AMESOEURS - "Amesoeurs" - REVIEWS
- Thread starter Emi
- Start date
http://metalmessage.de/Reviews3/amesoeurs.htm
rate: 9/10 !!!
AMESOEURS
Amesoeurs
(Code666) 9/10
Zwischen den tiefgründig melancholischen Künsten von Bands wie Alcest und Lifelover bewegen sich die entrückten Lieder dieser Franzosen. Besonders gefühlvoller und lyrisch betont intellektuell anmutender Black Metal stellt dabei das Fundament dar, darauf aufbauend versehen mit prägnanten Anleihen bei einer Vielzahl von völlig anders gearteten Stilistiken ist die Spezialität der Truppe. Manchen Hörern wird dabei besonders eine gewisse Affinität zu den verträumten Momenten von Alcest auffallen kein Wunder, denn Alcest-Hauptmann und Multiinstrumentalist Neige persönlich mischt hier auch bei Amesoeurs mit. Das aktuelle Debütalbum, schlicht Amesoeurs betitelt, bietet elf herrlich ungewöhnliche Kompositionen dar, eine interessanter und vielfältiger gestaltet als die andere. Gegründet wurde die Band 2004 von Meister Neige und Sänger Audrey Sylvain, um überschüssiges Kreativpotenzial der Beteiligten in neue Lieder umzuleiten. Lieder, die Neige für Alcest nicht verwenden konnte. Die Klänge von Amesoeurs nun sind da schon viel eher in der avantgardistischen Ecke anzusiedeln, denn das Sammelsurium an hier zu vernehmenden Gefühlsebenen und Stimmvariablen ist eine mutige musikalische Individualtat. Nicht immer dezent, sondern stellenweise gar deutlich umgesetzte Querverweise an legendäre Post Punk-Bekanntheiten sowie New Wave-Legenden wie beispielsweise Joy Division, frühe The Cure oder auch düstere Depeche Mode verwoben Amesoeurs in ihre musikalische Schöpfung, so entstand eine der hörenswertesten und intensivsten Platten der letzten Jahre aus diesem Sektor an sich. Textlich gehts um allerlei heutigen urbanen Wahnsinn und die damit verbundenen desolaten Empfindungen der in riesige Großstädte gepferchten menschlichen Kreaturen. Das willkommen nonkonforme Quartett schuf wahrlich Großes.
© Markus Eck
(13.03.2009)
rate: 9/10 !!!
AMESOEURS
Amesoeurs
(Code666) 9/10
Zwischen den tiefgründig melancholischen Künsten von Bands wie Alcest und Lifelover bewegen sich die entrückten Lieder dieser Franzosen. Besonders gefühlvoller und lyrisch betont intellektuell anmutender Black Metal stellt dabei das Fundament dar, darauf aufbauend versehen mit prägnanten Anleihen bei einer Vielzahl von völlig anders gearteten Stilistiken ist die Spezialität der Truppe. Manchen Hörern wird dabei besonders eine gewisse Affinität zu den verträumten Momenten von Alcest auffallen kein Wunder, denn Alcest-Hauptmann und Multiinstrumentalist Neige persönlich mischt hier auch bei Amesoeurs mit. Das aktuelle Debütalbum, schlicht Amesoeurs betitelt, bietet elf herrlich ungewöhnliche Kompositionen dar, eine interessanter und vielfältiger gestaltet als die andere. Gegründet wurde die Band 2004 von Meister Neige und Sänger Audrey Sylvain, um überschüssiges Kreativpotenzial der Beteiligten in neue Lieder umzuleiten. Lieder, die Neige für Alcest nicht verwenden konnte. Die Klänge von Amesoeurs nun sind da schon viel eher in der avantgardistischen Ecke anzusiedeln, denn das Sammelsurium an hier zu vernehmenden Gefühlsebenen und Stimmvariablen ist eine mutige musikalische Individualtat. Nicht immer dezent, sondern stellenweise gar deutlich umgesetzte Querverweise an legendäre Post Punk-Bekanntheiten sowie New Wave-Legenden wie beispielsweise Joy Division, frühe The Cure oder auch düstere Depeche Mode verwoben Amesoeurs in ihre musikalische Schöpfung, so entstand eine der hörenswertesten und intensivsten Platten der letzten Jahre aus diesem Sektor an sich. Textlich gehts um allerlei heutigen urbanen Wahnsinn und die damit verbundenen desolaten Empfindungen der in riesige Großstädte gepferchten menschlichen Kreaturen. Das willkommen nonkonforme Quartett schuf wahrlich Großes.
© Markus Eck
(13.03.2009)
http://www.lastfm.fr/user/TedizXBW/journal/2009/03/14/2kdl2s_amesoeurs_-_amesoeurs_review
At times, the purchase of a long-anticipated album makes me overly euphoric, resulting in a short-lived overestimation of the work before I change my mind and view it as just 'good'. However, there's not a single doubt in my mind that the album I found in my mailbox yesterday will suffer from a similar relegation into the 'fairly good' purgatory, for Amesoeurs' self-titled debut album is even better than I had hoped for it to be. The first and last full-length album of the French cult band turns out to be the haunting musical observation of modern civilization it was destined to be according to the musicians involved in the project.
Hailing from Avignon, a city in France famous for its anti-popes during the middle ages, Amesoeurs could be seen as the anti-pope of post-rock and black metal. While having many things in common with both genres, Amesoeurs offers an entirely unique sound that is bound to surprise fans of either genre. Even though the band's only other release was a 3-song EP called Ruines Humaines back in 2006, the anticipation of Amesoeurs' first full-length was significant among metal- and post-rock fans alike. Combining two genres that at first seem to share but a few similarities, Amesoeurs offered a depressing and dim view upon the dark side of the modern age: suffocating, polluted air; dirty junkies and hobos; intimidating buildings and a general lack of individuality in every aspect of society - the usual horrors of 'the big city'. That is not to say Amesoeurs is political band, however. Even though it obviously expressed its revolt for the modern age rather than admiring it, the band portrayed its disgusts through dark poetry, rather than offering possible solutions through some preachy pseudo-political lyrics.
The album continues where the EP left off, conceptually. Although the compositions carry significantly less black metal elements with them on this album, the lyrical core is very much the same, and even executed better, one might say.
Starting out with a haunting instrumental track, the band immediately reveals what it's about: mixing post-rock with black metal elements. The presence of the latter-named element is not very strange, seeing as three of the four members of Amesoeurs are, or have been active in the black metal scene in one way or another. Even though the opening track is an instrumental piece which maintains pretty much the same melody throughout the whole song, the diversity in style is immediately evident, while sounding completely natural nonetheless.
After the impressive introduction, Amesoeurs continues to manifest its diversity through the next couple of tracks. Song such as Heurt and Recueillement have obvious black metal influences, while not drifting away from the post-rock significantly enough to label the mix as inappropiate. Recueillement in particular is a very interesting track, seeing as a poem by the 19th century poet Charles Baudelaire serves as lyric for this song, and while the band leader, Neige, has often used Charles Baudelaire poems for other musical projects (which are often built around an entirely different lyrical and musical concept), Baudelaire's poetry seems just as fitting and natural as it does in Neige's previous efforts to musically portray his work.
Perhaps the most interesting example of the diversity of this album is not the variation in rhythm or melody, but the vocals. While about 70% of the vocals for this album are being done by Audrey Sylvain, Neige occasionally lays down his haunting vocals, which find their roots in the time when he was more pre-occupied with making black metal music, but nonetheless have their own distinct sound, and are way more melodic than say, the vocals of more conventional black metal acts such as Dimmu Borgir and Emperor. Even if Audrey's soothing (but sometimes enraged) voice is nothing like Neige's enchanting screams, the variation, like with the rest of album, appears as natural and isn't disturbing to those who are somewhat used to the unconventional vocal arts of black metal.
From left to right: Audrey Sylvain, Winterhalter, Neige and Fursy Teyssier.
Separated by a piano interlude (called 'Amesoeurs Is Dead' in cypher code, referring to the band's then pending departure), the second half of the album is perhaps even darker than the first. Where the first couple of songs are sad and melancholic, the last few songs are more depressing, furious, and even aggressive. This is not necessarily demonstrated through the song Trouble (Éveils-Infâmes) (which is definitely the most black metallish track of the album) as much as on La Reine Trayeuse in which Audrey Sylvain screams so outragedly that she seems to break her vocal cords. It kind of reminds me of Kurt Cobain, who wasn't a particularly cheery figure himself.
The title track is in a way the most post-rocky song of the album, and the influences from Ian Curtis and Joy Division can clearly be heard, without damaging the originality aspect, by the way. This song, which is certainly one of the album's highlights, is followed by the haunting Au Crépuscule de Nos Rêves. The album's closer, sung by Neige, reminds an awful lot of the first two tracks of the Ruines Humaines EP. Even though the track officially lasts 11 minutes and 16 seconds, the final, dramatic tones fade out after about 5 and a half minutes.
Bar the Laibach-/Rammstein-like industrial noise at the very end of the track, these were probably the last tones we'll ever hear from Amesoeurs, as they had announced to disband after the release of this album due to tensions among some of the members, and conflicting ideas regarding the future of the band. While this is certainly bad news to anyone who enjoys this album, the knowledge of their departure hangs like a black cloud over the entire album, and perhaps unintentionally increases the effect the musicians went for when composing and recording this album.
All in all, Amesoeurs is an album that will not be forgotten by those who know how to appreciate it. While the mix of black metal- and post-rock elements might seem a bit intimidating and strange to those who are not familiar with either one of the genres, the album is certainly an absolute success, as it fulfills every ambition expressed by its creators. It might take numerous listens, the right mood, and perhaps even training to uncover all of Amesoeurs' secrets, but those who are able to lose themselves in its lonely soundscapes will realize that the Avignon quartet has made one of the darkest, yet most beautiful albums of all time. It is on one hand a shame that Amesoeurs has, probably forever, ceased to exist as a band, as I personally feel they could've become a really big band, Yet Amesoeurs does what few other bands have ever succeeded in: leaving us a musical legacy with, in my opinion, not even a single song among it that's not absolutely beautiful. Amesoeurs is dead. Long live Amesoeurs!
At times, the purchase of a long-anticipated album makes me overly euphoric, resulting in a short-lived overestimation of the work before I change my mind and view it as just 'good'. However, there's not a single doubt in my mind that the album I found in my mailbox yesterday will suffer from a similar relegation into the 'fairly good' purgatory, for Amesoeurs' self-titled debut album is even better than I had hoped for it to be. The first and last full-length album of the French cult band turns out to be the haunting musical observation of modern civilization it was destined to be according to the musicians involved in the project.
Hailing from Avignon, a city in France famous for its anti-popes during the middle ages, Amesoeurs could be seen as the anti-pope of post-rock and black metal. While having many things in common with both genres, Amesoeurs offers an entirely unique sound that is bound to surprise fans of either genre. Even though the band's only other release was a 3-song EP called Ruines Humaines back in 2006, the anticipation of Amesoeurs' first full-length was significant among metal- and post-rock fans alike. Combining two genres that at first seem to share but a few similarities, Amesoeurs offered a depressing and dim view upon the dark side of the modern age: suffocating, polluted air; dirty junkies and hobos; intimidating buildings and a general lack of individuality in every aspect of society - the usual horrors of 'the big city'. That is not to say Amesoeurs is political band, however. Even though it obviously expressed its revolt for the modern age rather than admiring it, the band portrayed its disgusts through dark poetry, rather than offering possible solutions through some preachy pseudo-political lyrics.
The album continues where the EP left off, conceptually. Although the compositions carry significantly less black metal elements with them on this album, the lyrical core is very much the same, and even executed better, one might say.
Starting out with a haunting instrumental track, the band immediately reveals what it's about: mixing post-rock with black metal elements. The presence of the latter-named element is not very strange, seeing as three of the four members of Amesoeurs are, or have been active in the black metal scene in one way or another. Even though the opening track is an instrumental piece which maintains pretty much the same melody throughout the whole song, the diversity in style is immediately evident, while sounding completely natural nonetheless.
After the impressive introduction, Amesoeurs continues to manifest its diversity through the next couple of tracks. Song such as Heurt and Recueillement have obvious black metal influences, while not drifting away from the post-rock significantly enough to label the mix as inappropiate. Recueillement in particular is a very interesting track, seeing as a poem by the 19th century poet Charles Baudelaire serves as lyric for this song, and while the band leader, Neige, has often used Charles Baudelaire poems for other musical projects (which are often built around an entirely different lyrical and musical concept), Baudelaire's poetry seems just as fitting and natural as it does in Neige's previous efforts to musically portray his work.
Perhaps the most interesting example of the diversity of this album is not the variation in rhythm or melody, but the vocals. While about 70% of the vocals for this album are being done by Audrey Sylvain, Neige occasionally lays down his haunting vocals, which find their roots in the time when he was more pre-occupied with making black metal music, but nonetheless have their own distinct sound, and are way more melodic than say, the vocals of more conventional black metal acts such as Dimmu Borgir and Emperor. Even if Audrey's soothing (but sometimes enraged) voice is nothing like Neige's enchanting screams, the variation, like with the rest of album, appears as natural and isn't disturbing to those who are somewhat used to the unconventional vocal arts of black metal.
From left to right: Audrey Sylvain, Winterhalter, Neige and Fursy Teyssier.
Separated by a piano interlude (called 'Amesoeurs Is Dead' in cypher code, referring to the band's then pending departure), the second half of the album is perhaps even darker than the first. Where the first couple of songs are sad and melancholic, the last few songs are more depressing, furious, and even aggressive. This is not necessarily demonstrated through the song Trouble (Éveils-Infâmes) (which is definitely the most black metallish track of the album) as much as on La Reine Trayeuse in which Audrey Sylvain screams so outragedly that she seems to break her vocal cords. It kind of reminds me of Kurt Cobain, who wasn't a particularly cheery figure himself.
The title track is in a way the most post-rocky song of the album, and the influences from Ian Curtis and Joy Division can clearly be heard, without damaging the originality aspect, by the way. This song, which is certainly one of the album's highlights, is followed by the haunting Au Crépuscule de Nos Rêves. The album's closer, sung by Neige, reminds an awful lot of the first two tracks of the Ruines Humaines EP. Even though the track officially lasts 11 minutes and 16 seconds, the final, dramatic tones fade out after about 5 and a half minutes.
Bar the Laibach-/Rammstein-like industrial noise at the very end of the track, these were probably the last tones we'll ever hear from Amesoeurs, as they had announced to disband after the release of this album due to tensions among some of the members, and conflicting ideas regarding the future of the band. While this is certainly bad news to anyone who enjoys this album, the knowledge of their departure hangs like a black cloud over the entire album, and perhaps unintentionally increases the effect the musicians went for when composing and recording this album.
All in all, Amesoeurs is an album that will not be forgotten by those who know how to appreciate it. While the mix of black metal- and post-rock elements might seem a bit intimidating and strange to those who are not familiar with either one of the genres, the album is certainly an absolute success, as it fulfills every ambition expressed by its creators. It might take numerous listens, the right mood, and perhaps even training to uncover all of Amesoeurs' secrets, but those who are able to lose themselves in its lonely soundscapes will realize that the Avignon quartet has made one of the darkest, yet most beautiful albums of all time. It is on one hand a shame that Amesoeurs has, probably forever, ceased to exist as a band, as I personally feel they could've become a really big band, Yet Amesoeurs does what few other bands have ever succeeded in: leaving us a musical legacy with, in my opinion, not even a single song among it that's not absolutely beautiful. Amesoeurs is dead. Long live Amesoeurs!
http://www.ultimate-guitar.com/reviews/compact_discs/amesoeurs/amesoeurs/index.html
Released: Mar 10, 2009
Genre: Post-Punk/Black Metal
Label: Code666
Number Of Tracks: 11
The music is still bleak, desperate and bitter; a fitting end to a band like Amesoeurs.
Sound: 9
Lyrics: 9
Impression: 8
Overall rating: 8.7
Users rating: 9.8
Sound: Its a bittersweet thing when an album youve been anticipating for so long arrives with the knowledge that it will be the last. Amesoeurs decided to split up way back in June 2008; initially the breakup was effective immediately, however they overcame their bizarrely publicised inner conflicts to record their first and last full length. Despite never being a particularly secretive band, the mystique surrounding Amesoeurs and their concept has not dwindled in the two and a half years since the widely acclaimed EP Ruines Humaines; the music is still bleak, desperate and bitter.
Despite mastermind Neiges claims that Amesoeurs are a pure post-punk band and that the black metal tracks on Ruines Humaines were only featured as leftover tracks from when he left BM act Mortifera, it is clear that the raw black edge is far from gone, penetrating the sounds post-punk core. Most of the songs centre on the magnificent chemistry between bass and guitar, as well as the compellingly forlorn clean vocals of Audrey Sylvain, but the black scorn of tracks like Trouble (Eveils Infames) provide fantastic food for thought, with the two styles having such contrast in sound yet such symbiosis in mood and atmosphere. // 9
Lyrics and Singing: Its funny that an instrumental track could summarise so aptly the feel of a concept album already explained in words, but opener Gas In Veins absolutely hit's the nail on the head. Almost an opposite to Neiges other main project, the post-bubblegum-ponies-haribo-gaze Alcest, Amesoeurs sends out a message of complete and utter despair over the state of urban life and modern society. Angsty, huh? While that highly abridged description may paint the concept as one done many times in the past, Ive never seen it done with such compassion before. The album is sung in French, so any and all artistic lyrical merit has to be lost to blunt destruction at the hands of Babelfish. However what I can gather tells me that the lyrics are along the lines of those from Ruines Humaines; that is, they are excellent.
Vocal duties are split 70:30 between Audrey Sylvain and Neige, with the latters bone-dissolving shrieks only really finding their place on a few occasions. The clean female vocals, however, are frequent and yet never misplaced. Sylvains performance on Faiblesse Des Sens was one of the main appeals of Ruines Humaines, and while she has stepped up her game in some regards (that famous scream being overshadowed by parts of Heurt and La Reine Trayeuse that one can only presume are audio reconstructions of some kind of bestial orgy), not every performance comes across as inspired, or even connected to the music. Still, it is not of detriment to the record as a whole. // 9
Impression: The piano interlude I XIII V XIX XV V XXI XVIII XIX IX XIX IV V I IV code for aI suppose says it all. The distant melancholia and it's relation to the name can only suggest that the demise of the band is far from ideal for anyone involved. When a release like this becomes so hyped with only a 15 minute EP as a reference point, it is going to be difficult to please everyone. Amesoeurs is not a consistent album; the occasional patchiness of La Reine Trayeuse and acan only sit alongside the perfection of tracks like aand Les Ruches Malades. Clearly though the good outweighs the bad, making Amesoeurs at least an acceptable, if not satisfying end to a band who had such great potential. //
- Duncan Geddes aka duncang (c) 2009
Released: Mar 10, 2009
Genre: Post-Punk/Black Metal
Label: Code666
Number Of Tracks: 11
The music is still bleak, desperate and bitter; a fitting end to a band like Amesoeurs.
Sound: 9
Lyrics: 9
Impression: 8
Overall rating: 8.7
Users rating: 9.8
Sound: Its a bittersweet thing when an album youve been anticipating for so long arrives with the knowledge that it will be the last. Amesoeurs decided to split up way back in June 2008; initially the breakup was effective immediately, however they overcame their bizarrely publicised inner conflicts to record their first and last full length. Despite never being a particularly secretive band, the mystique surrounding Amesoeurs and their concept has not dwindled in the two and a half years since the widely acclaimed EP Ruines Humaines; the music is still bleak, desperate and bitter.
Despite mastermind Neiges claims that Amesoeurs are a pure post-punk band and that the black metal tracks on Ruines Humaines were only featured as leftover tracks from when he left BM act Mortifera, it is clear that the raw black edge is far from gone, penetrating the sounds post-punk core. Most of the songs centre on the magnificent chemistry between bass and guitar, as well as the compellingly forlorn clean vocals of Audrey Sylvain, but the black scorn of tracks like Trouble (Eveils Infames) provide fantastic food for thought, with the two styles having such contrast in sound yet such symbiosis in mood and atmosphere. // 9
Lyrics and Singing: Its funny that an instrumental track could summarise so aptly the feel of a concept album already explained in words, but opener Gas In Veins absolutely hit's the nail on the head. Almost an opposite to Neiges other main project, the post-bubblegum-ponies-haribo-gaze Alcest, Amesoeurs sends out a message of complete and utter despair over the state of urban life and modern society. Angsty, huh? While that highly abridged description may paint the concept as one done many times in the past, Ive never seen it done with such compassion before. The album is sung in French, so any and all artistic lyrical merit has to be lost to blunt destruction at the hands of Babelfish. However what I can gather tells me that the lyrics are along the lines of those from Ruines Humaines; that is, they are excellent.
Vocal duties are split 70:30 between Audrey Sylvain and Neige, with the latters bone-dissolving shrieks only really finding their place on a few occasions. The clean female vocals, however, are frequent and yet never misplaced. Sylvains performance on Faiblesse Des Sens was one of the main appeals of Ruines Humaines, and while she has stepped up her game in some regards (that famous scream being overshadowed by parts of Heurt and La Reine Trayeuse that one can only presume are audio reconstructions of some kind of bestial orgy), not every performance comes across as inspired, or even connected to the music. Still, it is not of detriment to the record as a whole. // 9
Impression: The piano interlude I XIII V XIX XV V XXI XVIII XIX IX XIX IV V I IV code for aI suppose says it all. The distant melancholia and it's relation to the name can only suggest that the demise of the band is far from ideal for anyone involved. When a release like this becomes so hyped with only a 15 minute EP as a reference point, it is going to be difficult to please everyone. Amesoeurs is not a consistent album; the occasional patchiness of La Reine Trayeuse and acan only sit alongside the perfection of tracks like aand Les Ruches Malades. Clearly though the good outweighs the bad, making Amesoeurs at least an acceptable, if not satisfying end to a band who had such great potential. //
- Duncan Geddes aka duncang (c) 2009
from : http://www.metalinside.it/recensione09ame.htm
AMESOEURS - S/T
(CODE 666/AURAL MUSIC)
2009
1 - GAS IN VEIN
2 - LES RUCHES MALADES
3 - HEURT
4 - RECUILLEMENT
5 - FAUX SEMBLANTS
6 - I XIII V XIX XC C XXI XVIII XIX - IX XIX - IV V I IV
7 - TROUBLE (EVEILS INFAMES)
8 - VIDEO GIRL
9 - LE REINE TRAYEUSE
10 - AMESOEURS
11 - AU CREPUSCULE DES NOS REVES
SITO UFFICIALE
Ero molto curioso di ascoltare questo cd, gli Amesoeurs sono un gruppo, come si potrà intuire facilmente dal nome, francese in cui milita quel Neige, che tra i suoi molti progetti è l'unico componente e compositore di quella fantastica realtà che risponde al nome di Alcest.
Gli Amesoeurs erano stati autori un paio di anni fa di un interessante mini cd intitolato "Ruines humaines", ora grazie all'italiana Code666 debuttano con questo album omonimo, che dimostra il buon fiuto dell'etichetta nostrana dopo aver dato alla stampe, sempre quest'anno, l'ottimo debut dei Fen.
La band francese nel booklet definisce la propria musica come "a kaleidoscopic soundtrack fot the modern era", definizione che non trovo sia errata, all'interno del sound degli Amesoeurs infatti convivono molti elementi diversi che vanno dal black fino al dark, che miscelati riescono a dar vita ad un sound fresco e personale, il disco infatti è molto variegato e lungo i suoi 58 minuti mostra una band ispirata e veramente interessante, soprattutto dopo svariati ascolti che ci fanno immergere fino in fondo nell'atmosfera del disco.
Se Neige con Alcest è profondamente legato alla natura e alla malinconia, con gli Amesoeurs, dove però non è l'unico compositore, viene a galla un sound perfetto figlio della grigia urbanizzazione delle grandi città, quello che possiamo definire "mondo moderno", alienante e caotico; diciamo che la splendida copertina del disco rappresenta molto bene quello che ascolteremo una volta inserito il cd nello stereo.
Come dicevo sopra il disco è molto variegato, si va dalle atmosfere più soffuse e dark ad alcuni stacchi black che ho trovato semplicemente fantastici, senza perdere mai il filo conduttore, diciamo che gli Amesoeurs sono un mix molto ben riuscito di black metal, dark e qualcosa di new wave e post punk, il tutto assimilato in maniera veramente ottimale e personale.
Oltre all'ottima prova da parte dei musicisti devo citare anche la performance di Audrey S. , che si dimostra una buona cantante molto espressiva, che si alterna in alcune canzoni con lo screaming di Neige, che devo dire da questo punto di vista è molto cresciuto da come lo ricordavo su "Le secret" degli Alcest.
Le canzoni che ho più gradito sono quelle dove l'influenza black è più presente, gusto puramente personale, ovvero l'iniziale strumentale "Gas in vein", "Heurt", "Recuillement", "Le reine trayeuse" e la conclusiva "Au crepuscule de nos reves", senza dimentica la coinvolgente darkettona "Amesoeurs".
Aggiungo anche che la produzione del disco è veramente azzeccata e che si sposa perfettamente con la proposta dei nostri.
Per chiudere veramente un bel disco questo debutto degli Amesoeurs, un prodotto originale e ben riuscito, un inizio niente male davvero per questa band francese, ma quando si ha in formazione un artista come Neige non si sa mai cosa aspettarsi, in futuro ne vedremo ancora delle belle...
VOTO 8/10
RECENSIONE A CURA DI MAX
AMESOEURS - S/T
(CODE 666/AURAL MUSIC)
2009
1 - GAS IN VEIN
2 - LES RUCHES MALADES
3 - HEURT
4 - RECUILLEMENT
5 - FAUX SEMBLANTS
6 - I XIII V XIX XC C XXI XVIII XIX - IX XIX - IV V I IV
7 - TROUBLE (EVEILS INFAMES)
8 - VIDEO GIRL
9 - LE REINE TRAYEUSE
10 - AMESOEURS
11 - AU CREPUSCULE DES NOS REVES
SITO UFFICIALE
Ero molto curioso di ascoltare questo cd, gli Amesoeurs sono un gruppo, come si potrà intuire facilmente dal nome, francese in cui milita quel Neige, che tra i suoi molti progetti è l'unico componente e compositore di quella fantastica realtà che risponde al nome di Alcest.
Gli Amesoeurs erano stati autori un paio di anni fa di un interessante mini cd intitolato "Ruines humaines", ora grazie all'italiana Code666 debuttano con questo album omonimo, che dimostra il buon fiuto dell'etichetta nostrana dopo aver dato alla stampe, sempre quest'anno, l'ottimo debut dei Fen.
La band francese nel booklet definisce la propria musica come "a kaleidoscopic soundtrack fot the modern era", definizione che non trovo sia errata, all'interno del sound degli Amesoeurs infatti convivono molti elementi diversi che vanno dal black fino al dark, che miscelati riescono a dar vita ad un sound fresco e personale, il disco infatti è molto variegato e lungo i suoi 58 minuti mostra una band ispirata e veramente interessante, soprattutto dopo svariati ascolti che ci fanno immergere fino in fondo nell'atmosfera del disco.
Se Neige con Alcest è profondamente legato alla natura e alla malinconia, con gli Amesoeurs, dove però non è l'unico compositore, viene a galla un sound perfetto figlio della grigia urbanizzazione delle grandi città, quello che possiamo definire "mondo moderno", alienante e caotico; diciamo che la splendida copertina del disco rappresenta molto bene quello che ascolteremo una volta inserito il cd nello stereo.
Come dicevo sopra il disco è molto variegato, si va dalle atmosfere più soffuse e dark ad alcuni stacchi black che ho trovato semplicemente fantastici, senza perdere mai il filo conduttore, diciamo che gli Amesoeurs sono un mix molto ben riuscito di black metal, dark e qualcosa di new wave e post punk, il tutto assimilato in maniera veramente ottimale e personale.
Oltre all'ottima prova da parte dei musicisti devo citare anche la performance di Audrey S. , che si dimostra una buona cantante molto espressiva, che si alterna in alcune canzoni con lo screaming di Neige, che devo dire da questo punto di vista è molto cresciuto da come lo ricordavo su "Le secret" degli Alcest.
Le canzoni che ho più gradito sono quelle dove l'influenza black è più presente, gusto puramente personale, ovvero l'iniziale strumentale "Gas in vein", "Heurt", "Recuillement", "Le reine trayeuse" e la conclusiva "Au crepuscule de nos reves", senza dimentica la coinvolgente darkettona "Amesoeurs".
Aggiungo anche che la produzione del disco è veramente azzeccata e che si sposa perfettamente con la proposta dei nostri.
Per chiudere veramente un bel disco questo debutto degli Amesoeurs, un prodotto originale e ben riuscito, un inizio niente male davvero per questa band francese, ma quando si ha in formazione un artista come Neige non si sa mai cosa aspettarsi, in futuro ne vedremo ancora delle belle...
VOTO 8/10
RECENSIONE A CURA DI MAX
from : http://www.rockline.it/modules.php?name=Reviews&rop=showcontent&id=3521
Amesoeurs
Amesoeurs
(Code666 / Aural - 2009)
Album, Dark Wave
Quando a fine 2006 gli Amesoeurs pubblicarono l'EP Ruines Humaines il consenso di pubblico e critica fu pressochè plebiscitario: erano sole tre canzoni, certo, ma rappresentavano una perla rara, di splendido Black Metal deviato e carico d'influenze, che prometteva cose mirabili in futuro.
Il successivo split coi Valfunde (tardo 2007) passò invece quasi inosservato, poiché l'attenzione del pubblico di Neige era interamente dedicata all'appena uscito Souvenirs d'un Autre Monde eppure, l'unica canzone degli Amesoeurs contenuta in quello split fu straordinariamente profetica ed indicativa per il futuro musicale del gruppo (si trattava infatti di quella Les Ruches Malades che è stata ripresa e risuonata in questo nuovo full-length).
Poco più tardi, la notizia che gelò il sangue a chiunque apprezzasse il gruppo: gli Amesoeurs non esistevano più, per colpa di apparentemente insanabili frizioni interne tra Neige e Audrey; il botta e risposta di comunicati stampa precisò infine che l'LP in lavorazione sarebbe stato ultimato, dopodichè la band si sarebbe definitivamente sciolta. Ed eccolo qui, questo omonimo Amesoeurs, che tiene fede ad entrambe le decisioni: quella della pubblicazione (versione CD ad opera di Code666, versione vinilica battente bandiera Northern Silence Productions) e quella dello scioglimento, evento ribadito perfino nella tracklist (basta 'decifrare' il titolo della sesta canzone, un intermezzo di triste pianoforte, per ricavare la lugubre conferma: Amesoeurs is Dead).
Fine della la doverosa parentesi storica; si passa al disco vero e proprio.
Una veste grafica sontuosa (booklet curatissimo e copertina eccellente) è la prima cosa che salta all'occhio, mentre l'orecchio dell'ascoltatore si troverà ad ascoltare un album che fin da subito rivela quella che è la 'vera' anima degli Amesoeurs, un'anima relativamente più vicina ad un pezzo come Faiblesse des Senses piuttosto che a Bonheur Amputè o Ruines Humaines.
Amesoeurs è difatti un disco dotato di marcatissime sonorità Post-Punk, alternate più che ibridate con un Black Metal decadente e darkeggiante, su cui s'innestano poi sezioni più caotiche di gusto industriale; la tavolozza dei colori di questo album è quindi giocata sui toni di blu violacei, neri profondissimi e grigi metallici, ma i quattro pittori francesi raramente vanno a mescolare le paste colorate, preferendo concentrarsi singolarmente su una diversa sfumatura a seconda del pezzo in esame: spesso, quindi, si ha la sensazione di un disco dotato di scarsa coerenza interna a livello prettamente musicale, nonostante la qualità degli specifici episodi sia sovente molto elevata.
Brani come la 'vecchia' Les Ruches Malades, l'omonima Amesoeurs (praticamente un omaggio ai Cure), Faux Semblants o Video Girl pescano a piene mani dal Post Punk e dalla Dark Wave della prima metà degli anni '80, giocando quindi con un basso sempre in prima linea e con atmosfere metropolitane, malinconiche e disilluse; i debiti che gli Amesoeurs hanno contratto con quelle sonorità sono evidenti, ma le chitarre pur riprendendo arpeggi liquidi e riff ipnotici di Joy Division e compagnia presentano comunque diverse peculiarità, tra cui i riverberi accentuati e la posizione di rilievo all'interno del sound, cose che pur non sforando eccessivamente in direzione Shoegaze evidenziano il lavoro svolto da Neige con gli Alcest, mentre la batteria di Winterhalter pur adattandosi al genere mostra comunque il retaggio Metal del proprio strumentista.
A dominare la scena, comunque, è soprattutto la voce femminile di Audrey, che per meglio incantare va spesso a scovare melodie deliziosamente Pop, e pur non facendo nulla di tecnicamente notevole riesce pressochè sempre a trovare lo spunto giusto per giostrare a suo piacimento l'andamento melodico della canzone.
Dall'altro lato della barricata, pezzi quali Au crépuscule de nos rêves o Trouble (Eveils infames) sono composti quasi esclusivamente di Black Metal moderno, veemente ma intelligente, costituito di scura e miserevole decadenza urbana, con Neige a urlare in screaming sopra a ritmi spesso velocissimi e chitarre affilate.
In effetti, le carte vengono mescolate con efficacia in un paio di brani: uno di questi è Heurt, un pezzo Black Metal cantato con voce femminile filtrata (idea fantastica, realizzazione purtroppo inficiata da un paio di difettucci minori e da un finale dispersivo, ma la prima metà di canzone è da applausi); l'altro è la successiva Recueillement (le liriche sono tratte dall'omonimo sonetto presente in Les Fleurs du Mal), un Dark Rock malato e decadente violentato dallo screaming Black di Neige.
Male amalgamati i pochi altri tentativi di unione dei due mondi: La Reine Trayeuse, ad esempio, è per buona parte un triste ed estremamente melodico brano Dark condotto da Audrey, addirittura dotato del ritornello più dolce dell'intero disco, ma a cui viene appiccicato un finale violento (con tanto di improbabili scream della stessa vocalist, idea purtroppo riutilizzata anche in Heurt) senza una vera ragione di continuità; questo difetto dell'inserimento di sezioni che nulla hanno a che spartire con il resto della canzone si ripete anche nel finale di Trouble (Eveils infames) e nell'introduzione di Heurt: si tratta in entrambi i casi di Industrial rumoroso non particolarmente ben giustificato.
Insomma, qualche ombra di troppo impedisce ad Amesoeurs di essere in maniera totale e completa il capolavoro che gli appassionati desideravano tanto ardentemente, e le aspettative invero enormi, e forse il problema sta tutto lì poste da Ruines Humaines finiscono per essere state soddisfatte solo in parte, soprattutto perchè non ci sarà né tempo né luogo per la band di migliorare e perfezionare quanto fatto.
Al di là di questo rimpianto di non poter avere tra le mani un disco ancora più bello (le potenzialità c'erano), Amesoeurs rimane comunque un album di assoluto pregio, che saprà stregare in particolare il pubblico Metal, grazie ad un'atmosfera fascinosa e conturbante, a suoni brillantissimi (produzione di ottimo livello ad opera di Markus Stock) e ad una 'riascoltabilità' elevatissima grazie alla copiosità di suadenti, immediatamente memorizzabili melodie sparse per tutto l'album.
LINE UP
- Neige Voce, Chitarra, Basso
- Audrey S. Voce, Piano
- Winterhalter Batteria
- Fursy T. Basso, Chitarra
TRACKLIST
1. Gas in Veins
2. Les ruches malades
3. Heurt
4. Recueillement
5. Faux semblants
6. I XII V XIX XV V XXI XVIII XIX IX XIX IV V I IV
7. Trouble (Eveils infames)
8. Video Girl
9. La reine trayeuse
10. Amesoeurs
11. Au crépuscule de nos rêve
VOTO: 79/100
RECENSITO DA: Gioele Nasi
Amesoeurs
Amesoeurs
(Code666 / Aural - 2009)
Album, Dark Wave
Quando a fine 2006 gli Amesoeurs pubblicarono l'EP Ruines Humaines il consenso di pubblico e critica fu pressochè plebiscitario: erano sole tre canzoni, certo, ma rappresentavano una perla rara, di splendido Black Metal deviato e carico d'influenze, che prometteva cose mirabili in futuro.
Il successivo split coi Valfunde (tardo 2007) passò invece quasi inosservato, poiché l'attenzione del pubblico di Neige era interamente dedicata all'appena uscito Souvenirs d'un Autre Monde eppure, l'unica canzone degli Amesoeurs contenuta in quello split fu straordinariamente profetica ed indicativa per il futuro musicale del gruppo (si trattava infatti di quella Les Ruches Malades che è stata ripresa e risuonata in questo nuovo full-length).
Poco più tardi, la notizia che gelò il sangue a chiunque apprezzasse il gruppo: gli Amesoeurs non esistevano più, per colpa di apparentemente insanabili frizioni interne tra Neige e Audrey; il botta e risposta di comunicati stampa precisò infine che l'LP in lavorazione sarebbe stato ultimato, dopodichè la band si sarebbe definitivamente sciolta. Ed eccolo qui, questo omonimo Amesoeurs, che tiene fede ad entrambe le decisioni: quella della pubblicazione (versione CD ad opera di Code666, versione vinilica battente bandiera Northern Silence Productions) e quella dello scioglimento, evento ribadito perfino nella tracklist (basta 'decifrare' il titolo della sesta canzone, un intermezzo di triste pianoforte, per ricavare la lugubre conferma: Amesoeurs is Dead).
Fine della la doverosa parentesi storica; si passa al disco vero e proprio.
Una veste grafica sontuosa (booklet curatissimo e copertina eccellente) è la prima cosa che salta all'occhio, mentre l'orecchio dell'ascoltatore si troverà ad ascoltare un album che fin da subito rivela quella che è la 'vera' anima degli Amesoeurs, un'anima relativamente più vicina ad un pezzo come Faiblesse des Senses piuttosto che a Bonheur Amputè o Ruines Humaines.
Amesoeurs è difatti un disco dotato di marcatissime sonorità Post-Punk, alternate più che ibridate con un Black Metal decadente e darkeggiante, su cui s'innestano poi sezioni più caotiche di gusto industriale; la tavolozza dei colori di questo album è quindi giocata sui toni di blu violacei, neri profondissimi e grigi metallici, ma i quattro pittori francesi raramente vanno a mescolare le paste colorate, preferendo concentrarsi singolarmente su una diversa sfumatura a seconda del pezzo in esame: spesso, quindi, si ha la sensazione di un disco dotato di scarsa coerenza interna a livello prettamente musicale, nonostante la qualità degli specifici episodi sia sovente molto elevata.
Brani come la 'vecchia' Les Ruches Malades, l'omonima Amesoeurs (praticamente un omaggio ai Cure), Faux Semblants o Video Girl pescano a piene mani dal Post Punk e dalla Dark Wave della prima metà degli anni '80, giocando quindi con un basso sempre in prima linea e con atmosfere metropolitane, malinconiche e disilluse; i debiti che gli Amesoeurs hanno contratto con quelle sonorità sono evidenti, ma le chitarre pur riprendendo arpeggi liquidi e riff ipnotici di Joy Division e compagnia presentano comunque diverse peculiarità, tra cui i riverberi accentuati e la posizione di rilievo all'interno del sound, cose che pur non sforando eccessivamente in direzione Shoegaze evidenziano il lavoro svolto da Neige con gli Alcest, mentre la batteria di Winterhalter pur adattandosi al genere mostra comunque il retaggio Metal del proprio strumentista.
A dominare la scena, comunque, è soprattutto la voce femminile di Audrey, che per meglio incantare va spesso a scovare melodie deliziosamente Pop, e pur non facendo nulla di tecnicamente notevole riesce pressochè sempre a trovare lo spunto giusto per giostrare a suo piacimento l'andamento melodico della canzone.
Dall'altro lato della barricata, pezzi quali Au crépuscule de nos rêves o Trouble (Eveils infames) sono composti quasi esclusivamente di Black Metal moderno, veemente ma intelligente, costituito di scura e miserevole decadenza urbana, con Neige a urlare in screaming sopra a ritmi spesso velocissimi e chitarre affilate.
In effetti, le carte vengono mescolate con efficacia in un paio di brani: uno di questi è Heurt, un pezzo Black Metal cantato con voce femminile filtrata (idea fantastica, realizzazione purtroppo inficiata da un paio di difettucci minori e da un finale dispersivo, ma la prima metà di canzone è da applausi); l'altro è la successiva Recueillement (le liriche sono tratte dall'omonimo sonetto presente in Les Fleurs du Mal), un Dark Rock malato e decadente violentato dallo screaming Black di Neige.
Male amalgamati i pochi altri tentativi di unione dei due mondi: La Reine Trayeuse, ad esempio, è per buona parte un triste ed estremamente melodico brano Dark condotto da Audrey, addirittura dotato del ritornello più dolce dell'intero disco, ma a cui viene appiccicato un finale violento (con tanto di improbabili scream della stessa vocalist, idea purtroppo riutilizzata anche in Heurt) senza una vera ragione di continuità; questo difetto dell'inserimento di sezioni che nulla hanno a che spartire con il resto della canzone si ripete anche nel finale di Trouble (Eveils infames) e nell'introduzione di Heurt: si tratta in entrambi i casi di Industrial rumoroso non particolarmente ben giustificato.
Insomma, qualche ombra di troppo impedisce ad Amesoeurs di essere in maniera totale e completa il capolavoro che gli appassionati desideravano tanto ardentemente, e le aspettative invero enormi, e forse il problema sta tutto lì poste da Ruines Humaines finiscono per essere state soddisfatte solo in parte, soprattutto perchè non ci sarà né tempo né luogo per la band di migliorare e perfezionare quanto fatto.
Al di là di questo rimpianto di non poter avere tra le mani un disco ancora più bello (le potenzialità c'erano), Amesoeurs rimane comunque un album di assoluto pregio, che saprà stregare in particolare il pubblico Metal, grazie ad un'atmosfera fascinosa e conturbante, a suoni brillantissimi (produzione di ottimo livello ad opera di Markus Stock) e ad una 'riascoltabilità' elevatissima grazie alla copiosità di suadenti, immediatamente memorizzabili melodie sparse per tutto l'album.
LINE UP
- Neige Voce, Chitarra, Basso
- Audrey S. Voce, Piano
- Winterhalter Batteria
- Fursy T. Basso, Chitarra
TRACKLIST
1. Gas in Veins
2. Les ruches malades
3. Heurt
4. Recueillement
5. Faux semblants
6. I XII V XIX XV V XXI XVIII XIX IX XIX IV V I IV
7. Trouble (Eveils infames)
8. Video Girl
9. La reine trayeuse
10. Amesoeurs
11. Au crépuscule de nos rêve
VOTO: 79/100
RECENSITO DA: Gioele Nasi
http://www.metalteamuk.net/mar09reviews/cdreviews-amesoeurs.htm
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1]Artist: Amesoeurs
Title: Amesoeurs
Type: Album
Label: Code 666 [/SIZE][/FONT][/SIZE][/FONT]
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1]
After one hell of a lot of speculation, rumour and expectations Amesoeurs self titled debut album finally sees the light of day, unfortunately it is also their swansong. After completion Amesoeurs split up due to personal tensions and conflicting ideas regarding the band's future. Reading further into this and from previous postings on the groups MySpace page, this was in main due to the new girlfriend of Neige (Peste Noir, Alcest) jealousy over singer Audrey S and also as drummer Winterhalter had been fired. This was later countered by another statement saying (apparently from Neige) that he was leaving due to several personal reasons that apparently Audrey can't assume and understand. He goes onto add that he never prevented her to keep on the band with the other members if she wanted to. Whatever way you want to read into this it is a great shame and the only good point is that almost nine months after these statements the group had obviously managed to bury any personal difficulties in order to get this recorded and released.[/SIZE][/FONT][/SIZE][/FONT]
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1] The already excellent EP Ruines Humaines had proffered an idea of what to expect from this group, an eclectic amalgamation of post punk ideas with the ethos and credentials musically to modern black metal. Band names such as The Cure and Joy Division had been bandied about and we already had both the fantastic Alcest and Peste Noire to contend with and perhaps the viewpoint that Amesoeurs were the bridge between the two. The first thing that has to strike over this album is the stunning smog filled charcoal artwork, showing a city choked in pollution and no doubt within harbouring human emotions of despondency, negativity and neglect. This is perhaps the template for the music within the CD and at times it is pent up with anger and frustration and at others it is dismal and suicidal. One thing is for sure it is an hour long emotionally packed ride.[/SIZE][/FONT][/SIZE][/FONT]
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1] After instrumental Gas In Veins lushly strums in with a maudlin despondency citing any manner of 4AD bands from yesteryear we suddenly flail into an apocalyptic drumming bombast which literally puts the music in the present cold black metal climate and merges the two styles dramatically. Ghostly voices echo in the background of this melee and when the tack finishes you realise you have been holding your breath and are close to choking. Les Ruches Malades is much calmer and introduces Audrey Sylvain to the mix. Her vocals are at this point beseeching and restrained, certainly not singing at full range but building up with the music. A drum roll actually reminds a little of ancient Cure song Jumping Someone Elses Train but that is probably incidental as we have been expecting nuances of bands such as them to spring up. Obviously the lyrics are sung in French too adding to the mystery. Heurt builds to an incendiary level more in line with the likes of My Bloody Valentine perhaps at first before settling down a bit and then raging into an excellent jangling guitar refrain and again turning in on itself to a snatch of reflective acoustics. Audrey reaches a deranged croaky squeal amongst this one and sounds as though she is really heurting from inside to expel it. [/SIZE][/FONT][/SIZE][/FONT]
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1] Angered and throaty vocals from Neige enter the already bleak atmosphere of Recueillement adding yet more depth and dimensions to the music. The guitars really sound just like they have fallen out of a time-warp and listening to them here you expect the track to finish with the unmistakeable voice of John Peel mentioning the name of the band with an unmistakable glint of schoolboy glee in his voice, he would certainly have championed this if he had been around today. By contrast the assault of Trouble (Eveils Infâmes) veers between enraged blackened vocals from Neige and furious riffing and moments that melody wise cite the likes of The Pixies, that is until caustic white noise sees the track imploding in on itself. The fragility of Video Girl after this sees darkness turning into light and this is an airy pop song, commercially acceptable, sweet and seductive. Oh and whilst mentioning other bands check out the guitar opening on La Reine Trayeuse it is pure Johnny Marr and its almost a surprise to hear Audrey follow rather than Morrissey. Mind you it would take someone forcing a hamburger down his throat to get a scream like Audrey fires out as the track goes into a blistering frenzy. [/SIZE][/FONT][/SIZE][/FONT]
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1] The melody to Amesouers itself, well lets just say little sister, its all a bit of a nice day for an, ahem White Wedding. I guess if you grew up in the 80s there is a lot here you are going to think of which makes this a lovely trip back down memory lane for those of us of a certain age. If you are a bit older this should make you want to go and plunder relatives record collections. This might well be a long review but this is an album that spoke to me in volumes and in this day and age that makes it pretty special in my book so go seek it out. Perhaps the combustion of the band is not such a bad thing as at least they flourished briefly and went out in their prime before withering and dropping dead on the earth.[/SIZE][/FONT][/SIZE][/FONT]
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1] http://www.myspace.com/amesoeurs
http://www.code666.net
[/SIZE][/FONT][/SIZE][/FONT]
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1]Pete Woods [/SIZE][/FONT][/SIZE][/FONT]
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1]Artist: Amesoeurs
Title: Amesoeurs
Type: Album
Label: Code 666 [/SIZE][/FONT][/SIZE][/FONT]
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1]
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1] The already excellent EP Ruines Humaines had proffered an idea of what to expect from this group, an eclectic amalgamation of post punk ideas with the ethos and credentials musically to modern black metal. Band names such as The Cure and Joy Division had been bandied about and we already had both the fantastic Alcest and Peste Noire to contend with and perhaps the viewpoint that Amesoeurs were the bridge between the two. The first thing that has to strike over this album is the stunning smog filled charcoal artwork, showing a city choked in pollution and no doubt within harbouring human emotions of despondency, negativity and neglect. This is perhaps the template for the music within the CD and at times it is pent up with anger and frustration and at others it is dismal and suicidal. One thing is for sure it is an hour long emotionally packed ride.[/SIZE][/FONT][/SIZE][/FONT]
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1] After instrumental Gas In Veins lushly strums in with a maudlin despondency citing any manner of 4AD bands from yesteryear we suddenly flail into an apocalyptic drumming bombast which literally puts the music in the present cold black metal climate and merges the two styles dramatically. Ghostly voices echo in the background of this melee and when the tack finishes you realise you have been holding your breath and are close to choking. Les Ruches Malades is much calmer and introduces Audrey Sylvain to the mix. Her vocals are at this point beseeching and restrained, certainly not singing at full range but building up with the music. A drum roll actually reminds a little of ancient Cure song Jumping Someone Elses Train but that is probably incidental as we have been expecting nuances of bands such as them to spring up. Obviously the lyrics are sung in French too adding to the mystery. Heurt builds to an incendiary level more in line with the likes of My Bloody Valentine perhaps at first before settling down a bit and then raging into an excellent jangling guitar refrain and again turning in on itself to a snatch of reflective acoustics. Audrey reaches a deranged croaky squeal amongst this one and sounds as though she is really heurting from inside to expel it. [/SIZE][/FONT][/SIZE][/FONT]
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1] Angered and throaty vocals from Neige enter the already bleak atmosphere of Recueillement adding yet more depth and dimensions to the music. The guitars really sound just like they have fallen out of a time-warp and listening to them here you expect the track to finish with the unmistakeable voice of John Peel mentioning the name of the band with an unmistakable glint of schoolboy glee in his voice, he would certainly have championed this if he had been around today. By contrast the assault of Trouble (Eveils Infâmes) veers between enraged blackened vocals from Neige and furious riffing and moments that melody wise cite the likes of The Pixies, that is until caustic white noise sees the track imploding in on itself. The fragility of Video Girl after this sees darkness turning into light and this is an airy pop song, commercially acceptable, sweet and seductive. Oh and whilst mentioning other bands check out the guitar opening on La Reine Trayeuse it is pure Johnny Marr and its almost a surprise to hear Audrey follow rather than Morrissey. Mind you it would take someone forcing a hamburger down his throat to get a scream like Audrey fires out as the track goes into a blistering frenzy. [/SIZE][/FONT][/SIZE][/FONT]
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1] The melody to Amesouers itself, well lets just say little sister, its all a bit of a nice day for an, ahem White Wedding. I guess if you grew up in the 80s there is a lot here you are going to think of which makes this a lovely trip back down memory lane for those of us of a certain age. If you are a bit older this should make you want to go and plunder relatives record collections. This might well be a long review but this is an album that spoke to me in volumes and in this day and age that makes it pretty special in my book so go seek it out. Perhaps the combustion of the band is not such a bad thing as at least they flourished briefly and went out in their prime before withering and dropping dead on the earth.[/SIZE][/FONT][/SIZE][/FONT]
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1] http://www.myspace.com/amesoeurs
http://www.code666.net
[/SIZE][/FONT][/SIZE][/FONT]
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1][FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1]Pete Woods [/SIZE][/FONT][/SIZE][/FONT]
Lee_B
Readin' me posts are ya?
The album is good just really sporadic. I wish the black metal, post-rock and shoegaze elements were implemented together more instead of individually track by track. I really hope the band stays together, they have a lot of potential.
AMESOEURS CREATES BUZZ ON LAST.FM
french Coldwave metal band AMESOEURS are now quickly climbing the charts on one of the internet's most popular music sites, Last.FM. The band earned themselves a spot on Last.FM's homepage after taking the number 2 slot on the Hype list, a chart of songs building the biggest buzz around the site, and number 5 slot on the Hype Artist chart!
Go to AMESOEURS's Last.FM page and see what caused a 1415% increase in buzz on the band around the site: http://www.lastfm.com/music/Amesoeurs
View a screenshot of the homepage here: http://auralmusic.com/stuff/amesoeurslastfmcharts.jpg
french Coldwave metal band AMESOEURS are now quickly climbing the charts on one of the internet's most popular music sites, Last.FM. The band earned themselves a spot on Last.FM's homepage after taking the number 2 slot on the Hype list, a chart of songs building the biggest buzz around the site, and number 5 slot on the Hype Artist chart!
Go to AMESOEURS's Last.FM page and see what caused a 1415% increase in buzz on the band around the site: http://www.lastfm.com/music/Amesoeurs
View a screenshot of the homepage here: http://auralmusic.com/stuff/amesoeurslastfmcharts.jpg
http://metal.de/cdreviews.php4?was=review&id=12247
[FONT=Arial,Helvetica,sans-serif]AMESOEURS - Amesoeurs[/FONT] [FONT=Arial,Helvetica,sans-serif]Alternative
Label/Kontakt: Code 666
11 Songs (58:23)
Webseite: www.myspace.com/amesoeurs
Kaum hat AMESOEURS' Karriere mit überwältigenden Rezensionen zur ersten EP "Ruines Humaines" (2006) angefangen, ist es auch schon wieder vorbei. Mit der Veröffentlichung des selbstbetitelten Debüts löst sich die Band gleichzeitig auf und hinterlässt nur die EP, eine Split mit VALFUNDE und das vorliegende Album.
Eines gleich vorweg: Wer "Ruines Humaines" mochte, wird auch an "Amesoeurs" Gefallen finden. Die Einflüsse aus Post Punk und New Wave (DEPECHE MODE, THE CURE etc.), auf die von der Band selbst so viel Wert gelegt wird, sind wieder allgegenwärtig und werden gekonnt mit Einschlägen aus dem Black Metal verwoben. Die harten Rhythmen des Post Punk - wohl aber seine Harmonien - wie etwa der vielzitierten JOY DIVISION gehören nicht in AMESOEURS' Zuständigkeitsbereich, sondern eher eine über allem schwebende Verspieltheit, die sich dem Post Rock zuordnen lässt.
"Amesoeurs" bezaubert mit zurückhaltender und verträumter Melancholie, hervorgerufen nicht nur den ätherischen, sanften Klargesang von Audrey Sylvain. Der steht gegenüber Neiges Black-Metal-typischen Gesang in Emotionalität paradoxerweise ein bisschen zurück, weil er zuweilen blass wirkt, gibt mit diesem aber nichtsdestotrotz einen gelungenen Kontrast ab. Die unverhohlene, direkte Verzweiflung von GRIS ist nicht ihre Sache; selbst manche stürmische Passage, sprich unterschwellige Blastbeatattacken, die etwa an eine nicht ganz so langatmige Version von AUSTERE oder TRIST erinnern, behalten sich ein gewisses Maß an Zahmheit zurück (nicht dass der Vergleich mit AUSTERE per se ein Lob wäre, aber im Rahmen weniger Minuten kann auch das außerordentlich berühren). Unpolierter Black Metal dagegen, wie er etwa in "Trouble (Éveils Infâmes)" geboten, macht sich daran, mit eingestreuten Industrialschnipseln das harmonische Gesamtbild aufzulockern respektive enorm durcheinanderzubringen. DIe Homogenität des Albums geht dabei aber nicht mal flöten, weil die Vielfalt der Wege zur Tristesse ja gerade einer der Schlüssel von AMESOEURS ist.
"Amesoeurs" ist sicherlich nicht der Schwanengesang, den ihm einige wahrscheinlich andichten wollen, auch wenn mit dem Zwischenspiel "I XIII V XIX XV V XXI XVIII XIX - IX XIX - IV V I IV" eine eindeutige Botschaft übermittelt wird (lies "Amesoeurs - Is - Dead"), die sich gegen die restlichen Titel aber deutlich abhebt, was die üblichen Themen von Entfremdung und Verfall angeht. Die wenigen harschen Brüche zwischen den einzelnen Momenten von "Amesoeurs" trüben den Hörgenuss nur wenig, pochen aber nichtsdestotrotz auf einen Nachfolger, der auch das noch ausfeilt. Dass es den nicht geben wird, hinterlässt ein unbefriedigendes Gefühl, aber sich darüber großartig zu beschweren, wäre Jammern auf sehr, sehr hohem Niveau.
Punkte: 9/10
(Achim / 27.03.2009)[/FONT]
[FONT=Arial,Helvetica,sans-serif]AMESOEURS - Amesoeurs[/FONT] [FONT=Arial,Helvetica,sans-serif]Alternative
Label/Kontakt: Code 666
11 Songs (58:23)
Webseite: www.myspace.com/amesoeurs
Eines gleich vorweg: Wer "Ruines Humaines" mochte, wird auch an "Amesoeurs" Gefallen finden. Die Einflüsse aus Post Punk und New Wave (DEPECHE MODE, THE CURE etc.), auf die von der Band selbst so viel Wert gelegt wird, sind wieder allgegenwärtig und werden gekonnt mit Einschlägen aus dem Black Metal verwoben. Die harten Rhythmen des Post Punk - wohl aber seine Harmonien - wie etwa der vielzitierten JOY DIVISION gehören nicht in AMESOEURS' Zuständigkeitsbereich, sondern eher eine über allem schwebende Verspieltheit, die sich dem Post Rock zuordnen lässt.
"Amesoeurs" bezaubert mit zurückhaltender und verträumter Melancholie, hervorgerufen nicht nur den ätherischen, sanften Klargesang von Audrey Sylvain. Der steht gegenüber Neiges Black-Metal-typischen Gesang in Emotionalität paradoxerweise ein bisschen zurück, weil er zuweilen blass wirkt, gibt mit diesem aber nichtsdestotrotz einen gelungenen Kontrast ab. Die unverhohlene, direkte Verzweiflung von GRIS ist nicht ihre Sache; selbst manche stürmische Passage, sprich unterschwellige Blastbeatattacken, die etwa an eine nicht ganz so langatmige Version von AUSTERE oder TRIST erinnern, behalten sich ein gewisses Maß an Zahmheit zurück (nicht dass der Vergleich mit AUSTERE per se ein Lob wäre, aber im Rahmen weniger Minuten kann auch das außerordentlich berühren). Unpolierter Black Metal dagegen, wie er etwa in "Trouble (Éveils Infâmes)" geboten, macht sich daran, mit eingestreuten Industrialschnipseln das harmonische Gesamtbild aufzulockern respektive enorm durcheinanderzubringen. DIe Homogenität des Albums geht dabei aber nicht mal flöten, weil die Vielfalt der Wege zur Tristesse ja gerade einer der Schlüssel von AMESOEURS ist.
"Amesoeurs" ist sicherlich nicht der Schwanengesang, den ihm einige wahrscheinlich andichten wollen, auch wenn mit dem Zwischenspiel "I XIII V XIX XV V XXI XVIII XIX - IX XIX - IV V I IV" eine eindeutige Botschaft übermittelt wird (lies "Amesoeurs - Is - Dead"), die sich gegen die restlichen Titel aber deutlich abhebt, was die üblichen Themen von Entfremdung und Verfall angeht. Die wenigen harschen Brüche zwischen den einzelnen Momenten von "Amesoeurs" trüben den Hörgenuss nur wenig, pochen aber nichtsdestotrotz auf einen Nachfolger, der auch das noch ausfeilt. Dass es den nicht geben wird, hinterlässt ein unbefriedigendes Gefühl, aber sich darüber großartig zu beschweren, wäre Jammern auf sehr, sehr hohem Niveau.
Punkte: 9/10
(Achim / 27.03.2009)[/FONT]
http://www.metalitalia.com/cds/view.php?cd_pk=7360
Recensione di Luca Pessina Nascosti sotto montagne di dischi che si dimenticano dopo due ascolti emergono con forza talenti poco conosciuti eppure immediatamente riconoscibili come gli Amesoeurs. "Amesoeurs" è il loro primo disco e si presenta come un compendio di dark wave vecchia scuola, post punk e accenni extreme metal. Il lavoro contiene quasi un'ora di musica composta principalmente dal polistrumentista e cantante Neige, personaggio già piuttosto noto nell'ambiente black metal, essendo a capo del fortunato progetto Alcest e membro di Peste Noire e Forgotten Woods. Definito un mix fra The Cure, Joy Division, Sisters Of Mercy e il black metal più sperimentale, l'album, complici anche le linee vocali qui quasi del tutto affidate alla bassista Audrey Sylvain, offre in realtà un sound basato per lo più sulle influenze "non metal" della band, che si manifesta appunto in tracce ritmate e dal taglio assolutamente wave, cantate da una voce sbarazzina e colme di richiami ai maestri del genere. Certo, l'attacco di un pezzo come "I XIII V XIX XV V XXI XVIII XIX IX XIX IV V I IV" ricorda addirittura i Rotting Christ, ma si tratta di un episodio quasi isolato: ciò che oggi avvicina realmente il gruppo francese alla sfera black è sostanzialmente l'atmosfera decadente che pervade alcune digressioni strumentali e i testi, non i pochi inserti di screaming vocals o le accelerazioni in blast-beat presenti in un paio di canzoni. In ogni caso, il risultato finale è di quelli che rimangono impressi nella mente, perchè gli Amesoeurs, pur prendendo a piene mani dalle lezioni impartite dai vari Robert Smith e Ian Curtis, rielaborano comunque tutto con un tocco personale e presentano un'abilità non da poco nel comporre melodie catchy e trame in grado di spezzare il cuore (molto esemplificativa, in questo senso, la doppietta conclusiva "Amesoeurs"/"Au Crépuscule de Nos Rêves"). Quasi come i primi Klimt 1918, ma ben più tetri! Voto: 7.0
Recensione di Luca Pessina Nascosti sotto montagne di dischi che si dimenticano dopo due ascolti emergono con forza talenti poco conosciuti eppure immediatamente riconoscibili come gli Amesoeurs. "Amesoeurs" è il loro primo disco e si presenta come un compendio di dark wave vecchia scuola, post punk e accenni extreme metal. Il lavoro contiene quasi un'ora di musica composta principalmente dal polistrumentista e cantante Neige, personaggio già piuttosto noto nell'ambiente black metal, essendo a capo del fortunato progetto Alcest e membro di Peste Noire e Forgotten Woods. Definito un mix fra The Cure, Joy Division, Sisters Of Mercy e il black metal più sperimentale, l'album, complici anche le linee vocali qui quasi del tutto affidate alla bassista Audrey Sylvain, offre in realtà un sound basato per lo più sulle influenze "non metal" della band, che si manifesta appunto in tracce ritmate e dal taglio assolutamente wave, cantate da una voce sbarazzina e colme di richiami ai maestri del genere. Certo, l'attacco di un pezzo come "I XIII V XIX XV V XXI XVIII XIX IX XIX IV V I IV" ricorda addirittura i Rotting Christ, ma si tratta di un episodio quasi isolato: ciò che oggi avvicina realmente il gruppo francese alla sfera black è sostanzialmente l'atmosfera decadente che pervade alcune digressioni strumentali e i testi, non i pochi inserti di screaming vocals o le accelerazioni in blast-beat presenti in un paio di canzoni. In ogni caso, il risultato finale è di quelli che rimangono impressi nella mente, perchè gli Amesoeurs, pur prendendo a piene mani dalle lezioni impartite dai vari Robert Smith e Ian Curtis, rielaborano comunque tutto con un tocco personale e presentano un'abilità non da poco nel comporre melodie catchy e trame in grado di spezzare il cuore (molto esemplificativa, in questo senso, la doppietta conclusiva "Amesoeurs"/"Au Crépuscule de Nos Rêves"). Quasi come i primi Klimt 1918, ma ben più tetri! Voto: 7.0
http://www.corazine.com/articles/a/amesoeurs/reviews/amesoeurs.aspx
Amesoeurs is a pretty special French black metal group. This music band has just released this self-titled album, a first real and much anticipated full length production, but it is very likely that the band members won't form "Amesoeurs" again. Amesoeurs always was wrapped up in a field of frictions. The personal tensions between the band members were stronger than the band's creativity. And that's a shame! Because the underground band was an enormous and particular formation in the post-punk scene, just after its first dark descent.
Ruïnes Humaines, the first release of Amesoeurs definitely could make my day. It was an MCD, released in 2006, with the most melancholic and charming songs "Bonheur Amputée", "Ruïnes Humaines" and "Faiblesse Des Sens". The Amesoeurs' train of thoughts wasn't a story of happiness and bright poppy occurrences. It was a dark, yet very appealing and breathtaking metallic release. Amesoeurs also granted the fans a song on a split album with Valfunde; a track entitled "les ruches maladies" (in 2007).
As you can notice, Amesoeurs is constructed on a small repertoire, yet the group is not that modest. The low profile group has a broad reach, stretching far outside the borders of France. The melancholic sad black frontier is very large (I know them for some years now, and so do many of my friends). Now, Amesoeurs has released a self-titled album with eleven black metal tracks. Neige, the guitarist and singer you might know from Peste Noire, and bassist and singer Audrey Sylvain have created an disillusioned atmosphere for the audience. Drummer Winterhalter, also know for his Peste Noire work, and guitarist Fursy Teyssier completed the Amesoeurs' aura. The first song "Gas In Veins" is no merrymaker. The black metal hints are guided by a mysterious reverberation. The flow just is marvellous. This instrumental post-new wave opener is a bit more agitated in the end and grants the listener an unpleasant feeling. This is a high flier intro! "Les Ruches Malades", the second song is a laudable and chilly French post-punk track. This executive soundscape has a shrewd birthmark. The drum work and guitar play is wonderful. The next track "Heurt" has a greater range of variation in pace. It is an evocation of sludgy and melancholic ideas. Just excellent. This disc is shaped as a combination of nostalgic black high vocalist songs and black untidy and tyranny sounds. The fragrant intermezzo "I XII V XIX XV V XXI XVIII XIX - IX XIX - IV V I IV" is a perfect eyecatcher. Hell is unleashed again with song number seven "Trouble (Eveils Infâmes)". The guitars give a tremendous show off. Superb! The tenth song "Amesoeurs" is a bit out of tune, but it counts as a surplus value on the disc. This simply is a well balanced and valuable production with the most melancholic, black and inspiring soundscapes.
This first release just shows that it would be a pity if this special French metal band never forms a solid whole again! This certainly is a killer album!
Amesoeurs is a pretty special French black metal group. This music band has just released this self-titled album, a first real and much anticipated full length production, but it is very likely that the band members won't form "Amesoeurs" again. Amesoeurs always was wrapped up in a field of frictions. The personal tensions between the band members were stronger than the band's creativity. And that's a shame! Because the underground band was an enormous and particular formation in the post-punk scene, just after its first dark descent.
Ruïnes Humaines, the first release of Amesoeurs definitely could make my day. It was an MCD, released in 2006, with the most melancholic and charming songs "Bonheur Amputée", "Ruïnes Humaines" and "Faiblesse Des Sens". The Amesoeurs' train of thoughts wasn't a story of happiness and bright poppy occurrences. It was a dark, yet very appealing and breathtaking metallic release. Amesoeurs also granted the fans a song on a split album with Valfunde; a track entitled "les ruches maladies" (in 2007).
As you can notice, Amesoeurs is constructed on a small repertoire, yet the group is not that modest. The low profile group has a broad reach, stretching far outside the borders of France. The melancholic sad black frontier is very large (I know them for some years now, and so do many of my friends). Now, Amesoeurs has released a self-titled album with eleven black metal tracks. Neige, the guitarist and singer you might know from Peste Noire, and bassist and singer Audrey Sylvain have created an disillusioned atmosphere for the audience. Drummer Winterhalter, also know for his Peste Noire work, and guitarist Fursy Teyssier completed the Amesoeurs' aura. The first song "Gas In Veins" is no merrymaker. The black metal hints are guided by a mysterious reverberation. The flow just is marvellous. This instrumental post-new wave opener is a bit more agitated in the end and grants the listener an unpleasant feeling. This is a high flier intro! "Les Ruches Malades", the second song is a laudable and chilly French post-punk track. This executive soundscape has a shrewd birthmark. The drum work and guitar play is wonderful. The next track "Heurt" has a greater range of variation in pace. It is an evocation of sludgy and melancholic ideas. Just excellent. This disc is shaped as a combination of nostalgic black high vocalist songs and black untidy and tyranny sounds. The fragrant intermezzo "I XII V XIX XV V XXI XVIII XIX - IX XIX - IV V I IV" is a perfect eyecatcher. Hell is unleashed again with song number seven "Trouble (Eveils Infâmes)". The guitars give a tremendous show off. Superb! The tenth song "Amesoeurs" is a bit out of tune, but it counts as a surplus value on the disc. This simply is a well balanced and valuable production with the most melancholic, black and inspiring soundscapes.
This first release just shows that it would be a pity if this special French metal band never forms a solid whole again! This certainly is a killer album!
http://www.imperiumi.net/index.php?act=albums&id=8813
Amesoeurs
Amesoeurs
CD
[ Code666 ]
( 8½ )
01. Gas in Veins
02. Les Ruches Malades
03. Heurt
04. Recueillement
05. Faux Semblants
06. I XIII V XIX XV V XXI XVIII XIX IX XIX IV V I IV
07. Trouble (Éveils Infâmes)
08. Video Girl
09. La Reine Trayeuse
10. Amesoeurs
11. Au Crépuscule de Nos Rêves
Kesto: 58:23 Sanana hengenheimolaista tarkoittavalla Amesoeursilla oli suuria vaikeuksia pysyä kasassa jo ennen ensimmäisen albuminsa nauhoituksia, ja nyt levyn lopulta saatua julkaisunsa, on bändi päättänyt hajota sisäisiin ristiriitoihin - sekä henkilökohtaisiin että musiikillisiin erimielisyyksiin, siis. Vaikka yhtyeen eponyymilla debyytillä musiikkia revitäänkin niin black metalin, shoegazen kuin post-punkin suuntaan, on levyn yleisilme varsin tasapainoinen. Tunnelmat vaihtelevatkin sitten hieman jakomielitautisemmin lakonisesta toiveikkaaseen ja depressiivisestä lähes maaniseen. Omaperäisen ja tunteikkaan, tavalla tai toisella black metal -liitännäisen musiikin saralla lähes taikuriksi tituleerattava Neige (mm. Peste Noire, Mortifera ja Alcest) pitää kuitenkin ohjakset käsissään kiitettävästi.
Alcestin naiivin kauniiden ja eteeristen - jopa neitseellisten - maisemien sijaan Amesoeurs sukeltaa syvälle baudelairemaisesti kaksijakoisiin, jälkiteollisiin kaupunkikuviin, joista löytyy sekä inhorealismia että yllättävää kauneutta. Itse levyn musiikkia on kuitenkaan äärimmäisen vaikea kuvata muuten kuin kauniiksi. Vaikka dekadenssin tuoksu levittyykin levyltä kuuntelijan aistittavaksi, lienee päällimmäinen itselleni levystä piirtyvä mielikuva kuitenkin valtavan kaihon ja epätoivon viemäreistä kadulle leijuva sankka vesihöyry. Kun vähäinen valkea valo kajastaa tämän höyrypilven läpi, on syntyvässä tunnelmassa salaperäisyyden lisäksi myös pieni ripaus toivoa.
Parin vuoden takaisen Ruines Humaines -EP:n nostattamat odotukset tuntuvat tällä täyspitkällä konkretisoituvan yksi toisensa jälkeen komeasti. Kuutosraidan kauniin instrumentaalin jälkeen käynnistyvä Trouble (Éveils Infâmes), ja etenkin sen Peste Noirea muistuttava alkuriffit kuulostavat kuitenkin vielä kymmenenkin kuuntelukerran jälkeen vähintään pieneltä tyylirikolta. Kenties levy on tuntunut bändistä liian turvalliselta tai sitten he havittelevat vielä rippeitä jonkinlaisesta black metal -uskottavuudesta, mutten siltikään onnistu mieltämään kappaletta levylle sopivaksi. Video Girl ja sen jälkeen ainoana jonkun muun kuin Neigen tekemänä - ja itse asiassa levyn yhtenä monipuolisimpana - sävellyksenä levyllä kuultava La Reine Trayeuse palauttaa albumin onneksi raiteilleen.
Jo mainittua seiskaraita Troublea lukuun ottamatta albumilta ei sitten löydykään käytännössä yhtään heikkoa biisiä. Loput kymmenen veisua Heurtin lähes maanisesta blastbeatista Gas in Veinsin huikeasti jumittavaan kiihdyttelyyn ja nimiraidan Joy Division -fiiliksistä päätösraidan puolittain Slowdive-henkiseen raukeuteen ovatkin sitten toinen toistaan komeampia sävellyksiä. Naisvokalisti Audreyn heleän laulun lisäksi levyllä kuullaan Neigen paikoin mielipuolista kirkunaa, joka heittää ajatukset jossain määrin myös Shiningin suuntaan. Itseäni miellyttävät eniten black metalin, shoegazen ja post-punkin kunnolla tehosekoittimen läpi vetävät raidat, kuten juuri Gas in Veins tai Heurt, vaikka myös tyylipuhtaammin post-punkissa pysyttäytyvät, nimibiisin kaltaiset sävellykset ovat hieno osa upeaa kokonaisuutta. Debyyttilevyllään Amesoeurs osoittaa, että se on - tai oli - post-black metalin yksi relevanteimmista yhtyeistä. Onneksi bändin ydinhahmo Neigen musisointia saadaan kuitenkin satavarmasti kuulla vastaisuudessakin, ennen kaikkea Alcest-nimen alla. Jos Amesoeurs itselleni tästä vielä paljon kasvaa, tulee kyseessä olemaan yksi vuoden kovimmista julkaisuista.
Amesoeurs
Amesoeurs
CD
[ Code666 ]
( 8½ )
01. Gas in Veins
02. Les Ruches Malades
03. Heurt
04. Recueillement
05. Faux Semblants
06. I XIII V XIX XV V XXI XVIII XIX IX XIX IV V I IV
07. Trouble (Éveils Infâmes)
08. Video Girl
09. La Reine Trayeuse
10. Amesoeurs
11. Au Crépuscule de Nos Rêves
Kesto: 58:23 Sanana hengenheimolaista tarkoittavalla Amesoeursilla oli suuria vaikeuksia pysyä kasassa jo ennen ensimmäisen albuminsa nauhoituksia, ja nyt levyn lopulta saatua julkaisunsa, on bändi päättänyt hajota sisäisiin ristiriitoihin - sekä henkilökohtaisiin että musiikillisiin erimielisyyksiin, siis. Vaikka yhtyeen eponyymilla debyytillä musiikkia revitäänkin niin black metalin, shoegazen kuin post-punkin suuntaan, on levyn yleisilme varsin tasapainoinen. Tunnelmat vaihtelevatkin sitten hieman jakomielitautisemmin lakonisesta toiveikkaaseen ja depressiivisestä lähes maaniseen. Omaperäisen ja tunteikkaan, tavalla tai toisella black metal -liitännäisen musiikin saralla lähes taikuriksi tituleerattava Neige (mm. Peste Noire, Mortifera ja Alcest) pitää kuitenkin ohjakset käsissään kiitettävästi.
Alcestin naiivin kauniiden ja eteeristen - jopa neitseellisten - maisemien sijaan Amesoeurs sukeltaa syvälle baudelairemaisesti kaksijakoisiin, jälkiteollisiin kaupunkikuviin, joista löytyy sekä inhorealismia että yllättävää kauneutta. Itse levyn musiikkia on kuitenkaan äärimmäisen vaikea kuvata muuten kuin kauniiksi. Vaikka dekadenssin tuoksu levittyykin levyltä kuuntelijan aistittavaksi, lienee päällimmäinen itselleni levystä piirtyvä mielikuva kuitenkin valtavan kaihon ja epätoivon viemäreistä kadulle leijuva sankka vesihöyry. Kun vähäinen valkea valo kajastaa tämän höyrypilven läpi, on syntyvässä tunnelmassa salaperäisyyden lisäksi myös pieni ripaus toivoa.
Parin vuoden takaisen Ruines Humaines -EP:n nostattamat odotukset tuntuvat tällä täyspitkällä konkretisoituvan yksi toisensa jälkeen komeasti. Kuutosraidan kauniin instrumentaalin jälkeen käynnistyvä Trouble (Éveils Infâmes), ja etenkin sen Peste Noirea muistuttava alkuriffit kuulostavat kuitenkin vielä kymmenenkin kuuntelukerran jälkeen vähintään pieneltä tyylirikolta. Kenties levy on tuntunut bändistä liian turvalliselta tai sitten he havittelevat vielä rippeitä jonkinlaisesta black metal -uskottavuudesta, mutten siltikään onnistu mieltämään kappaletta levylle sopivaksi. Video Girl ja sen jälkeen ainoana jonkun muun kuin Neigen tekemänä - ja itse asiassa levyn yhtenä monipuolisimpana - sävellyksenä levyllä kuultava La Reine Trayeuse palauttaa albumin onneksi raiteilleen.
Jo mainittua seiskaraita Troublea lukuun ottamatta albumilta ei sitten löydykään käytännössä yhtään heikkoa biisiä. Loput kymmenen veisua Heurtin lähes maanisesta blastbeatista Gas in Veinsin huikeasti jumittavaan kiihdyttelyyn ja nimiraidan Joy Division -fiiliksistä päätösraidan puolittain Slowdive-henkiseen raukeuteen ovatkin sitten toinen toistaan komeampia sävellyksiä. Naisvokalisti Audreyn heleän laulun lisäksi levyllä kuullaan Neigen paikoin mielipuolista kirkunaa, joka heittää ajatukset jossain määrin myös Shiningin suuntaan. Itseäni miellyttävät eniten black metalin, shoegazen ja post-punkin kunnolla tehosekoittimen läpi vetävät raidat, kuten juuri Gas in Veins tai Heurt, vaikka myös tyylipuhtaammin post-punkissa pysyttäytyvät, nimibiisin kaltaiset sävellykset ovat hieno osa upeaa kokonaisuutta. Debyyttilevyllään Amesoeurs osoittaa, että se on - tai oli - post-black metalin yksi relevanteimmista yhtyeistä. Onneksi bändin ydinhahmo Neigen musisointia saadaan kuitenkin satavarmasti kuulla vastaisuudessakin, ennen kaikkea Alcest-nimen alla. Jos Amesoeurs itselleni tästä vielä paljon kasvaa, tulee kyseessä olemaan yksi vuoden kovimmista julkaisuista.
http://www.bloodchamber.de/cd/a/5970/
rate: 9/10
Ich weiß ehrlich gesagt gar nicht, wo ich anfangen soll. Ich bin definitiv ein kritischer und auch objektiver Hörer, der soundmäßig nicht eingeschränkt ist. Das Album habe ich jetzt mehrmals gehört, und der erste Eindruck manifestiert sich in meinem Gehör und in meinem Gemüt auch nach dem 5. oder 6. Durchlauf. Es ist selten, dass ich ein Album nach dem ersten Hören direkt wieder reinschmeiße bzw. wieder auf die Play-Taste drücke. Aber dieses innovative und auch zugleich mutige Teil ist Lobeshymnen des obersten Ranges wert.
Kennt Ihr das Gefühl bei Musik Gänsehaut zu bekommen, weil es einen aus vielerlei Gründen ergreift und packt? Es ist bei mir nach langer Zeit mal wieder passiert. Es ist eine Art Passion, vor allem der Mut die verschiedensten Musikrichtungen unter einen Hut zu bringen. Hier gibt es 80er Wave a la THE CURE, teilweise Power-Pop/Post-Punk lastige Eskapaden, die dann, vor allem zeitgenau und vom Timing brilliant umgesetzt, mit Black Metal-Ouvertüren garniert werden. Neige (Sänger, Bassist und Gitarrist) ist von Avantgarde-Black-Metal-Bands wie FORGOTTEN WOODS bekannt. Er transportiert die entscheidenden Momente in den Sound der Band AMESOEURS, keine Frage. Denn hier herrscht ein Gleichgewicht und eine Abwechslung der eben genannten Musikrichtungen, dass ich Gänsehaut bekomme und sich mein Mund vor Staunen nicht mehr schließen läßt. Es ist einerseits gewagt, aber ebenso innovativ und progressiv.
Insbesondere die zarte Frauenstimme von Audrey bringt eine Stimmung in die elf Songs, die den Hörer zerreißt und in Melancholie versinken lässt. Stets hintergründig, nicht prägnant oder dominant, singt Audrey die meist französischen Texte mit viel Gefühl und Leidenschaft. Jedes Lied steht hierbei für sich und ist ein eigenes Meisterwerk in einem kompakten Epos und von Energie und Melancholie beherrschten Soundexzess.
Z.B. der instrumentale Opener "Gas in veins" packt den Hörer, greift seine Seele und verschlingt ihn. Man fühlt sich direkt wohl, doch zugleich auch bedroht. Nach lethargischen Melodieeinleitungen steigt eine Gitarrenwand empor, die überrollt und einfach nur ergreifend ist. Der Synthesizer-Background ist ein treuer Begleiter, der nie vordergründig erscheint, aber den Sound trägt, in eine unendliche Welt des Erwartens und der Spannung. Das Black Metal-Gewitter ist immer wieder präsent und zeigt die aggressiven Aspekte der Scheibe.
"Amesoeurs" ist ein Hoch und Tief, ein dauerndes Wechseln von Stimmungen und Gefühlen. Einerseits sanft poppig ("Les ruches malades"), andererseits zermalmend ekstatisch wie bei meinem Lieblingssong "La reine treyeuse". Industrial-Intros wie bei "Heurt" werden von Black Metal-Gitarrenbergen und dem passenden Drumming kurzweilig unterbrochen, so dass Audrey ihre zarte, mädchenhafte Stimme mit hineinbringen muss um den Hörer irrezuführen und im selben Atemzug zu beeindrucken. Das Mädel schreit sich dann später einen ab und zieht andere Seiten auf. Im selbigen Song gibt es dann akustische Gitarren-Breaks, worauf melancholische Gitarrensounds a la KATATONIA folgen. Mal rockig, mal Metal, mal Wave. Winterhalter, der Drummer, zeigt das komplette Repertoire eines Drummers, schleppend und prügelnd, stets dem Soundgewand nahe und stets ein treuer Begleiter. Pianos und andere Arrangements bereichern das Album und geben diesem eine unheimliche Breite und eine sinnige beeindruckende Stimmung.
Für Fans, die gradlinigen Sound hören, mit durchgehenden Strukutren und Konzepten, ist es keinesfalls das Optimum. Leute, die sich gerne gewagte Musik anhören, die vor Innovation strotzt und melancholisch abwechselnd klingt, sollten hier zugreifen und sich den Silberling unbedingt, gar zwingend, besorgen. Fans von KATATONIA oder älteren THE CURE werden hier bestens bedient. Auch Black Metal-Freaks, die Pagan lastige Melodien und Melancholie bevorzugen, kriegen hier die Vollbedienung. Dieses Album hat sehr viel Herz und Härte. Es ist für mich definitiv eine der Newcomer-Überraschungen und mit Sicherheit eins der Top-Alben des noch jungen Jahres. Brilliant und ergreifend.
So eine Band hat der Szene gefehlt. Da ist alles drin was das Herz begehrt. Wahnsinn!
rate: 9/10
Ich weiß ehrlich gesagt gar nicht, wo ich anfangen soll. Ich bin definitiv ein kritischer und auch objektiver Hörer, der soundmäßig nicht eingeschränkt ist. Das Album habe ich jetzt mehrmals gehört, und der erste Eindruck manifestiert sich in meinem Gehör und in meinem Gemüt auch nach dem 5. oder 6. Durchlauf. Es ist selten, dass ich ein Album nach dem ersten Hören direkt wieder reinschmeiße bzw. wieder auf die Play-Taste drücke. Aber dieses innovative und auch zugleich mutige Teil ist Lobeshymnen des obersten Ranges wert.
Kennt Ihr das Gefühl bei Musik Gänsehaut zu bekommen, weil es einen aus vielerlei Gründen ergreift und packt? Es ist bei mir nach langer Zeit mal wieder passiert. Es ist eine Art Passion, vor allem der Mut die verschiedensten Musikrichtungen unter einen Hut zu bringen. Hier gibt es 80er Wave a la THE CURE, teilweise Power-Pop/Post-Punk lastige Eskapaden, die dann, vor allem zeitgenau und vom Timing brilliant umgesetzt, mit Black Metal-Ouvertüren garniert werden. Neige (Sänger, Bassist und Gitarrist) ist von Avantgarde-Black-Metal-Bands wie FORGOTTEN WOODS bekannt. Er transportiert die entscheidenden Momente in den Sound der Band AMESOEURS, keine Frage. Denn hier herrscht ein Gleichgewicht und eine Abwechslung der eben genannten Musikrichtungen, dass ich Gänsehaut bekomme und sich mein Mund vor Staunen nicht mehr schließen läßt. Es ist einerseits gewagt, aber ebenso innovativ und progressiv.
Insbesondere die zarte Frauenstimme von Audrey bringt eine Stimmung in die elf Songs, die den Hörer zerreißt und in Melancholie versinken lässt. Stets hintergründig, nicht prägnant oder dominant, singt Audrey die meist französischen Texte mit viel Gefühl und Leidenschaft. Jedes Lied steht hierbei für sich und ist ein eigenes Meisterwerk in einem kompakten Epos und von Energie und Melancholie beherrschten Soundexzess.
Z.B. der instrumentale Opener "Gas in veins" packt den Hörer, greift seine Seele und verschlingt ihn. Man fühlt sich direkt wohl, doch zugleich auch bedroht. Nach lethargischen Melodieeinleitungen steigt eine Gitarrenwand empor, die überrollt und einfach nur ergreifend ist. Der Synthesizer-Background ist ein treuer Begleiter, der nie vordergründig erscheint, aber den Sound trägt, in eine unendliche Welt des Erwartens und der Spannung. Das Black Metal-Gewitter ist immer wieder präsent und zeigt die aggressiven Aspekte der Scheibe.
"Amesoeurs" ist ein Hoch und Tief, ein dauerndes Wechseln von Stimmungen und Gefühlen. Einerseits sanft poppig ("Les ruches malades"), andererseits zermalmend ekstatisch wie bei meinem Lieblingssong "La reine treyeuse". Industrial-Intros wie bei "Heurt" werden von Black Metal-Gitarrenbergen und dem passenden Drumming kurzweilig unterbrochen, so dass Audrey ihre zarte, mädchenhafte Stimme mit hineinbringen muss um den Hörer irrezuführen und im selben Atemzug zu beeindrucken. Das Mädel schreit sich dann später einen ab und zieht andere Seiten auf. Im selbigen Song gibt es dann akustische Gitarren-Breaks, worauf melancholische Gitarrensounds a la KATATONIA folgen. Mal rockig, mal Metal, mal Wave. Winterhalter, der Drummer, zeigt das komplette Repertoire eines Drummers, schleppend und prügelnd, stets dem Soundgewand nahe und stets ein treuer Begleiter. Pianos und andere Arrangements bereichern das Album und geben diesem eine unheimliche Breite und eine sinnige beeindruckende Stimmung.
Für Fans, die gradlinigen Sound hören, mit durchgehenden Strukutren und Konzepten, ist es keinesfalls das Optimum. Leute, die sich gerne gewagte Musik anhören, die vor Innovation strotzt und melancholisch abwechselnd klingt, sollten hier zugreifen und sich den Silberling unbedingt, gar zwingend, besorgen. Fans von KATATONIA oder älteren THE CURE werden hier bestens bedient. Auch Black Metal-Freaks, die Pagan lastige Melodien und Melancholie bevorzugen, kriegen hier die Vollbedienung. Dieses Album hat sehr viel Herz und Härte. Es ist für mich definitiv eine der Newcomer-Überraschungen und mit Sicherheit eins der Top-Alben des noch jungen Jahres. Brilliant und ergreifend.
So eine Band hat der Szene gefehlt. Da ist alles drin was das Herz begehrt. Wahnsinn!
http://www.hardsounds.it/PUBLIC/recensione.php?id=5039
AMESOEURS
[genere] Black/post/new Wave
[label] Code666
[distro] Aural Music
[anno] 2009
TRACKLIST
01. Gas in Veins
02. Les Ruches Malades
03. Heurt
04. Recueillement
05. Faux Semblants
06. I XII V XIX XV V XXI XVIII XIX IX XIX IV V I IV
07. Trouble(Eveils Infames)
08. Video Girl
09. La Reine Trayeuse
10. Amesoeurs
11. Au Crépuscule De Nos Rêves
Post punk, black metal, new wave, dark e sottili venature pop fanno di questo disco dei francesi Amosoeurs un'uscita davvero imperdibile. Non solo per i contenuti - che a pelle potrebbero già fare storcere il naso a molti - ma anche per
una padronanza stilistica importante. Al debutto con questo lavoro omonimo, il quartetto dipinge uno scenario raggelante ed allo stesso tempo avvolgente dove i generi e le relative sfumature si danno il cambio di brano in brano, oppure trovano convivenza mai forzata all'interno della stessa traccia. Oscuro, nebbioso, dinamico. A tratti feroce, perlopiù intenso e malinconico, "Amosoeurs" è il ritratto di un tempo in decadenza come rappresentato nella magnifica copertina, e che si riflette nell'altrettanto curato booklet. Segno che nulla è lasciato al caso e che tutto gira intorno all'universo rarefatto e poetico del gruppo in cui i Joy Division rincorrono il black metal più cruento ed evocativo, mentre i The Cure ed i Katatonia si fanno spazio tra le pieghe di brani tracciati da giri armonici avvincenti e tristi melodie. A dare corpo alla proposta la voce della bella Audrey e lo screaming di Neige, rispettivamente suadente e legata come impostazione agli anni '80 la prima, tipicamente black la seconda. Come per i diversi rimandi stilistici anche loro due si dividono la piazza, anche se in prevalenza è Audrey a supportare le atmosfere disperato-romantiche e la repressione emozionale di un disco che non disdegna anche di sperimentare: "Heurt", brano black su cui si staglia la voce filtrata di Audrey. E l'effetto è di quelli sorprendenti. Il tono complessivo che si avverte lungo tutto il cd, poi, di quelli che ti danno la sensazione di trovarti in un ambiente deviato, malato - da qui qualche percettibile sfumatura industrial - suggella un lavoro coraggioso e stracarico di umori conturbanti che non faticheranno ad imporsi alla sensibilità di chi non teme la messa a nudo delle proprie emozioni. Qualche indecisione nel finale non intacca il valore di un'opera destinata a diventare fin da subito oggetto di culto dato anche che la band pare abbia già deciso di dividersi.
We, amesoeurs, are the children of this sad and metallic century...
Amesoeurs is a spit, the only way we have to spew out the anxiety and frustration tied to the difficulties of existence and the pursuit of happiness in our modern society.
Dalla Francia con dolore.
VOTO 82
Andrea "Emo" Punzo
AMESOEURS
[genere] Black/post/new Wave
[label] Code666
[distro] Aural Music
[anno] 2009
TRACKLIST
01. Gas in Veins
02. Les Ruches Malades
03. Heurt
04. Recueillement
05. Faux Semblants
06. I XII V XIX XV V XXI XVIII XIX IX XIX IV V I IV
07. Trouble(Eveils Infames)
08. Video Girl
09. La Reine Trayeuse
10. Amesoeurs
11. Au Crépuscule De Nos Rêves
Post punk, black metal, new wave, dark e sottili venature pop fanno di questo disco dei francesi Amosoeurs un'uscita davvero imperdibile. Non solo per i contenuti - che a pelle potrebbero già fare storcere il naso a molti - ma anche per
una padronanza stilistica importante. Al debutto con questo lavoro omonimo, il quartetto dipinge uno scenario raggelante ed allo stesso tempo avvolgente dove i generi e le relative sfumature si danno il cambio di brano in brano, oppure trovano convivenza mai forzata all'interno della stessa traccia. Oscuro, nebbioso, dinamico. A tratti feroce, perlopiù intenso e malinconico, "Amosoeurs" è il ritratto di un tempo in decadenza come rappresentato nella magnifica copertina, e che si riflette nell'altrettanto curato booklet. Segno che nulla è lasciato al caso e che tutto gira intorno all'universo rarefatto e poetico del gruppo in cui i Joy Division rincorrono il black metal più cruento ed evocativo, mentre i The Cure ed i Katatonia si fanno spazio tra le pieghe di brani tracciati da giri armonici avvincenti e tristi melodie. A dare corpo alla proposta la voce della bella Audrey e lo screaming di Neige, rispettivamente suadente e legata come impostazione agli anni '80 la prima, tipicamente black la seconda. Come per i diversi rimandi stilistici anche loro due si dividono la piazza, anche se in prevalenza è Audrey a supportare le atmosfere disperato-romantiche e la repressione emozionale di un disco che non disdegna anche di sperimentare: "Heurt", brano black su cui si staglia la voce filtrata di Audrey. E l'effetto è di quelli sorprendenti. Il tono complessivo che si avverte lungo tutto il cd, poi, di quelli che ti danno la sensazione di trovarti in un ambiente deviato, malato - da qui qualche percettibile sfumatura industrial - suggella un lavoro coraggioso e stracarico di umori conturbanti che non faticheranno ad imporsi alla sensibilità di chi non teme la messa a nudo delle proprie emozioni. Qualche indecisione nel finale non intacca il valore di un'opera destinata a diventare fin da subito oggetto di culto dato anche che la band pare abbia già deciso di dividersi.
We, amesoeurs, are the children of this sad and metallic century...
Amesoeurs is a spit, the only way we have to spew out the anxiety and frustration tied to the difficulties of existence and the pursuit of happiness in our modern society.
Dalla Francia con dolore.
VOTO 82
Andrea "Emo" Punzo
http://www.gothtronic.com/?page=23&reviews=5924
grade: 9,8/10 !!!!!!!!
There really is no better way to describe Amesoeurs' self-titled album than by quoting the words used by the band itself on numerous occasions. Amesoeurs really is a kaleidoscopic soundtrack for the modern era, reflecting the world around us in all its different forms and idiosyncrasies. A world of cheap thrills and store-bought lives, with the people living their lives in this world seemingly oblivious to the fact that their lives are not nearly as grand as they struggle to convince themselves. Despite claiming that their music does not carry a specific message, it is still food for thought and seems an appeal for striving towards a life of emotion and feeling in a world that seems to have developed itself to run wholly without.
Musically Amesoeurs is a very diverse album, showing influences from nearly every genre which could be taken to fall within the category of dark music together with a somewhat pop-music sound at times. The main influences, however, are post-punk and black metal and these get combined into a perfect symbiosis which is Amesoeurs' music. Songs vary between upbeat, up-tempo songs and blistering black metal with accompanying screams by Neige. Most of the songs have their own separate feel (aggression, dejection, acceptance, etc.) and overall the album is more of a collection of songs rather than having the separate songs form a whole. This is definitely not a negative point, because each song is good in its own right and there is no real need to have them link up more than they do.
The vocal sections are mainly filled in by Audrey Sylvain, whose voice is lovely and rather nice to listen to. Neige's vocals, on the other hand, only play a small part on the album and what saddens me slightly is that there could have been times where both vocal styles were used together. Lyrics are all in French and although a lot of potential listeners probably do not speak French, it does not seem like it should be much of a put-off in this case, since the music and the vocals in their own right are more than apt at evoking the right atmosphere and feelings. Interesting fact is that the lyrics for Recueillement are taken from Baudelaire's Les Fleurs du Mal and seem as relevant today as they must have done when they were originally penned down in 19th century. The production is incredibly clear, which makes everything as audible as one could possibly wish. On the one hand, this is great, because it makes the music easy to take up and it seems to fit well with the concept of industrialisation and mass production, but on the other hand it may have been taken slightly too far and a tad more dirt on the production might have made everything sound just that much more plastic.
Personally, I think everyone should at least listen to this album once and see how they feel about it. There is a lot to be found on the album and each person may take something else from it. As far as I am concerned, this album could only have been brought forth in our bleak and dark age of industrialism, urbanism and lifelessness and as such it is a near-perfect reflection of just that world.
Band: Amesoeurs(int)
Label: Code666
Genre: dark metal (gothic metal / dark metal / black metal)
Type: cd
Grade: 9.8
Review by: Padraigh
Website: http://www.myspace.com/amesoeurs
grade: 9,8/10 !!!!!!!!
There really is no better way to describe Amesoeurs' self-titled album than by quoting the words used by the band itself on numerous occasions. Amesoeurs really is a kaleidoscopic soundtrack for the modern era, reflecting the world around us in all its different forms and idiosyncrasies. A world of cheap thrills and store-bought lives, with the people living their lives in this world seemingly oblivious to the fact that their lives are not nearly as grand as they struggle to convince themselves. Despite claiming that their music does not carry a specific message, it is still food for thought and seems an appeal for striving towards a life of emotion and feeling in a world that seems to have developed itself to run wholly without.
Musically Amesoeurs is a very diverse album, showing influences from nearly every genre which could be taken to fall within the category of dark music together with a somewhat pop-music sound at times. The main influences, however, are post-punk and black metal and these get combined into a perfect symbiosis which is Amesoeurs' music. Songs vary between upbeat, up-tempo songs and blistering black metal with accompanying screams by Neige. Most of the songs have their own separate feel (aggression, dejection, acceptance, etc.) and overall the album is more of a collection of songs rather than having the separate songs form a whole. This is definitely not a negative point, because each song is good in its own right and there is no real need to have them link up more than they do.
The vocal sections are mainly filled in by Audrey Sylvain, whose voice is lovely and rather nice to listen to. Neige's vocals, on the other hand, only play a small part on the album and what saddens me slightly is that there could have been times where both vocal styles were used together. Lyrics are all in French and although a lot of potential listeners probably do not speak French, it does not seem like it should be much of a put-off in this case, since the music and the vocals in their own right are more than apt at evoking the right atmosphere and feelings. Interesting fact is that the lyrics for Recueillement are taken from Baudelaire's Les Fleurs du Mal and seem as relevant today as they must have done when they were originally penned down in 19th century. The production is incredibly clear, which makes everything as audible as one could possibly wish. On the one hand, this is great, because it makes the music easy to take up and it seems to fit well with the concept of industrialisation and mass production, but on the other hand it may have been taken slightly too far and a tad more dirt on the production might have made everything sound just that much more plastic.
Personally, I think everyone should at least listen to this album once and see how they feel about it. There is a lot to be found on the album and each person may take something else from it. As far as I am concerned, this album could only have been brought forth in our bleak and dark age of industrialism, urbanism and lifelessness and as such it is a near-perfect reflection of just that world.
Band: Amesoeurs(int)
Label: Code666
Genre: dark metal (gothic metal / dark metal / black metal)
Type: cd
Grade: 9.8
Review by: Padraigh
Website: http://www.myspace.com/amesoeurs
http://2bgrm.blogspot.com/2009/03/amesoeurs-amesoeurs.html
When one of my bros from the internet showed me this band a few months ago I was like Wow, this is pretty good, but they only have a few songs so Ill probably never listen to this as much. Well now they have a full length album out and I must say that I am quite impressed.
This album is the epitome of hipster black metal. Its simply beautiful music. Why cant more black metal take this route instead of the totally kvlt one? Neige, also of Alcest, is a genius. I cannot find a single thing that I dislike about this album. From the interesting sounding lyrics that I cant understand because I dont speak French to the pretty vocals of Audrey Sylvain (Shes also pretty IRL and has a pretty name), Amesoeurs manages to create a very unique sound that Ive never heard anything at all like before. This album is 58 minutes of pure amazing and I strongly encourage just about anyone to check this out even if you dont like metal.
When one of my bros from the internet showed me this band a few months ago I was like Wow, this is pretty good, but they only have a few songs so Ill probably never listen to this as much. Well now they have a full length album out and I must say that I am quite impressed.
This album is the epitome of hipster black metal. Its simply beautiful music. Why cant more black metal take this route instead of the totally kvlt one? Neige, also of Alcest, is a genius. I cannot find a single thing that I dislike about this album. From the interesting sounding lyrics that I cant understand because I dont speak French to the pretty vocals of Audrey Sylvain (Shes also pretty IRL and has a pretty name), Amesoeurs manages to create a very unique sound that Ive never heard anything at all like before. This album is 58 minutes of pure amazing and I strongly encourage just about anyone to check this out even if you dont like metal.
http://www.lordsofmetal.nl/showreview.php?id=13573
Hoofdcomponist Neige (o.a. Alcest) en consorten vervolgen op Amesoeurs zoals beloofd in de stijl van het (MCD afsluitende) nummer Faiblesse des Sens. De black metal invloeden zijn meer naar de achtergrond gedrongen (doch immer present!) en de cleane zang van Audrey speelt een veel grotere rol. De sfeer die men neerzet is wederom tragisch, desolaat en oh zo meeslepend. Als je er een beetje gevoelig voor bent is het bijna een uur lang heerlijk meevoelen en wegdromen bij de Franstalige mijmeringen en overpeinzingen. Het mooie is dat tussen de Joy Division-achtige geluiden door de (nieuwe) verontrustende noise-toevoegingen en heftige black metaluitspattingen als in Heurt, Trouble of het tweede deel van La Reine Trayeuse (let op de door merg en been snijdende oerkrijs van Audrey!) des te indrukwekkender overkomen.
Wat mij betreft plaatst Amesoeurs zich met Amesoeurs op een gelijke hoogte als Katatonia en Agalloch, andere grootmeesters van de melancholie. Dat je met simpele compositorische middelen en technische capaciteiten minstens net zoveel, zoniet meer kan bereiken worden bewijst deze gevoelige plaat op een prachtige manier.
Score: 95/100 (toelichting)
Amesoeurs - Amesoeurs
Code 666
Code 666
Richard G.: In 2007 werd de eerste MCD Ruines Humaines van het Franse Amesoeurs zeer goed ontvangen. De prachtige, sfeervolle combinatie van koude black metal en emotionele new wave/postpunk klonk kil en warm tegelijkertijd en de vraag en nieuwsgierigheid naar meer materiaal in de vorm van een volledig album werd groter en groter. Begin 2009 is het wachten dan eindelijk over en het officiële zelfvernoemde debuut Amesoeurs lost de verwachtingen meer dan in! Hoofdcomponist Neige (o.a. Alcest) en consorten vervolgen op Amesoeurs zoals beloofd in de stijl van het (MCD afsluitende) nummer Faiblesse des Sens. De black metal invloeden zijn meer naar de achtergrond gedrongen (doch immer present!) en de cleane zang van Audrey speelt een veel grotere rol. De sfeer die men neerzet is wederom tragisch, desolaat en oh zo meeslepend. Als je er een beetje gevoelig voor bent is het bijna een uur lang heerlijk meevoelen en wegdromen bij de Franstalige mijmeringen en overpeinzingen. Het mooie is dat tussen de Joy Division-achtige geluiden door de (nieuwe) verontrustende noise-toevoegingen en heftige black metaluitspattingen als in Heurt, Trouble of het tweede deel van La Reine Trayeuse (let op de door merg en been snijdende oerkrijs van Audrey!) des te indrukwekkender overkomen.
Wat mij betreft plaatst Amesoeurs zich met Amesoeurs op een gelijke hoogte als Katatonia en Agalloch, andere grootmeesters van de melancholie. Dat je met simpele compositorische middelen en technische capaciteiten minstens net zoveel, zoniet meer kan bereiken worden bewijst deze gevoelige plaat op een prachtige manier.
Score: 95/100 (toelichting)
same in english
Main composer Neige (also in Alcest) and friends continue in the direction of the final MCD track Faiblesse des Sens (as promised). The black metal influences are more and more backgrounded (yet still very much present!) and Audreys clean vocals play a much bigger role. The atmosphere that is created is again tragic, desolate and engulfing at the same time. For almost an hour it is simply a case of dreaming away and feeling along with the French musings and long-stretched introverted thought-processes. The beauty of it all is that in between the Joy Division-esque sounds of agony and unhappiness the (new) disquieting noise influences and violent eruptions of black aggression are all the more impressive, as in Heurt, Trouble or the second part of La Reine Trayeuse (look out for the all-crushing, utterly desperate primal scream by Audrey!).
Amesoeurs place themselves with Amesoeurs right among the top ranks of melancholic metal masters such as Katatonia or Agalloch. Once again it is proven that you can achieve so much (more) with simple song writing and technical skills, resulting in arguably the most beautiful record that 2009 will see.
Rating: 95/100 (details)
Amesoeurs - Amesoeurs
Code 666
Code 666
Richard G.: In 2007 the first MCD Ruines Humaines by Amesoeurs was extremely well received. The beautiful, atmospheric combination of black metallic sounds and emotionally laden new wave/postpunk sounded cold and warm at the same time. The demand and curiosity for new material was immediately immense and steadily grew with each month. At the beginning of 2009 the waiting is finally over and the official self titled debut Amesoeurs totally lives up to all expectations! Main composer Neige (also in Alcest) and friends continue in the direction of the final MCD track Faiblesse des Sens (as promised). The black metal influences are more and more backgrounded (yet still very much present!) and Audreys clean vocals play a much bigger role. The atmosphere that is created is again tragic, desolate and engulfing at the same time. For almost an hour it is simply a case of dreaming away and feeling along with the French musings and long-stretched introverted thought-processes. The beauty of it all is that in between the Joy Division-esque sounds of agony and unhappiness the (new) disquieting noise influences and violent eruptions of black aggression are all the more impressive, as in Heurt, Trouble or the second part of La Reine Trayeuse (look out for the all-crushing, utterly desperate primal scream by Audrey!).
Amesoeurs place themselves with Amesoeurs right among the top ranks of melancholic metal masters such as Katatonia or Agalloch. Once again it is proven that you can achieve so much (more) with simple song writing and technical skills, resulting in arguably the most beautiful record that 2009 will see.
Rating: 95/100 (details)
