Et Sans latest release (and first) on Canadian label Alien 8 is analbum that finds the band pushing themselves in familiar yetchallenging directions. The four tracks here burst at the seams withideas and inventiveness, all while managing to remain uniquelyaccessible to those unfamiliar with their influences.
Though the Montreal quintet features members of such well establishedgroups like Le Fly Pan Am, Shalabi Effect, and A Silver Mt. Zion, thisis hardly a stepping stone for the band. Instead of falling backon those groups' varied approaches, Et Sans mines the realm of the late1960s and 1970s, touching on Suicide’s keyboard vamps, Kraut Rock,psychedelia, and baroque pop. The first track, “Lachose Nue Nue Nue Oul'Amoncellement Spectral du Mac,” begins with slowly percolating beats,with distant murmuring voices and washes of ambient static. The 18 plusminute centerpiece “Une Bouche Végétale, Des Creatures Soufflent desSécrétions du Tout Fout l” follows and immediately dispels the eeriecalm established by the last song. Over an unrelenting Farfisa,manipulated vocals, shrieking electronics, and pounding drum, the songreaches its noisy zenith until slowly fading out to just a groaningkeyboard and a drum and handclap providing the rhythm at about theseven minute mark. As the track progresses, it slowly begins to pick upthe pace, until it has regained the tempo it utilized in its firstsection. Whereas earlier the vocals were hidden behind a gauze ofelectronic manipulation, they are more prominent here, with the leadvoice intoning mantra like verses while backing vocals provide cheerful“bah, bah, bah’s.” The song in many ways resembles early New Yorkkeyboard noise mongers Suicide, but also draws comparison to Stereolabin its extended length, and sublime pop frenzy. “Made Moiselle Ogive,Un Tremblement Osseux Dans Lederriére” manages to match the intensityof the previous song through the usage of one percussive piano chordwhich provides the rhythm for much of the song. The delicate sense ofurgency is increased by more classical instrumentation, such as a harp,backing strings and hushed vocals, all of which infuses the song with abeautiful haunting quality. The final track is perhaps Et Sans mostaccessible. “Les Courbes Sanglantes Entendues de l'Organe Trop UraímentHalluciné” is built on Felix Morel’s capable drumming, which drives thesong over its 11 minute course through a panoply of keyboard, breathyvocals, and squirming electronics. While some may balk at their lengthand unwavering rhythm, they are really missing the point. Par NoussssTouss les Trous de Vos Crânes! is an album that manages to skillfullybalance Et Sans predilection for the experimental and the accessible,making for a challenging and infinitely rewarding listen.
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