PiNioL

Michael Baryshnikov написал(а) к All в Dec 18 14:14:42 по местному времени:

Нello All!

Залит PiNioL/(2018)BranCoucou

Новая французская прогрессив-рок-группа.
Ну, как "новая"? Это - совместный проект двух французских авангардных коллективов - Poil и Ni.
Два ударника, два баса, две гитары... Поздний Кинг Кримсон, приправленный изрядной долей французского "ку-ку". Не для слабонервных. Но БЕЗ крайностей, где-то на грани. Интересно, здорово!
Весьма рекомендую!

===
(c) PiNioL biography, PA

Founded in Lyon, France in 2015

A French rock project PINIOL have been born as a monstrous avantgarde progressive septet resulting from the consanguineous fusion of POIL and NI, featuring double Avant-Prog power of two drums, two basses, two guitars and keyboards. Their debut album "Bran Coucou" has been released upon April 27, 2018 via a French independent label Dur et Doux.
===

(c) Review by DamoXt7942, PA

The PiNioL world flooded with confusion and revolution. Needless to say, a new combo PiNioL were founded as a joint venture project by two French avantgarde rock act PoiL and ni. We've waited for their debut creation "Bran Coucou", finally that was released officially upon April 27, 2018. Already via their bandcamp we could listen to their sample "Pilon Bran Coucou" full of PoiL's cynical soundscape and ni.'s speedy, violent sound attack, and the album "Bran Coucou" has never deceived our massive expectation. Firstly the sleeve with crazy psychedelia in the design of the pics should knock us out completely. And yes, their songs upon the album sound more and more avantgarde, complicated, and delicious, pleasant for us.

The first explosion "Pilon Bran Coucou" is deeply condensed, definitely essential without expression. In this track are lots of powerful, fruitful melodic / rhythmic phrases seasoned with mischievous, jokey flavour, and amazingly all of them should be harmonized and crystallized without any deviation. Even their words / voices full of meaningless madness can be addictive really. Repetitive psychedelic footsteps let us dance over and fall down. Painful sound dissonance is rather than enjoyable for the audience. Followed by "Pogne" that would be more and more flexible and dissected. We can feel of something dangerous, critical via the former part of this track. In the latter are much rhythmic voice percussion, quite danceable (it's a liar). Even dreamy, sensitive texture e.g. in "Mimolle" sounds a tad of another dimension. Such a creativity of theirs can ring our bell, obviously. On the other hand, "Sh' Shin" is sorta mysterious stuff. It has apparent magic all around, for every fan. Sorry I cannot hear precisely but they sing vaguely in Japanese, and this atmosphere swaying to and fro should be charming I guess.

Their sound development might be effective for release of our inner mind. We PiNioL lovers as surrealistic voyagers, would like departure from our customary music scene. For an hour, we can fly away from such a ceremonious turf. Do enjoy.
===

(c) Review by BrufordFreak, PA

It's all the rave, combining two bands--this time two well-respected avant garde trios from France. The result of all the hype and anticipation is highly entertaining, mind-bogglingly complex, if sometimes a little drawn out and formulaic. I hear a lot of SONAR-like Math Rock in this music, despite the amazingly fun and surprisingly fitting made-up language (a Zeuhl version of Japanese?) vocals. The first half is highly engaging and then it gets a little old.

1. "Pilon Bran Coucou" (14:02) controlled chaos. It's even melodic and highly engaging! And what musicianship! (9.25/10)

2. "Pogne" (7:15) odd time signature with some catchy melodies and wild fake-Japanese-Zeuhl vocals. It's awesome! (9.5/10)

3. "Mimolle" (4:29) avant even math rock in its rhythm section, the tremolo picked guitar in the opening section speaks "Post Rock" a la MONO, but then things go totally Avant Math Rock in the second minute. As it builds and wails into a frenzy, the music just sucks you in (instead of repelling). (10/10)

4. "Sh' Shin" (14:37) is this song just a Нamiltonian set up for an American swear word? (MF/WTF) (Who knows if the pseudo-Japanese is also of a similar extraction and meaning?) (8.5/10)

5. "Fran'ois 1er" (9:11) the bonny king is an historical favorite of mine, so my first listen to this comes with expectations: (It better be good!) Slow, sliding tremolo guitars pan across our listening horizon before synth, basses, and drums enter and establish a slow methodical rhythm track. At 2:30 a guitar steps forward as a "lead" instrument--but it's all SONAR-like Math Rock weave. (Though I hear SEVEN IPALE and KARNIVOOL in this song as well.) Maybe I've been spoiled by the opening song, but this one feels too sedate or as if it never gets off the ground--they just keep testing the engine and special features/apps. (8.5/10)

6. "Kerberos" (6:05) the band has gotten too tight and too formulaic--the subtleties and idiosyncracies (other than a few belly laughs and xylophone sounds) are all but absent from this one. (8/10)

7. "Orbite" (12:05) slow and very sparse for the first four and a half minutes, it's not until the nonsense pseudo-Japanaese vocals enter that something really interesting begins to happen--and even then it's minimal progress. At 6:20 we finally get some power, some force, some energy and emotion as bass and guitars bash out some heavy chords and metallic arpeggi. I'm reminded of something from King Crimson's Red/Starless period, but this is a little too drawn out. Still, it is better in the second half. (8.5/10)

A near-masterpiece of progressive rock music. Adventurous as it begins, it becomes a bit too formulaic and predictable.
===

Enjoy!
WBR, Michael Baryshnikov.

--- wfido