Structure Moderne – Structure Moderne

From Paris the city of romance, comes French outfit Structure Moderne, whose membership comprises of Simon Farissier - Guitar/Vocals, Gil Charvet – Drums/Vocals/Percussions/Theremin/Bass, Elona Prime – Bass/Vocals, Alexis Fardel – Trumpet, as well as guest Vocalist Florian Friedrich (on Der Wunder Wiele).

I appreciate music from the more avant-garde end of the spectrum (even if I don't always fully understand it), such as Ornette Coleman, Diamanda Galas, Lustmord, Boredoms and other such harbingers of the weird and wonderful. This S/T release is the band's first and sees them referencing some of literature's heavy hitters including D.H. Lawrence, Emily Dickinson, Shakespeare etc. This, coupled with the promised musically adventurous approach makes me intrigued for what lies ahead.

'GSTQ' or God Save The Queen features Vocals that recall John Lydon and which (intentionally, or not?) shares its name with The Sex Pistols track of the same name. As a Brit, I've never been a fan of the national anthem, not out of any kind of anti-royalist sentiments but because I always found it a depressingly embarrassing dirge. Its good therefore to hear a more inventive 'reimagining' of it. Coupled with the cool Miles Davis style Trumpet flourishes, Dub Bass work and playful Electronica, its a track which wouldn't be out of place on any of Jah Wobble's post PIL records. A solid start. 'Badlands' employs more of a Shoegaze/heavy Psych approach, albeit one that isn't saturated in reverb, distortion or noise, not that there's anything wrong with these things of course. There's a little Hawkwind in there, or even solo Nik Turner (RIP), but thankfully sans rambling Michael Moorcock interruptions. Its hypnotic and dare I say some of the track's purported themes, climate change, armed conflicts, echo Killing Joke's own apocalyptic visions. Despite its near eight minute running time you never feel yourself getting distracted. 'Wild Nights' is a scratchy Post-Punk anthem in a manner reminiscent of Magazine, in particular John McGeogh's wondrous Guitar playing and Howard Devoto's oddball, alien not of this world Vocals. David Bowie's late 70's Berlin era also makes an appearance affording for a truly fantastic number and a personal favourite.

'Kamalasana' comes from Sanskrit and according to the promotional notes refers to a posture of meditation associated with the lotus, symbol of awakening and transformation. There's a contemplative approach to the track with the refrain of “namaste” repeated at various points, suggestive of a spiritual component being at work. Bands who employ an Indo influenced sound can sometimes descend dangerously into New Age hippy noodling, thankfully Structure Moderne traverse effortlessly past this. Not totally my cup of tea then but not half bad either. 'The Rush' gets things back on track with some brilliantly tense playing and while the nods to Post-Punk are again noticeable, there's a Goth-Rock feel present too. Curiously Reggae tinged Vocals are employed at moments, which should make the whole thing sound like a car crash but which instead blends surprisingly well. I was also reminded of early Monster Magnet and records such as Tab what with the layers of deliciously repetitive drones on offer. Another winner. 'Der Wunder Viele' (A Lot of Miracles) with its harsher German sung Vocals and Industrial inclinations is not a million miles away from bands such as Einstürzende Neubauten. Meanwhile the motorik beats and rampant experimentation will have Neu! fans beaming from ear to ear. Whatever your interpretation, its a great track in any case with which to conclude the album.

With the exception of possibly one track this is an exceptionally well-written album packed full of ideas and ambition. Highly recommended.