Animal Triste EP

by Postcoïtum



Postcoïtum ne simule pas la langueur, l’apathie. Leur esthétique se fonde sur une mise en tension entre d’une part un imaginaire électronique et une batterie qui rabat l’ensemble sur l’ici et maintenant de l’exécution. Souvent tout part du laptop duquel émerge un bestiaire sonore qui respire, geint, digère. On peut y flairer d’exotiques inspirations comme la sèche et surnaturelle atmosphère du théâtre japonais (Kabuki), ou la flamboyance du santoor indou (Rorschach). La batterie, le plus souvent dans un swing martial, travaille à la fois contre et avec cet imaginaire. Se découvrant un point d’équilibre, l’ensemble se dépasse dans une résonnance globale, un ostinato à la texture tellurique qui affirme une glaciale emphase (Bön).

Les rapports peuvent aussi s’inverser. Avec Kabuki, le laptop impose un cadastre complexe et obsédant. Les percussions s’appliquent à habiter les vides comme on tente de résoudre un problème géométrique.

« Unearthly sounds. A creeping sense of discomfort and impending doom. A penchant for the theatrical. That crawling feeling you get when somebody is looking over your shoulder without your knowledge…

From those descriptions, it sounds like you’re listening to Animal Triste by Postcoïtum, a Pay-What-You-Want release from Daath Label.

Even the cover-art – a brightly lit image of what is presumably the band, surrounded by stuffed animals and animal skulls, standing in a manor house with their instruments, wearing animal masks. One of them is wearing a dress – recalls Stanley Kuberick’s film version of The Shining with its bizarre masquerade of imagery.
The music follows suit, taking disparate elements of jazz, rock and world music and throwing them hard at the wall to see what sticks.

What follows then is a series of interesting soundscapes for you to wander, confused and alone.
Opener Bön creeps slowly into your mind, beginning so quietly you would hardly know it’s there before weird animalistic cries sound off in the distance and glitchy electronic burbles lightly tiptoe in. Bön creates a forest floor of sound, from which trees of rhythm sprout and grow into a vast plodding animal.

Rorschach is slightly more frantic; a high-pitched buzzing recalling a distant swarm of insects while lightly plucked exotic string instruments are carried by a windswept swirl of drums. When the bass line kicks in, everything sounds perfectly formed and tight. The real triumph of Postcoïtum is their ability to pluck the different sounds from the ether and eventually order them to form something intriguing to listen to.

Centrepiece track, Omne Animal Triste Est is more of the same but featuring a greater focus on electronic instruments with synthesised drum machines and keyboards thrown into Postcoïtum’s musical blender. Like the majority of Postcoïtum’s work, Omne Animal Triste sounds distantly threatening, but slowly closing in for the kill.

Kabuki, like its theatrical namesake is prim, proper and controlled. Plucked strings from the old Japanese theatre are here replaced with short stabs of electronic sound. Droning vocal intonations punctuate the piece before it builds into a thumping slab of minimalist industrial electronica.

Closing track Le Soupeur is the loud, conclusion that Animal Triste needed after 4 tracks of creeping tension. The album is brought to a satisfying close by a slowly expanding collection of riffs played by different instruments and triumphant drums. »

Alex Charteris


released April 1, 2012

Damien Ravnich, batterie, pad
Bertrand Wolff, électronique

Enregistré au studio La Maison Rouge par Sylvain Quatreville
Mixage/ Sébastien Linsolas

Booking: (@)


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