After “dissolving” Asphodèle after just one album it’s as though vocalist Spellbound had something to prove. Quickly forming Jours Pâles he has gone into full creative mode releasing three albums in just over three years and the latest is another slice of fast-flowing Gallic glory. Hopefully there is no hint in the song and album title that he has found himself “in a sea of disunity” and if so he is remaining “taciturn” about things and the future of the group. Things seem consolidated both in the studio and live at the moment and the quality of the material here speaks for itself. Those with a greater grasp of French may well be able to read between the lines better and as for the speaking it is more a case of hollering as that is what Spellbound does best, literally shouting his verse from the very rooftops and enriching the blackened surging music with a vociferous and haranguing clamour.
Highly melodic there’s plenty of galloping surges to take in alongside the meandering guitar-work of dual players Alexis and Steph who add a sparkling diorama alongside Ben’s forceful drum battery. Opener Taciturne actually goes a bit haywire with everything flying at you before a shimmering dissolve. ‘La reine de mes peines (Des wagons de détresses)’ is a right royal battle with both depressive tendencies from piano keyboard lines as well as neo-classical swaggers from the guitar licks. Whatever ‘The queen of my sorrows (Wagons of distress)’ is about narratively there is plenty of drama found within as it moves from belting things out one second to acoustic parts and gently swaying rhythm and vengeful blood-thirsty yells. It’s mysteries and both deep and engagingly complex with plenty to take in for the listener. ‘Noire impériale’ is a punishing number that stomps angrily away shrieking and bruising at outset and then turning sombre by contrast. I guess it may well be schizophrenic to some but the next glorious and uplifting part is never far away.
Les lueurs d’autoroutes takes us on a night-time drive and is one of a couple of tracks featuring Ony Aiah alongside Spellbound. Searches of her draw a complete blank and add to the mystery but there’s a bit of Liz Fraser about her range and along with the post black move into Indie guitar jangle into the track this should resonate with those of us who were enchanted by the likes of The Cocteau Twins and This Mortal Coil. Mind you the stabbing savagery that follows on ‘Réseaux venins’ is as suggested completely venomous, despite what sounds like an underlying saxophone. Conflicting emotions of dark despondency and anger linger like love itself over ‘Limérence’ suggesting a turbulent affair of the heart before some thick bass twangs lead into the title track. Complete with spoken parts, soaring vocals by Ony again and mesmerising musicianship everything has built to a peak before the final Nocturnal track complete with lashing, thrashing guitar, perhaps ties all the loose ends together?
This album has admittedly taken more listens than its predecessors to get to grips with and I reckon I’ve only touched the surface. There seems to be a story going on here and in my mind its every bit as harrowing as an extreme French relationship story unveiled over a film and starring the likes of Béatrice Dalle and Vincent Cassel. Equally as shocking as rewarding and something that once confronted will be hard to shift.
(8/10 Pete Woods)
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