ethnic spice and complicated rhythmic basis. Aggressively destroyed melodic phrases and sticky repetitive mass of notes can be mysteriously digested into our inner brain in a normalized, naturalized way. You cannot dance nor do headbanging to the music needless to say, but their weird work sounds not weird but addictive. That is the reason they play every material without any suffering from production.

Guess I've mentioned everywhere but again said that I wish I could attend their gig in Lyon or ... Japan. Seriously.

 Sus by POIL album cover Studio Album, 2019
4.18 | 12 ratings

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Sus
PoiL RIO/Avant-Prog

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars PoiL took the extreme fringe of the avant-prog world by storm with the 2014 release "Brossaklitt" which under the more recently coined umbrella term "brutal prog" displayed the virtuosic angularity of avant-prog, the explosive bombast of punk rock, the mind melting expansion of psychedelia and the finesse of more deranged cauldrons of classical and jazz shaken n' stirred until a new elixir had formed. With a slight detour in 2018 with a collaborative effort with fellow French residents ni (emphatically in lowercase letters), the two bands released the avant-prog gem under the moniker PinioL however that was just a warm up for the next release of one of the more adventurous prog bands to have emerged in recent years.

Building on what came before, the power trio of Antoine Arnera (keyboards, vocals), Boris Cassone (bass, vocals) and Guilhem Meier (drums, vocals) return in 2019 with a suitable followup to their slightly unhinged and erratic masterpiece that came before. The succinctly titled SUS seems like a random placement of three Latin alphabet letters lined up to create a word that is the same in either direction read but it appears to be the Occitan word meaning "up, above, on, onto, over" since all the song titles themselves are in Occitan, the unofficial language of the southern region of France and parts of Spain, Italy and Monaco. BTW, the moniker PoiL itself means "skin" in French and it's apparent that it's because this music can indeed get under your skin. For some as an irritable parasite burrowing and sucking your blood or for others an injection of pure prog ecstasy.

With almost Cookie Monster-esque google eyes, the cover art wastes no time standing out amongst the music world even during these days where thousands of new releases hit the market seemingly daily but PoiL always has and apparently will continue to go above and beyond the call of duty in creating evocative and excessively idiosyncratic sounds and styles that evoke the zaniness of Zappa, the heavy hitting intensity of The Flying Luttenbachers, the wily electronic keyboard wizardry of, well i don't know! and the avant-prog angularity of the wild and weird world of Univers Zero, Art Zoyd and all the really out there bands. Melding this altogether SUS delivers another healthy dose of brutal prog NOT for the masses! SUS contains 5 tracks, 2 of which exceed 11 minutes ("Sus La Peýra") and 14 ("Chin F˛u") respectively with there three shorter tracks making up the creamy filling.

Despite the avant-weirdness run amok, PoiL succeeds in not producing a "Brossaklitt 2" and instead constructed a suitable followup that continues all the extremes while crafting a completely new methodology for throwing it all together. The results of which is yet another successful mastery of the most extreme elements of prog. "Sus La Peýra" gently takes your hand into the turbulent sonic forces at work and nudges you along with enough melodic construct to keep you from running away screaming but chaos lurks beyond as the track develops and unleashes the monstrous progginess that churns out highly angular riffing prowess with guitars and keyboards duking it out for total domination. The bass and drums that provide the rhythm section often blur in the midst of the popcorn popper effect of ending. Oh yeah, PoiL is back!

After the rather chaotic closing sonic attack of the opener, "Lo Potz" attempts to calm the listener down with vocal chants that constitute the shortest track of just over a minute's run and "Luses Fadas" continues the monotones almost droning flow with the oscillating vocals spilling over with keys slowly building up the tension. Once established the vocal familiarity of "Brossaklitt" kicks in and the pulsating rhythms, off-kilter key / bass / drum counterpoints only jump into overdrive. These two tracks display the sudden affinity with the mixture of Occitan poetic polyphony, Renaissance classical types of constructs and keen sense of the unexpected. "Gre¨ Martire" steps up the heaviness with brutal time signature lambasting, screeching distortion and more contemplations of what it would sound like if a monetary of chanting monks decided to all trip on LSD during choir practice.

One of the distinguishing features of SUS that separates it from the past PoiL offerings is that the tracks on SUS all flow together as the vocals and melodies connect them while other elements evolve into different variations. The grand finale "Chin F˛u" continues the tripping monk chants but then develops into a bass laden groove with the keyboards getting all frisky and performing noisy antics that generates a free flowing jam for several minutes. About half way through it becomes just plain weird as it generates an avant-groove, hypnotic sound effects and ethereal atmospheric constructs before bursting into a bass and guitar heavy riffing pummelation which continues on for several minutes, adds more intensity and creates the most brutal aspects of prog allowed by law.

As good as SUS is, it does lack the variety and perfect flow of its predecessor. Something about "Brossaklitt" resonated perfectly to my ears as every element was laid out in its suitable place to usher in the next. SUS is much more chaotic and random feeling as the emphasis seems to be more on an improv and jam oriented bombast that takes lengthy grooves and riffs and augments their freakiness with as much weirdness as possible. The time signatures are off the chart on this one. If you seek a highly bombastic dose of brutal avant-prog look no further than PoiL's SUS. It delivers on all accounts and i admire that they created another completely unhinged wacky album that didn't just copy what came before but for my tastes, this one just doesn't meet the perfection of "Brossklitt." Will we have to wait another five years for the next album? I sure hope not. Even though this doesn't top the last album doesn't mean i don't love the heck out of it.

 Sus by POIL album cover Studio Album, 2019
4.18 | 12 ratings

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Sus
PoiL RIO/Avant-Prog

Review by Harold Needle

5 stars I've been alive in this world for over twenty two years now, and in all my life up to this point, never was I so frantically happy and anticipative about any upcoming album by any band. I was waiting for Sus to come out ever since I've heard the first news about its existance, and frankly, I was so hyped about this release, I was scared it woudn't be as good as I wanted it to be.

Now that it's finally here, I can say with no doubt - PoiL managed to totally surpass my wildest musical desires. It is the first record in my life, that made me want to cry just because how incredible it is! Extremely energetic, dense, noisy and complex, yet so ravishing, atmospheric and beautiful. This is PoiL at its best! Guilhem Meier's drumming seems even more fast, tight and on-point (is it even humanly possible?), it is ridiculously impressive, absolutely love his beats. Boris Cassone's thick basslines are something I really admire as well, they give the album all the agression and heavy grooviness it needs. I'm also a huge fan of Antoine Arnera's incredible keyboard skills, which provide playful, quirky electric piano passages, noisy experimental synths and some great sampling as well. Also, we cannot forget about all the members' vocal abilities, which are wonderfully combined and performed. The three vocals are a prominent part of PoiL's sound, and this time they seem to be more quiet, sophisticated and contemplative, as opposed to the more rhythmic, agressive and shouting style from Brossaklitt. As for the writing, Sus presents the band exploring new musical territories; the material is really fresh and doesn't feel like a direct continuation of the style presented on the previous records. There are many, many more new, exotic flavours to digest, and given the complex and technical nature of this music - it's gonna take a long while to learn and appreciate all of its little details. I find it particularly great, since analysing every track's structure is a pure pleasure for me.

Personally, I would say that the bands and albums like this make the life worth living. Thank you, thank you so much PoiL, I will never forget this record.

 Dins O Cuol by POIL album cover Studio Album, 2012
3.71 | 16 ratings

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Dins O Cuol
PoiL RIO/Avant-Prog

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars Having crafted one of the world's most bizarre lounge jazz albums that tossed aside the rule books and crafted slinky Chopin-esque classical chops into jazz-infused chamber rock dressed up with punk energy and Zappa fueled antics, POIL continued their legacy of hyperactive zany and unhinged musical madness that has been one of the prime movers of the new strain of avant-prog taking root in 21st century France. This Lyon based trio has become quite the live act finding their way onto the Rock In Opposition festival in Carmaux, France where they shared the stage with likes of Soft Machine Legacy, Faust, Univers Zero, Present, miRthkon, and Guapo. Not bad for a crazy trio that's one step away from the looney bin.

For a sophomore performance POIL unleashed the equally bizarre DINS O CUOL (uh, in the ass?) which finds the trio in less of a Chopin goes to the lounge jazz mode but rather a let's create the most frenetically wild avant-prog possible music! And with that they succeed. While a much shorter album than the debut "L'Ire Des Papes," DINS O CUOL nevertheless packs enough of a punch to detonate a warehouse of fireworks. Fronted by the charismatic piano wizard Antoine Amera, his piano rolls still dominate the soundscape but this time around the other members step up to add equal doses of instrumental explorations. Boris Cassone is just as spastic on bass and Guilhem Meier once again bedazzles with percussive drives that baffle the mind. Suspiciously absent are any guitar sounds.

POIL is in a much more playful mood on DINS O CUOL. While they exercised their famous vocal antics on their debut where they sing, harmonize, chant, grunt, scream, shout and get all weird on ya, on this sophomore album the vocal charm really lets loose and becomes the dominate force which drags the music along. Humorous design is the name of this game and every whacky utterance seems to be geared towards a 21st century slapstick comedic routine that evokes the Charlie Chaplin influences that offer a zany cartoonish mood that finds itself focused through a complex progressively infused rock that tackles chamber rock, math rock and avant-prog in time signature rich workouts. In fact, at times this sounds like an avant-prog version of Oingo Boingo.

Guaranteed to raise the dead, POIL goes for the avant-prog jugular on DINS O CUOL with incessantly brutal prog keyboard antics, zolo infused herky-jerky spastic deliveries, vocals freakiness so weird that even the Samla Mammas Manna would blush in response. Zappa would roll over in his grave if he could hear this and those who aren't inclined to experience music that is designed to aggravate and stimulate like a million doses of caffeine are bound to be quite irritated by this music. To call this adventurous would be an understatement and it's truthfully quite unlike anything i've ever experienced. DINS O CUOL erases any pleasantries of the debut and adds heavy doses of abrasiveness in every corner.

Just check out the ending of the title track where the groove is set on some sort of avant-disco beat only with abrasive dissonance and million-mile-per-second time sig changes on steroids. Oh, this is indeed the stuff avant-prog dreams are made of. Perched somewhere between the confines of "L'ire Des Papes" and the more compositional brilliant "Brossaklitt," DINS O CUOL is quite the interesting plunge into the bizarre, the humorous all wrapped up in brutal prog dressing. This is a ruthless type of parade of sounds that offers rewards for those who can hang with it and punishment for those unwilling souls who happened to fall into its gravitational force.

I'm on the love it side of the equation but be warned that this music contains some seriously demented musical trips that are reserved for only the hardcore crowds out there who love their avant-prog with a punk infused energy that is steeped in unrelenting time signature attacks. Stick around for the ending of the album. The fourth track seemingly ends around the nine minute mark but endure some silence and you are treated to a most bizarre series of sounds that include Zen meditative sounds as well as LOTS of belching sounds! That is only one surprise to be experienced for those patient enough to wait. Sophisticated potty music is what we have here! Yay!!!!

 L'Ire Des Papes by POIL album cover Studio Album, 2008
3.96 | 5 ratings

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L'Ire Des Papes
PoiL RIO/Avant-Prog

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars France has been a hotbed for new strains of avant-prog creeping up around the country in the 21st century and perhaps one of the most outrageous examples of progressively lunacy run amok comes from the Lyon based POIL which has consistently dished out some of the most frenetic sensory overloads of such music since their formation in 2005. This power trio was formed by keyboardist and chief composer Antoine Arnera with bassist and guitarist Boris Cassone and drummer Guilhem Meier. All three add extraordinarily twisted amounts of vocals where they sing, harmonize, scream, shout, chant and invoke bizarre tantric rituals.

The band has been nothing but consistent in their zany herky-jerky live performances that are part Frank Zappa, a dash of Cardiacs, a healthy dose of Chopin and Ravel all wrapped up with the punk infused energy of Melt Banana coupled with the chamber rock sensibilities of a more jazz-infused Univers Zero. After a few years of crafting their cosmic craziness POIL released their debut L'IRE DES PAPES (The Papal Ire) which finds the band in vast explorations of Chopin-esque classical piano chops that wend and wind through jazz moods, energetic outbursts and through the unrestrained pastures of sheer unhinged exuberance.

While POIL would become heavier with more guitar antics and bouts into psychedelic, on L'IRE DES PAPES, the trio are content with the avant-tinkling of the ivories that extend into cartoonish overdrive under the influence of caffeinated nuttery. For a pure acoustic band that extends the use of piano, acoustic bass and drums, POIL exude a larger than life sound with incessant time signature attacks in full math rock regalia with keyboard attacks so forceful and in yer face that it makes me wonder how many instruments were sacrificed in the making of L'IRE DES PAPES. The band's mission is clearly to expand any possible limitations and to go where no band dared to go before at the confluence of punk infused energy with sophisticated subtleties ready to burst at the seams.

While Zappa playfulness is in the forefront so to is a rather slapstick Charlie Chaplin approach that brings those wily and crafty silent film soundtracks to mind with purposefully naughty sounding piano rolls, angry bass lines and a Vaudeville stick that had been released from the insane asylum before it was ready to play fairly with the public. Nonetheless, this lightning infused trio crank out some of the most demanding ragtime meets classical chops ever laid down to a recording. The music, while incessantly frenetic is also brilliant as it's ultra-tight, packed with spirited vim and vigor approach. The band call this music a mix of progressive rock with superhero big beat surf noise rock. Not too far off the cuff.

L'IRE DES PAPES doesn't quite get into the heavy rock that 'Brossaklitt' tackles but rather is more like a psychotic lounge jazz outfit run by disgruntled classically trained concert escapees who have an axe to grind and your inner ear is their target of dismay. While not as all-all-encompassing as they would become, L'IRE DES PAPES is nevertheless an excellent slice of demented avant-prog channeled through a classical and jazz chamber rock venue. The ivory tinkling sounds like a heavily drugged Art Tatum having a psychotic episode but exudes a talent for only the most adventurous of players. Album #1 for POIL is a must hear for all those demented and twisted lovers of avant-prog run amok. Music doesn't get any more unhinged than this.

 BrossaKlitt by POIL album cover Studio Album, 2014
4.23 | 68 ratings

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BrossaKlitt
PoiL RIO/Avant-Prog

Review by Harold Needle

5 stars Man, if that album isn't a masterpiece, than I don't know what is.

Three french musical acrobats deliever some of the most amazing, mind-blowing, energetic and playfull music of the decade. Clearly taking inspiration from prog and zeuhl (possibly math rock too), PoiL goes further than its influences and creates a new style, which can not be really compared to any other existing band. "Innovatory" is the key word here. Each of the musicians is ridiculously skilled on his instrument, plus they all contribute non-lyrical (at least for the most part) vocals, which - in opposition to, say, zeuhl movement - are more rhytmic than melodic by nature. Some of the vocal parts actually sound like rap (don't feel discouraged if you don't like the genre, it's the kind of rap a prog fan would certainly enjoy)! The complexity is ridiculous too. They've gotta be among the most tight bands to ever exist.

I can't recommend this band enough. Show PoiL some love, do yourself a solid and check out their live performances.

PS. Their new record "Sus" is coming out in April. I gotta admit, never in my live was I so hyped about a new album from any band. I can smell album of the year already!

 BrossaKlitt by POIL album cover Studio Album, 2014
4.23 | 68 ratings

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BrossaKlitt
PoiL RIO/Avant-Prog

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

5 stars Consider artistic, musical innovation should be in fun and surprise. The audience should get amazed at what happens on stage 'beyond expectation', even if it's sorta funny, funky appearance / expression, rapid melodic development, or incredibly technical manner. For example a Japanese jazz rock combo Djamra always play with such a strong intention as above mentioned, and so do POIL, a French avantgarde / experimental rock trio, who have gigged with Djamra in Frankfurt a couple of years before. 'Dins O Cuol' their previous creation made me laugh out loudly and feel comfortable via their original vibes. This album 'Brossaklitt' released in 2014, notifies they've got more power, both experimentally and musically.

At first the third titled track is more than creative, via crazy complicated rhythm and melody lines plus meaningless, freakout lyrics gradation. Guess the audience cannot help laughing and enjoying purely like children by this performance on stage. Undoubtedly this is kinda innovation in the rock scene. The following 'Patachou' full of ethnic electronika and mysterious synthesizer-oriented sound brilliance (this is my fave too). Suppose we could dance to the tune regardless of its melodic, rhythmic complexity (wow). Also the next 'MAO' reminds us of the similar vein toward a techno pop sound era (like Yellow Magic Orchestra) some decades ago, but let me say again this electro spreader has their attitude for 'fun' obviously.

As though they would have hailed from another dimension, their creation is filled with electronic fantasy, complicated rhythm / melody lines, and amaze / fun for the audience without any suspicion (even in the shortest one 'Dins O Klitt'). 'Pikiwa' should be called as the compilation of their cynical historical musical database. Can I say here that I would like to attend their fantastic gig in near future?

 BrossaKlitt by POIL album cover Studio Album, 2014
4.23 | 68 ratings

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BrossaKlitt
PoiL RIO/Avant-Prog

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

5 stars Emerging from the bustling modern day mecca of the French avant-prog scene comes the ever so eclectic and energetic monstrosity of a band called POIL out of lovely Lyon. The word en franšais actually means "hair" but despite the innocence of a single syllable word, nothing can prepare the listener to this audio onslaught of avant-prog gone WILD! Imagine if you will a situation similar to the album cover in some far away garden of Eden where the bodies of earthly delights engage in an orgy of smearing shredded fruits all over each other's soft supple skin. POIL has a very similar approach with their sonic delivery as the pummel your senses with a veritable assembly line of musical madness that somehow finds a way to fruitfully engage the senses while bombastically stimulating the flight or fight response. This music is just nuts! And to think that all this noise is put out by only three musicians: Antoine Arnera (keys, vocals), Boris Cassone (bass, guitar, vocals), Guilhem Meier (drums, vocals)

Where to begin? POIL takes it all over the place with a very healthy dose of Mr Bungle type antics as it frantically dances with the most angular and jittery rhythms possible for avant-prog including heavy guitars and spaced out keyboards. The album begins with frantic synthesized sounds and immediately jumps into a heavy zeulish groove that reminds me of the Japanese band Ruins who is also a power trio. After a slight sonic attack it turns into a monotonous spacey groove with hyper Zappaesque keys creating atmospheric embellishments on speed with a little Wakeman wankery involved. The track "Patachou" kinda reminds me of the MC Hammer soundtrack theme from the 90s movie "The Adams Family" with a funky groove only taken into warp drive with Area driven jazz-fusion keyboard workouts and very silly nonsensical words and vocalizations that sound like they're ready to break into hyena laughing mode.

If that wasn't enough tracks like "Mao" are more chaos than musical composition as they sputter around like a loose firecracker only to find a grounding through what sounds like a Balinese gamelin session apparently courtesy of the synthesizer albeit with wild and crazy prog time sigs run amok. "Goddog" is perhaps the biggest surprise as the power trio take a respite from the frantic nature of the music and create a bona fide punk electro dance groove that puts Lady Gaga to shame showing that the band has just as much of a knack for instantly addictive melodic hooks as they do for creating over-the-top complex chaotic compositions. "Dins O Klitt" steers back towards the chaotic with its short slap bass funk and angry guitar rage which cedes into the lengthy near quarter hour track "Pikiwa" which offers an intense spaced out sonicscape that begins with strange electronic sounds flapping around like freshy caught net of seafood on a turbulent vessel but ultimately becomes one upped by extreme prog guitar and bass workouts that create frenetic rhythms accompanied by a strange vocal interchange that must be heard to be believed. The mid-section falls into a deep trance inducing repetitive zone that perhaps lingers on for too long but in honesty is a welcome retreat from the chaos with monk type chants and lulling grooves that belie the true nature of the album but ultimately finds a way back to craziness.

This stuff is right up my alley. I am a huge fan of totally unapologetically creative music that takes you on a roller coaster ride and never gives a clue to exactly where it will wend and wind as the tracks swerve in any given direction. This is an album where the band plays apart in their own little worlds as much as they play together and it all seems like some circumnavigating in strange patterns where the trio play in different time sigs only to find resolution at some arbitrary point down the road where they meet up and play together for a while only to end up in some strange array of musical spasticism once again. I assumed after being blown away upon first listen that this may be a gimmicky type of album that doesn't deliver on repeated listens but after quite a few spins i'm finding it to be as fun on the tenth listen as it was on the first since there are so many different things going on. At times it's border line metal with space ambience competing for domination and at other times it's frantic Yugen type lunacy that places it firmly in the brutal prog category. Whatever you want to call it, i call it prog addict's paradise as the music just takes me to those purple pastures where unicorns serve me cocktails in the sand.

 BrossaKlitt by POIL album cover Studio Album, 2014
4.23 | 68 ratings

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BrossaKlitt
PoiL RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

4 stars I'm not normally a big fan of music that is very fast and starts and stops on a dime. This reminds me of some of those Japanese bands that play in this style, and while it's impressive it's not that enjoyable for me. POIL also features vocals and multi-vocals that also go a million miles an hour as we get these chanting and singing acrobatics. The thing is that this band not only impresses me with their abilities to do this but it is actually enjoyable for me for the most part. While these guys are French I do keep hearing English words at times that are vulgar and maybe this isn't surprising given the art work that looks like a picture of an orgy and I understand the title is in reference to a rather loose woman.

"Fionosphere" opens with strange sounds before we hear yelling and shouting as the music kicks in with drums leading the way. A calm before it starts to build 2 1/2 minutes in. Love the sound here at 3 minutes, so much going on. Deep Zeuhl-like vocals after 3 1/2 minutes join in before the complex instrumental workouts return. Contrasts continue. Insanity before 6 minutes and some crazy vocals before 8 minutes before those Zeuhl- like vocals return late. An intense ending to this one. "Introklitt" is a short piece with bizarre sounds and vocals. "Brossaklitt" has some nice guitar in the intro before these crazy vocals take over. Some powerful instrumental sections are contrasted with the vocal/drum passages. "Patachou" opens with the vocals and intruments starting and stopping on a dime. So impressive. It then settles into a powerful groove with so much going on. Vocals are back and to my ears there's a Japanese vibe going on. Zeuhlish vocal sections come and go as well. A powerful sound before 5 minutes then back to the insanity. After 8 1/2 minutes you'd think the apocalypse has begun. "MAO" is different from the rest as we get this dance-like beat and an 80's New Wave sound with manipulated vocals. Quite catchy and full of energy until a calm arrives before 2 1/2 minutes but it doesn't last long.

"Goddog" has this complex and avant-garde instrumental work to start and it is difficult to get into until the vocals arrive and it settles down. These contrasts will continue. Distortion galore to end it. "Dins O Klitt" is short and dark with weird sounds and samples. "Pikiwa" opens with electric piano-like sounds that come and go before these insane vocal arrangements join in. A calm 2 minutes in as deep Zeuhl-like vocals arrive almost humming like "Aummmmm" over and over. Love when the drums kick in before 3 1/2 minutes then electric piano and more as the vocals shout. Man this grooves 6 1/2 minutes in as the guitar screams, this continues until just before 11 minutes then it turns even more insane. "La Balade Des Minouchoux" ends this album and it sounds almost normal with electric piano and picked guitar but even this has some crazy time signatures. Drums join in as these intricate sounds seem to be randomly played. It's more powerful before 3 minutes. So impressive!

I have to give this 4.5 stars just for the imagination of this band and their lights-out playing. Sure they sound like they might belong in a mental hospital of sorts and were allowed out to record this but if your into complex avant-garde music played at a high tempo you need to hear this.

Thanks to DamoXt7942 for the artist addition. and to Quinino for the last updates

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