Friday, June 5, 2020
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cover
Artist: David Fenech
Title: Grand Huit
Format: 12"
Label: Gagarin Records (@)
Rated: *****
The recording of a panic-stricken hurly-burly crowd under a spray of drums and gunfire is the frantic introduction on "Petit Huit" of this amazing stylistical pastiche by David Fenech on this surprising and amazing album, "Grand Huit" (French expression meaning "looping" or "roller coaster"), whose first edition came in the year 2000 on Tout L'Univers and has been reprinted on Gagarin Records, the label of the prodigious NeoDadaist composer Felix Kubin. The fact that it was assembled by means of a rudimentary 4-track tape recorder and cheap equipment could be deceptive as the response you'll receive from ears and mind cannot but contemplate an intrinsic niceness and that kind of heterogeneity which sounds everything but prosaic or predictable: you can imagine a gap-toothed dead ringer of Beth Gibbons on "Confieso Que He Vivido", who get replaced by a body double of Tom Waits, whose dry-cough hails his rude awakening before a choir of moochers matches a battle hymn from the streets and a strident and malformed interpretation of Cibo Matto's stuffon "Mister Master", an emulator of Yann Tiersen, who gradually fall into temptation of playing something which sounds more macabre, while performing in a grungy bistro on "'Un Lacher De Lucioles/Jukebox', the scraggy reading of a poem on frustration on "Boeuf Bourguiba", the grotesque Japanese sketch on the amazing "Opera En Toc", the xylophone-driven frenzy of "Jaune d'oeuf en cage", the elegant electro-pop uncouthness and moronic jerks of "Petit Soleil". The unpredictable parenthesis of filthy funk on "Grand Huit", the surreally crackpot dedication to Tarkovsky's "Solaris", the above-mentioned blubbery dead ringer of Beth Gibbons while rehearsing a song with painful ankles on the bothersome of dogs, the autistic low-fi dub-funk of "Coralingo", the electronic tinnitus on "Goulashnikov" and the depressed dark folk ballad on guitar and voice of "Love That Feel", a properly epic conclusion, gives a wider perspective on the varicolored, fascinating and somehow thunderstruck musical universe of David Fenech. A hoot for lovers of dada-influenced aesthetics.

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