Zero Ain't That Mayhemá?

The Lyon band's recent collaborations with Virginie Despentes and Béatrice Dalle put them in the spotlight they deserved but this is just
the latest chapter of a story started when they were young more than 25 years ago by Eric Aldéa and the drummer Franck Laurino. In
the Deity Guns (89-93) and Bästard (93-98) and in a handful of albums (including productions by Lee Ranaldo of Sonic Youth or Andy
Briant de Tortoise*), they were simply the pioneers of post-rock in France. And yet the chapter that arrives today almost resembles the
"debut album" of a young band shot through with a fiery and insatiable desire to take on the world. A complex, distressing and oppressive
world which is nonetheless rich in its very confusion. "Isn't it all a bit of a mess?" seems to be suggested by the title of this new album "Is
not That Mayhem" and its striking post-apocalyptic graphic art. There are no limits and who cares what tools, sounds and instruments are
used? There is trombone on the insistent instrumental We Blew It and even a kind of liturgical organ at the end of Five vs Six. The whole
album catches hold of you with its hypnotic layering (Deranged, Myself as a Fool), a chorus in unstable equilibrium (Fake From The Start),
an unstoppable rhythm (Marathon Woman walking force), a singular tone of voice (the almost blues-like Alligator Wine borrowed from
Screamin' Jay Hawkins), a guitar riff as simple as a tree that hides the forest of variations, advancing from behind to play with neurons and
sensations (Recife, 1974 )