I hated Romances the second I heard it--but I liked it after a half-hour, and I loved it after listening to it the third time. It's a thick, experimental album that demands patience and a second (or third, or fourth) chance to truly enjoy the listening experience.
Mike Patton (Faith No More, Mr. Bungle, Fantomas, Tomahawk, Lovage, Peeping Tom, etc...) either has the world's largest creative drive--or the worst case of A.D.D. Patton seems to always be involved with least three recording projects at a time--always with completely different bands, genres, and overall themes. This particular project teams Patton with John Erik Kaada--an experimental jazz/trance/techno musician-soundtrack composer (?... you try to put a label to it!) from Norway. The results are... interesting and addictive.
Mike Patton continues his recent "cinematic" music phase (as heard on Director's Cut and Delirium Cordia by Fantomas) where the CD seems to be more of a motion picture soundtrack than an actual album. Thankfully, Kaada's influence makes the listen a more soothing experience (although it still is a bit haunting) rather than the absolute horror that Delirium Cordia offered. So it could be said that if Delirium Cordia were a slasher film, Romances would be a psychological thriller.
Where Romances really shines is in its exploitation of tension and release. Right when you start to ask, "Where the hell is this song going?" after a long period of droning, pulsating, atmospheric music, the song suddenly turns into a wonderful hook that demands your full attention. The instant you become comfortable with the hook, Patton and Kaada strip it from you and return to background. It's an exercise of risk and reward... patience and payoff. The more you give, the more you get.
It should be said, though, that this is not a noise album. While it is experimental, it isn't so far gone that the songs lack structure, theme, or music. All the essential musical elements are there--just not at the pace we are used to. Where most bands may pause a few beats between song elements, Kaada and Patton pause a few minutes (but the pause actually adds to the song). When you have to wait longer for the payoff, the payoff is more appreciated (again, due to their brilliant exhibit of tension and release).
Musically, Kaada's jack-of-all-trades expertise is felt on the many, MANY instruments heard on this album, but it is the instrument of Patton's voice that keeps the ear attentive. Where Kaada can play anything, Patton can sing anything (or grunt, gurgle, croon, or whatever). It's a real treat to hear the two play off each other. Even during the "pauses" between ideas/moods, the instrumentation and voices are interesting enough to keep you from hitting "skip" on your CD player.
Song-wise, Kaada and Patton switch it up a bit from Vegas-crooning to a western-movie score to simple "la la la's"--all the while keeping it all wrapped up in a tight "spooky-romantic" theme. There are a few stand out songs (Pitie Pour Mes Larmes is my fave)... but you'll remember the album as a whole over the individual parts.
Should you run out and buy it? I dunno... depends on your patience and what kind of mood you're in.
Will I listen to it often? No, but when I am in the mood to listen to it, I will love it.
Rating: ****** outta 8
To listen to samples from their website: http://www.kaada.no/romances/
To view other Ipecac recordings (Patton's label): http://www.ipecac.com
No comments:
Post a Comment