Montreal trio Lungbutter serves up an exhilarating and relentless barrage of astringent noise-punk, at times refracted variously through sludge rock and slowcore. Kaity Zozula's tri-amped guitar squall occupies a huge tonal space from low-end bass to paint-peeling treble, redolent of blown-out Melvins/Flipper fuzz and indebted to the frenetic dissonance of Keiji Haino or Merzbow. Song structures coalesce around guitar riffs of shifting tempos and the backbone of Joni Sadler's muscular, deliberate drums, while Ky Brooks’ wry phenomenological sing-speak vocals - at once mantric and declarative - deconstruct one brilliant lyrical theme after another, dancing along the knife-edge of dispassionate acerbic examination and wide-eyed cathartic revelation.
Brooks, Sadler and Zozula have all been mainstays of the vibrant experimental noise/rock milieu in the city for several years, having put in time as members of innumerable bands and community projects. Lungbutter has been their main jam for a while, playing frequently in Montreal and with sporadic excursions to DIY spaces around eastern North America. Honey is their first full-length album, following the self-released Extractor cassette EP from 2014, which Big Takeover described as “"hick neanderthal sludge, stream of consciousness yelps over lawnmower riffs, a dweeb-metal triumph" and Weird Canada praised as "confident, artful, intense".
Siskiyou returns from a four-year hiatus with Not Somewhere, which finds band leader Colin Huebert (ex-Great Lake Swimmers) essentially in solo mode, writing and self-recording this new collection on his own, playing just about everything himself. Not Somewhere harkens back to Siskiyou's magical, understated 2010 debut in this and other ways: the album’s production rekindles a homespun intimacy, where plain-spoken lyrics grapple with portraits of quiet quotidian despair, fragile existential horizon lines separating perseverance and defeatism, honest and unremarkable lives trapped in cultures of false consciousness, impossible desire, self-analysis and self-medication. Huebert was commissioned by NYC artist/designer Stefan Sagmeister to write the theme song for The Happy Film, a movie accompaniment to "The Happy Show" installation art project - ruminations on happiness that strongly echo Huebert's own tone and sensibility. Sagmeister wanted the unadorned aesthetic of early, leading Huebert to often write and record songs in the same day. The result is a beautifully restrained and direct song cycle of tunes anchored by acoustic guitar and brushed drumming, detailed with delicate textures, spartan melodic overdubs, and Huebert's distinctively forthright, whisperingly confidential vocal delivery. Not Somewhere is delicate, discreet, and wonderfully assured - a humble, wistfully observational and meditatively personal return for Siskiyou.
Efrim Manuel Menuck (Godspeed You! Black Emperor, Thee Silver Mt. Zion) and Kevin Doria (Growing, Total Life) are now officially a duo and offer up this new set of whirling maximalist antifa electronics, shot through with Menuck’s trademark incantatory vocals awash in plaintive distortion and hope.
WE STARTED PLAYING TOGETHER IN THE DARK WINTER OF 2017. 6 OSCILLATORS AND 3 LARGE AMPLIFIERS. DROVE THRU HELLA BLIZZARDS AND/OR HEATWAVES JUST TO LAND IN SMALL ROOMS, VIBRATING. A SERIES OF SHORT TOURS, A PROCESS OF FIGURING OUT WHILE EXHAUSTED WHILE HURTLING WHILE WORRIED. EVERYTHING ILLUMINATED EVERYTHING DESTROYED. WE LANDED IN MEXICO CITY LAST FALL, WROTE THIS RECORD QUICKLY WHILE THE POLICE DROVE ROUND AND ROUND. FIRST SONG IS SELF-EXPLANATORY. 2ND SONG A STATEMENT OF INTENT. THIRD SONG IS AN EMPTY SPACE BETWEEN TWO HIGHWAYS. FOURTH SONG IS ABOUT A MURDERED FOREST. FIFTH SONG INSISTS THAT WE WILL WIN. HOLD ON. THO THESE TIMES ARE DARK TIMES. HOLD ON.- E.M.M./K.G.D (SING, SINCK, SING)
Trinity Thirty is a reinterpretation of the beloved Cowboy Junkies classic The Trinity Session, on the occasion of the album’s 30th anniversary. Berlin-based Canadian producers Deadbeat and Fatima Camara bonded over a shared love of this iconic album (and their shared small-town Ontario roots) and embarked on their first-ever collaboration. The Trinity Session is legendary for its naturalistic, languorous covers of classic tunes and traditional work songs - and for being recorded with a single microphone in single takes at a church in Toronto. While Deadbeat and Camara couldn’t entirely replicate this approach as a duo, they similarly re-recorded everything with single mics in a big open space at Berlin’s Chez Cherie studio, relying heavily on natural room acoustics, committed to raw first takes, guided by an overriding strategy of slowing down the tempos as far as they could while continuing to channel the warm asceticism of the original album. The result is a gorgeously somnambulant acoustic-meets-electronic collection of ‘covers of covers’, where the reference point is always the Junkies’ original approach, stretched to new and beguiling limits of deceleration and dubby narcotized spaciousness - a sensibility further reinforced by the mastering treatment of minimalist dub-techno legend Stefan Betke (~scape, Pole).
Mise En Abyme is the second full-length by Joni Void, the avant-electronica project of France/Canada producer Jean Cousin, following his acutely accomplished and acclaimed 2017 debut album Selfless (#8 Experimental Album of 2017 at Pitchfork). Consistent with Selfless, the primary materials for the sample-based cut-up songcraft on Mise En Abyme are Cousin’s recordings of the voices of various friends. His self-professed body/voice dysmorphia, social disphoria, and search for the disembodied-yet-emotional transcendent subject, continues to compel the use of other (predominantly non-verbal) voices in the construction of these sublimely affecting electronic-minimalist compositions. Mise En Abyme is markedly more introspective and meditative than its predecessor, explicitly in search of intimacy and recuperative beauty. Grappling with a cascade of heartbreaks and discontinuities over the past year, Cousin also calls the new album a "time-travel experiment", as he culls sounds from devices and sources spanning childhood to the to retrieve and reframe subjective memories, histories and “regressions through former selves” via immersion in the evocative potential of the mostly wordless voices of others. The resulting song cycle is a remarkable blend of conceptual abstraction and highly emotive warmth, interiority, humanity and specificity.
Light Conductor is the twilight slow-burn modular synthesis duo of Stephen Ramsay (Young Galaxy) and Jace Lasek (The Besnard Lakes). The pair have been kicking out these slow jams for years, in between their separate touring and producing duties, and have decided it's time to share. Sequence One is their first album: a warm shimmering sonic hug of enveloping drone and hypnotic arpeggiation flowing along buoyant filter-sweeping eddies and waves. Gently immersive like a saltwater bath under a starry sky, Light Conductor make nighttime/sunrise music in widescreen high-fidelity at their vintage-equipped Breakglass Studios in MontrÃ©al, pinning the pre-amps with stately, slowly shifting synth tones, stereophonic squelches, and pink noises. The seasoned producer-engineers marinate their mixes in slow-cooked analogue glaze, balancing spacious sound-staging against sumptuous saturation, bringing these studio sensibilities to bear on this profoundly mellow, atmospheric and satisfying music of slow inexorability and simplicity. Limited edition vinyl version is 333 hand-numbered copies in hand-printed silkscreen jackets with metallic bronze and opaque white ink over Ming Blue velllum-finish uncoated art stock paperboard.
First pressing of 500 copies of Sequence One by Light Conductor on audiophile 180gram vinyl from Optimal (Germany) comes in a thick 24pt jacket and with 12”x24” art print poster, both spot printed in blue and metallic gold inks on uncoated papers and boards, with inside of jacket also spot printed in gold.
Jessica Moss, the violinist, composer and singer best known for her fifteen-year tenure in political post-punk band Thee Silver Mt. Zion, is newly ascendant as a soloist, captivating audiences with gritty, warmly expressive electronic- and drone-inflected post-classical Minimalism (and sometimes Maximalism), accented by a distinctive melodic sensibility that channels Klezmer, Balkan and Middle Eastern tropes. On Entanglement, her new and second album, Moss channels quantum theory as a metaphor for creating energetic connections through esoteric processes. Using violin (and occasionally, voice) as sound source, her compositions are set in motion like entangled particles - spinning, ricocheting, warping and stretching in extra-dimensional space. Moss has played 80 shows in the past year and Entanglement is also profoundly informed by her experiences travelling alone, giving concerts in precarious spaces preserved by passionate subcultural communities, attempting fragile, intimate, abstract transmissions through sound and performance. This is long-attention-span music that wonderfully synthesizes form and substance, spit and polish, austerity and lushness, expansiveness and intimacy. Entanglement is a deeply felt and deeply rewarding work that testifies to the unique stylistic and textural space Moss is carving out in the contemporary/New Music continuum.
Jerusalem In My Heart (JIMH) returns with Daqa'iq Tudaiq, the third album from the acclaimed MontrÃ©al-Beirut contemporary Arabic audio-visual duo. Featuring voice, electronics, buzuk and other instrumentation from composer-producer Radwan Ghazi Moumneh (Matana Roberts, Suuns) and complemented by the 16mm analog film work of Charles-AndrÃ© Coderre, JIMH continues to expand the horizons of its profound conceptual and aesthetic engagement with Arabic/Middle-Eastern traditions. Side One realizes a long-held dream to record a modern orchestral version of the popular Egyptian classic "Ya Garat Al Wadi" by the legendary composer Mohammad Abdel Wahab - with celebrated MontrÃ©al-Cairo composer Sam Shalabi (Land Of Kush) as arranger and musical director for the 15-piece recording session held in Beirut. Side Two comprises four tracks of non-ensemble solo material by Moumneh which push JIMH's rupture and recomposition of tradition further into avant-garde territory - melismatic singing, buzuk and electronics take the lead on a suite of emotive and evocative songs, including the percussive loop-driven instrumental "Bein Ithnein" and the stunningly unsettling processed vocal track "Thahab, Mish Roujou', Thahab". Daqa'iq Tudaiq is a masterful, mesmerizing artistic statement that confirms Jerusalem In My Heart as one of the most engaged and forward-looking avant-Arabic projects at work in contemporary music today.
From a secluded outpost on Nova Scotia's mystical South Shore, junked-analogue duo JOYFULTALK conjure micro-climate trance music. The brainchild of instrument builder and alchemist Jay Crocker, joined by multi-instrumentalist Shawn Dicey (Ox, Lab Coast), JOYFULTALK offers up instrumental compositions that flow like wordless rivers and glitching fields of electric grass, through a bric-a-brac vocabulary of handmade electronics. Their music channels a sonic regionalism influenced by craggy treelines and babbling brooks, with gnarled jamscapes rendering natural spaces in a hazy parallel universe, navigating the astral plane by way of their rugged Maritime environs. The acclaimed 2015 debut album MUUIXX was released on the essential and adventurous Drip Audio. Plurality Trip is their second full-length, and first on Constellation: ï»¿an extension and refinement of the duo's junkshop practices, drawing from contemporary dark trance and techno, while rooted in the outre swamps of krautrock and the refracted webs of noise and dub. ï»¿Å½Heady and skitteringly kinetic, Plurality Trip unfolds like a fever dream shot through with dappled forest light and darkening skies. The result is a superbly idiosyncratic and invigorating take on avant-trance music with few comparisons.
Bush Lady is the only recording ever made by Alanis Obomsawin, a member of the Abenaki First Nations and best known as one of Canada's most accomplished and decorated documentary filmmakers. Less well known is that Obomsawin began her artistic career as a singer-songwriter in the 1960s, part of a broad movement of Indigenous artists from across North America rallying in new assertions of cultural consciousness, political rights, and reckonings with oppressive colonial history. She was invited by Folkways to perform at Town Hall in New York City in the early 1960s and spent that decade primarily identifying as a singer, channeling traditional songs hand-in-hand with modern composition. Twenty years later, amidst her burgeoning film career, Bush Lady was born of sessions sponsored by CBC Radio in 1984. Unsatisfied with these recordings, Obomsawin reclaimed the master tapes, remade the album, and issued it on her own private press in 1988. This unique, profound, magical record has been out of print and gaining cult status ever since. Constellation is honoured to be working with this legendary Canadian cultural icon to issue a newly remastered version of Bush Lady on audiophile 180gram vinyl - and for the first time on CD.
Carla Bozulich enters her fourth decade of uncompromising, unceasing devotion to art-punk ethics and creativity with Quieter, an intensely emotive, diversely experimental and enchantingly cohesive collection of previously orphaned and one-off tracks: a couple left over from the bountifully productive sessions from her brilliant and widely-acclaimed 2014 album Boy; others featuring collaborations with the likes of Marc Ribot, Sarah Lipstate (Noveller), Freddy Ruppert, Shahzad Ismaily and more. Quieter is the result of this ceaselessly nomadic and defiantly DIY art-punk legend having settled back in Los Angeles for a spell, recovering from tour-inflicted ear (and back) damage, sifting through unreleased/unfinished material, and being drawn to working on the quieter stuff (relatively speaking) in her abundant archives. Ranging from the searching, searing opener "Let It Roll" - "he most honest work I've ever done" says Carla - to the chiming, deconstructed lullabies of "Glass House" (composed by Ruppert) and "Sha Sha" (from her mid-2000s project The Night Porter) and the album's sultry closing track "End Of The World"(a duet with Marc Ribot, who penned the song), Quieter is a brilliant addition to Bouzlich's impressively diverse, adventurous, and unwaveringly authentic body of work.
Slowly Paradise is Eric Chenaux's new solo record - a lovely collection of mostly long songs guided by soothing, buttery singing and bent, fried fretwork. It is arguably Chenaux's most assured and essential solo work, expanding upon on the critical acclaim his previous releases Guitar & Voice and Skullsplitter have rightly garnered. Chenaux makes conceptual music that's not meant to sound conceptual. He operates among various 'traditions' but perhaps most broadly, Chenaux's records grapple with the relationship between improvisation and structure in very particular, unique, idiosyncratic ways - and quite without irony or cynicism, through love. Because fundamentally, Chenaux writes love songs, which he sings in a voice honeyed and clear, while his guitar gently bends, frazzes, chortles, diverges and decomposes. He is a singer-songwriter and also a true guitar innovator and improviser. This juxtaposition of his mellow, dexterous crooning and his highly experimental (and equally dexterous) guitar explorations, explodes even unconventional notions of singing and accompaniment, of tonal and timbral interplay between guitar and voice. Even within avant-garde currents of folk and jazz balladry, Eric Chenaux feels like an outlier. Yet his music remains wonderfully warm, generous and fundamentally accessible in spite of its irrefutable iconoclasm. Thanks for listening.
Through four parts each running in the 10-minute range, Stand Above The Streams conjures an evocative, abstracted survey of organic nature perhaps from on high, like a satellite scanning and processing data across diverse and slowly changing landscapes. The album also sits very comfortably alongside the recent resurgence in synth-based soundtrack music (John Carpenter, Tangerine Dream et al) â€“ though as alien as it can sometimes sound, there is an unmistakable human element and underlying warmth that courses through the tensile strength of this music, electrifying it with the viscera of the body.
Esmerine is the modern chamber ensemble co-founded by cellist Rebecca Foon (Saltland, Silver Mt Zion) and percussionist Bruce Cawdron (Godspeed You! Black Emperor). Following their previous album Lost Voices (2016 Juno nominee for Instrumental Album and winner for Album Packaging), Esmerine embarked on a soundtrack commission for an NFB documentary about independent journalism in the Middle East. Those sessions kept rolling throughout 2016-2017, informed by anxiety over the reactionary, regressive, seemingly irresolvable disharmony of human oppression/domination and our ever-accelerating degradation/denial of nature. Mechanics Of Dominion is Esmerine's most dynamic and narratively-informed work, tracing an arc through Neo-Classical, Minimalist, Modern Contemporary, Folk, Baroque, Jazz and Rock idioms to invoke lamentation, meditation, resolve, resistance and hope. It is a requiem for our intractably complex and suffering planet and a paean to the imperative wisdom of indigenous ethics. Stylistically, the album brings mallet instruments to the fore: marimba, glockenspiel and piano are a prominent through-line on the album's diverse tracks. Multi-instrumentalist Brian Sanderson's stately melodic lines on horns and acoustic strings also provide formidable elements in the ceremonious lyricism and keening vitality of this song cycle. MontrÃ©al visual artist Jean-Sebastien Denis provides brilliant abstract compositions for the album's deluxe artwork and packaging.
One of 2016's strangest, most hypnotic and charming albums of experimental synth-electronic music was volume 1 from Off World, about which Boomkat said "a stellar new project headed by Sandro Perri, one of the most singular producers in contemporary music; featuring some of the most inventive, spellbinding work in his catalogue. One of the most original and satisfying albums we've heard this year - can't wait to see what the next installments bring." This is the next installment, fittingly titled 2. Perri has been drip-feeding Constellation bundles of tracks culled from a fascinating bounty of private and previously unreleased tracks that has been accumulating for some time - a tickle trunk of enchantingly left-of-leftfield collaborative recordings rich in deconstructed melody and rhythm, pointillist and aleatory composition techniques, primarily employing a wide array of vintage synths and drum machines. Co-conspirators include producers Lorenz Peter (Processor), Drew Brown (Lower Dens, Beck) and Susumu Mukai (Zongamin), and instrumentalists Craig Dunsmuir (Glissandro 70, Kanada 70) and Eric Chenaux, among others. Off World is alien electronics played humanly, resulting in genuinely exploratory and peculiarly sui generis electronic music that sounds like it could have issued from any time in the past 40-50 years.
this long-playing record, a thing we made in the midst of communal mess, raising dogs and children. eyes up and filled with dreadful joy - we aimed for wrong notes that explode, a quiet muttering amplified heavenward. we recorded it all in a burning motorboat.
1. UNDOING A LUCIFERIAN TOWERS - look at that fucking skyline! big lazy money writ in dull marble obelisks! imagine all those buildings much later on, hollowed out and stripped bare of wires and glass, listen - the wind is whistling through all 3,000 of its burning window-holes!
2. BOSSES HANG - labor, alienated from the wealth it creates, so that holy cow, most of us live precariously! kicking at it, but barely hanging on! also - the proud illuminations of our shortened lives! also - more of us than them!
3. FAM / FAMINE - how they kill us = absentee landlord, burning high-rise. the loud panics of child-policemen and their exploding trigger-hands. neglect, cancer maps, drone strike, famine.
4. ANTHEM FOR NO STATE - kanada, emptied of its minerals and dirty oil. emptied of its trees and water. a crippled thing, drowning in a puddle, covered in ants. the ocean doesn't give a shit because it knows it's dying too.
much love to all the other lost and wondering ones,xoxoxox god's pee / montrÃ©al / 2017
Do Make Say Think has been widely celebrated as one of the preeminent instrumental rock bands of the 90s-00s. Stubborn Persistent Illusions is the group's first album in eight years - and a brilliant addition to one of the most consistently inventive and critically praised discographies in the 'post-rock' canon. The band has been acclaimed as "the supernova in Constellation's stellar network...arguably the finest back catalogue of any currently operating instrumental rock band" (Drowned In Sound), creating "some of the most honest, unpretentious, group-oriented rock of their time" (Popmatters). Among the band's strengths is an ineffable naturalism that avoids anything too woolly, proggy, purist or clichÃ©d, while remaining a fundamentally guitar-driven group whose ornate four-and six-string interplay uniquely balances rockism, pastoralism, and electronic-influenced post-production. Stubborn Persistent Illusions is at once familiar and as fresh as anything DMST has committed to tape; produced and mixed as always by the band itself - a continuing affirmation of the group's DIY ethos and their singular self-production acumen and aesthetic. Do Make Say Think enter their third decade with a new album that reaffirms their promise of genuinely expressive, narrative and restorative instrumental rock music - an one that will surely rank among their best.
Jessica Moss is known best as the violinist, co-composer, and backing vocalist with the acclaimed chamber-punk band Thee Silver Mt. Zion Memorial Orchestra (SMZ) and the avant-klezmer group Black Ox Orkestar. As fans of these projects will know, Moss has developed a distinctive and impressive approach to violin that combines a natural technical fluidity, a recombinant command of folk, classical and modern idioms, and an adventurous exploration of signal-bending and analog effects that uniquely expand the spectrum of the violin as sound source. Her solo work is deeply rooted in live performance, where she builds up and breaks down stunning longform compositions in real time with an array of pedals - including octave/harmonizers and samplers/loopers. To hear all of this rallied on her debut full-length solo release is intensely rewarding: comprised of two side-length multi-movement compositions, Pools Of Light unfolds at a stately, inexorable pace, combining sound-art and signal-processed timbres, extended melodic and contrapuntal lines, and the periodic deployment of stark, minimalist vocals. Pools Of Light is elegiac durational music at the intersection of neo-classicism, soundtrack, electronic, art-punk and avant-folk - a decidedly organic, non-academic, profoundly searching and emotive work, guided by Moss’s liner note mantra: "FEELING LOVE IN A MELTING WORLD".
Joni Void is the newly minted pseudonym of producer Jean Cousin - known until now in online music communities as the prolific Johnny Ripper. Moving to MontrÃ©al in 2012 from his native France, Cousin plunged into the city's fertile DIY/loft scene and rapidly evolved from cloistered bedroom/virtual persona to highly engaged organizer and multi-media live performer. An increasing obsession with micro-sampling, aleatory composition and history of cinema - alongside an increasingly active practice of remixing and beat-making - has seen Cousin's music flourish in fascinating ways. His personal hero Delia Derbyshire (BBC Radiophonic Workshop) has cemented his commitment to making musique concrÃ¨te avant-pop soundscaping. On Selfless, Joni Void constructs tracks entirely from found sources and aims not to ‘play’ anything at all - while celebrating intimate community and inter-subjectivity through solicitation of private voice recordings from various musician and spoken word friends. The album is an exploration of catharsis and the escape from entrapments of subjectivity and solipsism, chock full of stand-out tracks that work in on their own but also make for a wonderfully complex, coherent and compelling album of structured sampledelica, balancing a freeform spirit with the conceptual, emotive and stylistic specificity of individual songcraft, to glorious effect.
The second album by Saltland, the solo project of veteran MontrÃ©al cellist and composer Rebecca Foon (Esmerine, Thee Silver Mt Zion, Set Fire To Flames). With A Common Truth, Foon presents a new song cycle that takes climate change as its theme (Foon is co-founder of Pathway to Paris, among other organizing and activist roles in the decarbonization movement) and features her cello as the primary source for all sounds on the record. The one notable exception: Warren Ellis (Nick Cave, The Dirty Three) is the sole invited guest player, contributing his inimitable violin (and pump organ) to the album's four instrumental tracks. A Common Truth is an album of gorgeous integrity, restraint, and meditative intensity that alternates between wordless instrumentals and lyric-driven pieces, balancing austere, organic intimacy and lush, multi-layered expansiveness. The naturalistic rock production of Jace Lasek (The Besnard Lakes) anchors Saltland's juxtaposition of dry and processed strings, with Foon's voice very much within the mix but never veiled or concealed; a voice described as "an instrument of somnolent, gossamer allure which floats gracefully amid the eddying, amniotic music" (Mojo). Electronic music strategies, via signal processing and re-sampling, are deployed minimally and judiciously - and all the more powerfully as such.
Those Who Walk Away is the new project of Winnipeg-based composer Matthew Patton, best known for his widely acclaimed musical score (and Emmy Award-winning collaboration) Speaking In Tongues with the choreographer Paul Taylor.
The Infected Mass is a haunted and profoundly emotive requiem of minimalist composition that combines ghostly strings and choral voices with musique concrÃ¨te; melodic passages rise and fall amidst rumbling and sibilant drones sourced from humming and whispering voices and the sound of human blood flow, punctuated by cockpit voice recordings of airplanes in distress. Patton obsessively sculpts the recordings with erasure techniques, seeking liminal and transcendent horizons of sonic materiality through absence, subtraction, silence and collapsing structure.
Patton explains: "There is something very genuine and at the same time very wrong in what I am doing. But this work is disturbingly personal for me. The music is filled with ghosts and artifacts I couldn't erase, a pathology which infects everything, of decayed memories haunted by the ghost of my brother, who was killed in a plane crash."
The Infected Mass is a powerful work of avant-garde sacral music, executed with elegiac beauty and restraint. Co-produced by Paul Corley (Ben Frost, Oneohtrix Point Never).
Psychedelic rock, krautrock, desert rock, punk rock, noise rock, afrobeat, experimental pop, post-rock, electronic; all are touchstones for Avec le soleil sortant de sa bouche. Their multi-movement durational music arguably combines trance rock and audio collage above all - a diced and spliced approach to longform multi-movement groove music played by a stripped down quartet of two guitars, bass and drums, synched to pre-recorded electronics and musique concrÃ¨te. The band's unique restlessness and inventiveness seduces with shifts, turns and dovetails, consistently destabilizing its own inexorable musical logic in highly satisfying fashion. Avec le soleil sortant de sa bouche deploys a panoply of buoyant musical ideas, subtly sumptuous sonic treatments, and joyous stylistic nods - while remaining fundamentally devoted to working the groove from a kaleidoscope of angles. Their sound always seems to be escaping overt homage or retro tendencies; neither freighted with reverence nor weightless with irreverence, the music of Avec le soleil routes and uproots itself along its own refreshingly untrodden path. Pas pire pop, I Love You So Much is post-modern psychedelic trance-pop that sounds like no other.
RIYL: Can, Talking Heads ('80-'83), This Heat, Neu!, Stereolab, Do Make Say Think, Animal Collective, Tinariwen, Black Dice, Battles, Fly Pan Am