is a new band coming from Paris, France. Their debut 6 track mini-lp gives the
image of a two-faced group, depending on which voice calls the tune. The music
is clearly emo but it is much closer to bands such as June of 44 than Fugazi
because of the occasional jazz/post-rock aspect (‘Beluga’) and the pervasive
noisy dimension. In fact, Kimmo’s music seems to lie within the framework of
French emo: Prohibition, Heliogabale, Purr, Playdoh are as many bands definitely
worth listening to that our non-french readers should discover.
the girl (Natasha) sings, it adds a noise-pop aspect to these emo songs, her
voice being often close to Sleater Kinney. It regularly oscillates between
uneasiness and anger, often being on the verge of collapsing, which echoes the
music’s underlying tension. The beginning of Conversation for Conversation
is strangely unrepresentative of its atmosphere but it may surely please many
listeners. Natasha’s voice is incredibly close to Bjork’s in ‘Impilho’.
Let’s specify that it is not a shortcut comparison, it appears to me as a
blatant fact and this is not a flattering device since I don’t like Bjork.
Fortunately, as soon as the guitars and bass appear and back up martial drums,
you know the song is not a pale epigone’s work: her voice then becomes harsh
and closer to Sleater Kinney than Bjork. When she shouts in a raucous and fierce
voice (‘Manta’, ‘Land of nod’), it reminds one of Babes in Toyland and
especially Heliogabale. It can let us hope that she might sing à la Daisy
Chainsaw in the future.
in which Matthieu’s voice is to the fore are much more oriented towards the
french emocore scene, which after all seems normal insofar as the guy used to
play in the emo band Pregnant. His voice oscillates between Thomas Mery’s
fragility (Purr) when he delicately utters his lyrics and Prohibition’s singer
when he seems to have stepped back from the microphone in order to sharply yell
his depressing rage. ‘The day they kill richy’ starts in a Fugazi fashion
that brilliantly gives way to this French emo touch. In ‘tibet’, Natasha
joins in to temporarily take over for a heady song which sticks to your head,
definitely the best one on the album, the one you play once again when the cd
is one of these new French bands which proves that France has something else to
offer than standardized nu-metal, second rate dance floor electro-pop and awful
/june 1st 2003/