FaltyDL est une nouvelle fois un producteur dont on ne sait rien, ou presque, venu de New York et dégoté par un Paradinas décidément peu avare en nouvelles signatures. Un Ep sur Planet-Mu, quelques Mp3 disséminés avant sur le net, rien de plus.
La pochette, elle, étonnera et contrastera avec les habituels artwork du label anglais, et pourtant réalisé par le même collectif AS1. Apres les vaches écartelées ou les cochons en rut pour Venetian Snares et les cadavres au crane défoncés pour µ-ziq, les designers se penchent sur une ode aux demoiselles des before 70’s.
Ils semblent d’ailleurs particulièrement apprécier Jane Birkin, qui apparaît plusieurs fois dans la pochette, et les plus attentifs y croiseront même B.Bardot. Bref, toujours pas d’indication précise sur le contenu d’un Love is a liability bien mystérieux, mais qui, après avoir glané un premier morceau sur le net exposant un curieux mélange, allait se révéler obligatoire à écouter, histoire de voir si le tout se tenait de la sorte sur long format.
Une fois n’est pas coutume, écrémons, et allons (presque) à l’essentiel. L’album, dans ses grandes lignes, se présente comme un curieux mélange de dub éthéré avec vocals pitchées à la Untrue de Burial, de Garage-2step étrangement mélancolique, et de mélodies 8bits naïves. Le tout dans un écrin électronica ciselé avec préciosité. Love is a liability est très homogène, et déroule une recette bien tenue sur les 13 morceaux. Aucun faux pas, aucun morceau faisant poindre l’ennui (Dans le genre, c’est assez rare pour être signalé) mais quelques morceaux qui ne soulèveront ni coeurs ni foule, concédant simplement à provoquer le plaisir simple et salvateur d’un va-et-vient de nos tête, en rêvant. Certains morceaux passent, enivrent, réjouissent sans vraiment marquer.
De The Shape To Come, bizarre litanie electronica, à Encompass , morceau très Dub électro qui n’aurai pas fait tache sur un album d’ High Tone, en passant par Truth, excellente petite digression grime-chiptune, ou Eniua et son Idm sombre et déstructurée, voir Dyonisos, excellente petite bombinette gameboy dancefloor imparable… on navigue dans le très sympathique, si l’on accroche au style extrêmement marqué façon garage slow-motion hanté par des voix r’n’b dance bouffées par les changements de pitch. Certains morceaux aux teintes méchamment 2step / Garage auraient pu figurer dans les compiles Grime 1 & 2 du label Rephlex, de part leurs coté dubstep électro aride. (Vous êtes perdu dans l’étiquetage des genres ? moi aussi.)
Human Meadow, premier stage du disque, et ayant eu le privilège de se faire remixer par des pontes de Mu sur l’Ep le mettant à l’honneur, ouvre les hostilités de la plus belle des façon. Un coté un peu dance pute noyé dans un écrin mélancolique (les voix, à base de “ouh yeaaah”, “wooohuuhoo” et “forever forever baby” dépressifs s’acoquinant aux reverbs) le tout supplanté par une bassline dubstep qui décrasse. C’est joli, hypnotique, et fait fourmiller le bassin. On pas loin de certaines compos de Starkey, pote de label, comme si le titre Miracles se paraît d’un manteau aux tissus un peu plus légers.
Winter Sole mettra les amateurs de dubstep déviant à genoux, en balançant un morceau sombre, d’une jolie profondeur, parfaite pour étriper la dimension sonore d’un casque audio. Habité par des cordes à chialer sur son introduction, le disque va basculer graduellement sur des claviers analordiens désabusés, réminiscences trance et autres vrombissements bien sentis, pour une fresque aride, presque minimale, mais plutôt belle.
Reste que le premier morceau à filer une petite claque, et surtout imprimer un joli sourire sur nos trombines, se profile avec To New York, que l’on sent tubesque dès ses prémices, avec cette ligne de basse imparable, et cette petite litanie 8bits naïve et marrante, qui va petit à petit s’enrichir, emplir l’espace, bouffer les pistes, avant d’exploser sereinement et nous emmener sur une électro parfaite pour faire dandiner le cul de Yoshi. Le morceau est lumineux, en constante progression, et use intelligemment du coté chiptune pour tailler une tuerie guillerette mais nostalgique. Le final en convaincra plus d’un, basé exclusivement sur ce chapelet de Gameboys camées qui s’enlacent. Même délire avec Our Loss, garage dubstep conventionnel faisant de nouveau la part belle aux voix puputes, va basculer en sa moitié en nouvelle invocation assez énorme, à la gloire des jeux vidéos rétro.
Mais bizarrement, ce qui sort cet album de FaltyDL de la case “galette bien sympa” pour le foutre dans celle des “galette bien sympa avec des passages qui te cloutent au siège”, c’est sa dernière ligne droite. Les 4 titres finaux, qui semblent avoir été placé exprès en conclusion, histoire de te filer la baffe que t’attendais patiemment depuis le début, climax violemment beau d’une ballade juste affriolante.
Le premier, Anxiety, se réclame directement du son à la Burial, Pangaea, Clubroot and co, avec ce rythme syncopé et sec donnant la repartie aux vocals fantomatiques toujours pas capables d’aligner une phrase entière. C’est les échos qui te font planer, les beats qui te cisaillent la gueule, c’est la mélancolie poisseuse d’une mégalopole cradingue qui galope dans tes tympans et qui te choppe le coeur. Mais c’est surtout un break superbe, intervenant assez rapidement, qui ouvre sur un violon synthétique à crever, qui accompagnera le morceau jusqu’à son extinction. La montée des cordes, qui resteront pourtant toujours en retrait, file la chair de poule, fait basculer le tout dans une valse des sentiments, dans une mini introspection, façon “je regarde la pluie tomber par la fenêtre en soupirant, avec une tasse de thé ou une bière lovée dans la main”. Plus d’un Skinner paieraient pour poser là dessus. Un vrai petit diamant. Ca se la joue dancefloor, mais c’est d’une tristesse à couper au surin.
Pink On The Inside se permettra lui aussi de nous titiller la colonne, en plongeant le son de FaltyDL dans une piscine plus electronica. Le tout commence dans la norme imposée par le disque, avec ce dubstep spectral. Mais ce dernier va doucement muter, et accueillir un très beau synthé typiquement µ-ziq, façon Idm belle mais malsaine, candide mais cancéreuse. Radieuse, c’est un masque. Et ça monte, ça monte, ça t’arrache les cheveux un par un, avant de finir dans un océan de nappes esseulées, dissonantes, hypnotiques, presque grandiloquentes.
Faisons une petite entorse à la chronologie de ces 4 dernières munitions, en passant directement à la dernière piste de l’album, The Shape as Come. Et quelle piste ! Commençant sur une superbe mélodie, le morceau va se farder d’une mélodie très Plaid tout en clochette, qui va se dérouler tranquillement, en évitant quelques bugs cradingues, nous défonçant l’échine dans le même mouvement. Rien de spécial, peu d’évolution, et pourtant tout se tient parfaitement, offrant une conclusion magnifique à l’album.
Et si les trois morceaux du dessus peuvent aisément trouver racines chez Burial, µ-ziq et Plaid dans l’ordre, Paradise Lost, l’avant dernière entité du tracklisting, créée son propre terreau, son propre tremplin vers l’espace. Les synthés arrivant en vague vont laisser rapidement place à une superbe mélodie 8bits, chialant sa mélancolie sur une bassline bien rugueuse, puis se cristallise, s’envole, nous arrache la gueule. C’est déjà magique, mais des pulsations angéliques, façon shoegaze électronique se pointent, nous reversent, nous volent l’âme et nous laisse dériver dans l’espace, béat par la teneur du tout. Tout se calme, mais les 45 dernières secondes façon chiptune-shoegaze-épique en tueront plus d’un sur place, pour peu que l’on soit sensible à ce genre d’envolées faussement fragiles.
Facile de conclure, cet album sympathique qui se transforme en bombe lors de son dernier quart est une curiosité à mettre dans les oreilles friandes d’excavations 8bits vulnerables et mélancoliques, de morceaux sombres et habités façon vague post-Burial, d’envie de Uk Garage et autres amateurs de vignettes electronica.
Love Is a liability n’a rien d’indispensable, ni de spécial (si l’on excepte les 4 derniers titres, frôlant l’excellence), mais reste une galette surprenante, et extrêmement plaisante…
This entry was posted on Tuesday, July 14th, 2009 at 5:18 am and is filed under Chroniques.
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Ahah, quand on m’aura envoyé un peu de talent.
Et yep New York est bien cool, et encore personnellement, c’est rien comparé aux quatres derniers titres… ^^
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Mon Dieu, “To New York” est magnifique, sans parler de la cover… Quand est-ce que tu nous fais de la musique comme ça avec ton ESX et ta Gameboy ? ^^
Ahah, quand on m’aura envoyé un peu de talent.
Et yep New York est bien cool, et encore personnellement, c’est rien comparé aux quatres derniers titres… ^^
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