Starting off the
tracks quietly, “Après Le Vin” and “La Dispute” conjure up ambling melodies on
Brian Eno’s late-1970s albums. “Philadelphie Story” adds the voice of chanteuse
SoKo to dramatize the emotional surge of this ballad. It sounds as if from a
French New Wave movie over half a century ago.
“L'Enfer” adds a mid-tempo set of
drums, bass and keyboards. Yet it is no longer rock. Over six minutes, it
descends by simple progressions into its titular subterranean atmosphere, gloom
and not fire. Many songs repeat motifs. The listener can create his or her own
mental visions of what these songs suggest.
No credits have been provided in this
review disc. It appears as have recent BJM recordings on Newcombe’s own A
Records label. The publicity material mentions Newcombe “on behalf of” his
band. Recorded at his studio in his adapted home of Berlin, the understated quality
of many tracks persists. Newcombe has departed so completely from his previous
style that issuing this largely solo recording under the BJM moniker may
confuse loyal fans. However, the albums he has issued under the band’s name
since his relocation have anticipated the introspection and mature shifts of
this latest release.
Asia Argento is best known as an
actress in her father Dario’s provocative Italian films. She sings on “Le Sacre
du Printemps” but her voice is mixed down. She suggests more than shouts her
lyrics in French. At six minutes, this is over double the average length of
nearly all the other tracks, many of which pass by rapidly. Like much of this
brief album, it is a respectable tune, but no song here can be called a
standout.
Later tracks help recover the emotion.
Returning to the Eno feel, “Le Souvenir” employs simple keyboards to create a
brooding sensation. “Les Trois Cloches” totals a few chimes over twenty
seconds. The best song comes late on. Lonely percussion over strings and
electronics evoke well “L'Ennui.”
“Au Sommet” closes Musique de
la film imaginé smoothly with yet another self-effacing Eno-esque arrangement.
The attention Newcombe devotes to his craft, and his predecessors, merits
respect. His band may dwindle to him alone, but he may, as this album attests,
find a future career in film-scoring. (Spectrum Culture, edited in a different form. 6/25/15. As above on Amazon US 6-28-15.)
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