New album “Sauvage Formes”

Listen here on bandcamp:

Released 27.04.2018 on Les Disques Bongo Joe (BJR 027) / Red Wig rw032

November 2016, 10 years of OTPMD.

Vincent Bertholet, still resolute, finally realises his old dream of a ‘real’ orchestra. And thus was born the project to expand the known horizon. The orchestra became XXL by assembling accomplices from the first hour, who had never really disappeared from view, and an English string section met along the way.

From now on, they will be 14 on stage. An anniversary tour, prestigious stages and makeshift squats, unrestrained agitation as in the first days, and a larger chorus, more percussive than ever.
The multi-headed Hydra gives voice in concert and the frail stages that host it groan under its weight. Nevertheless, it is in the studio that the foundation of a new adventure is forged. Back to England, in the imposing and magnificent building that houses Real World Studios. After Rotorotor (2014), John Parish is again at the controls.

It’s called Sauvage Formes, a shrewd title, because everything here is as geometric as it is organic. The incisive rhythms, doubled in XXL, trademark of the pack, mingle with the unusually melancholy brass. The guitar riffs express themselves in minimalistic cascades, and since the number of strings has tripled, they allow themselves the luxury of entwining with each other, like a carnal embrace without epilogue. The voices, more numerous than usual, recite, chant, lead the dance and poeticise, sometimes in French, sometimes in English, and, in the same spirit, the chorus takes the opportunity to shape the pediment of hymns to elsewhere.

On crossing these 8 songs as beautiful as they are adventurous, it seems to be a story of a voyage, a torn logbook. On the horizon however, neither boat, nor rickety plane, neither map nor compass. Is it because the continent that is mentioned in these texts and melodies is not a known place, but rather a dream world, a land of asylum for rebels and the insubordinate, for the daring and the benevolent?

The fourth Orchestre Tout Puissant Marcel Duchamp album is like a road, a purpose, an ideal of shared and shareable lives. And the writing of this music is like the defences of an imaginary seafront, like an act witnessing an intertwined destiny, an extraordinary adventure. The story of a chamberless orchestra, a sensitive battalion of unlimited generosity, a wild form that never needed a master to tame its imagination and determination.

Trust 190, Juni/Juli 2018: Der erste Teil des Namens erinnert an große afrikanische Bands, die, so übersetzt sich das das wohl, alles können. Der zweite verweist auf einen Ansatz, der eher Art School ist. Marcel Duchamp – Erfinder des Readymades und Mitbegründer der Konzeptkunst. Klingen tut es – zumindest oberflächlich betrachtet – nach keinem von beiden. Stattdessen gibt es hier eine Musik zu hören, die, immerhin ist unter anderem Wilf Plum von den Dog Faced Hermans und ähnlichen Unternehmungen von der Partie, in ihrer Durchlässigkeit für Jazz, durchaus auch für Afrikanisches, Art Rock und was nicht noch. Das Resultat klingt sehr eigen, sehr schön, live möglicherweise dann auch wild, was unter Studiobedingungen leicht und komplex geraten ist. (stone)

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