Continuing the conflict in their self-acclaimed “War on the dancefloor”, French metallers Pavillon Rouge are poised to unleash their latest assault in the shape of third album Dynasteia Klub. It brings an escalation in their sonic violence, drama, and virulent trespasses as well as thickly bound fascination as the band’s fusion of electro, industrial, and blackened extreme metal breaches new thresholds and heights in creative dissension. It is a one of a kind hostile pleasure invading body and psyche like a contentious puppeteer.
Formed by guitarist/programmer Mervyn and drummer YVH back in 2008, Pavillon Rouge swiftly made a potent impact with their merger of black metal and hardcore techno bound in atmospheric suggestion but especially caught attention and acclaim with debut album Solmeth Pervitine three years later. Its success and strengths were subsequently eclipsed by its successor Legio Axis Ka in 2015, an inescapable assault and incitement capping a time seeing the Grenoble hailing outfit play with the likes of Psygnosis, Himinbjorg, Svart Crown, and The CNK. Both releases were fuelled by a sound which showed real individuality and now finds even stronger character and adventure within Dynasteia Klub. It has the body dancing, the imagination conjuring, and the senses cowering to its bold invasive tempest; guitarist/vocalist Mu Cephei, bassist E.Shulgin, drummer XVH, and Mervyn, a line-up completed live by guitarist ADB, voraciously trespassing with industrial uniqueness.
Album opener L’Harmonie et la Force instantly spreads an atmospheric breath around ears, intrigue and shadows blending within its intimation as melodies begin to vein the lure. All the time a rhythmic pulse is brewing, looming closer with portentous hues and eventually driving the heart of the sonic incursion. Vocals scowl and holler as beats throb, melodic enterprise as toxic yet magnetic as the black raw intensity of the track. Within seconds the body was bouncing, ears devouring, and enjoyment brewing, the track increasingly offering the kind of predacious enterprise which marked out the last album but with greater craft and maturity not forgetting fresh character.
The following Ô Legions, Ô Triomphes initially gives respite for the breathlessness drawn by its predecessor, synths colluding in the song’s melodic weaving though all the time you sense an underlying voracity and urgency which soon takes the reins of another quickly and fiercely addictive challenge. Even then it still retains its control as vocals and heavy shadows accentuate its theatre of threat and manipulation though a mercurial edge lines it all ensuring a lack of predictability.
The album’s title track immerses the senses next, its weave of electronic, industrial, and grievous metal an infestation of irritable infectiousness around vocal and rhythmic discord and temptation respectively. There is a cosmopolitan hue to the guitar’s melodic web, a theatre echoing the lyrical aspects such as discipline, joy, and forgiveness bred in the release’s Ancient Greek Philosophy inspired themes. Again the band refuse to release the listener from its invasive physical tenacity; ebbs and flows in its gait only adding to the inescapable infectiousness before Le Rayonnement Du Temple Nouveau brings a relative calm with its initial invitation. Soon though, an intrusive tapestry of sound and emotion envelops ears, its grasp dark and suggestive as it explores the senses and imagination.
From its first breath, the outstanding In Aenigmate grips with insatiable hunger, senses whipping rhythms pushing its boisterous trespass as guitars and bass flirt with the same rapacious intent while Bodhisattva offers a kinder intensity though it is just as potent in its creative maze and emotional ferocity led by vocal friction. An inventive fusion of the familiar and fresh, the song did not quite inflame the passions as many before it but with the body uniting in its energy and appetite in its drama, the song left pleasure full before the more atmospherically and physically barbarous Notre Foi Brûle Encore took limbs and lungs on another solicitous ride. As with all tracks, unexpected twists and turns add to the drama of its insatiable intent without ever bringing a deviation from the creative, emotional, and corporeal voracity.
The album concludes with firstly another of its pinnacles in Dans L’ailleurs Absolu; a song which, if not in sound, rhythmically and intensively has something of an early Killing Joke feel to it behind a collage of samples and riveting textures. Its unbridled magnetism draws the listener into the closing ethereal embrace of Ad Augusta. Unsurprisingly it has a tempestuous heart which breeds ravenous rock ‘n’ roll, a storm of enterprise continuing to be draped in the melodic poetry of synths.
It is a tremendous, energy sapping end to an album which relentlessly devours the listener as much as it persistently pleasures them. Like many we were hooked on Pavillon Rouge’s warfare thanks to Legio Axis Ka, now the even more creatively powerful and striking Dynasteia Klub brings lust into play.
Dynasteia Klub is released March 30th through Season of Mist.
http://dynasteiaklub.com/ https://www.facebook.com/LuxDiscipline/
Pete RingMaster 27/02/2018
Copyright RingMaster: MyFreeCopyright
The song instantly wraps ears in an atmospheric electronic cloud, its touch gentle yet shadowed. From within the band’s already impressive enticement a harmony of vocals serenade, their varied textures matched by the blossoming sound and its flirtatious stroll. An unexpected passage of invention provided by Irish rapper Sheridan subsequently steps forward, adding further magnetism as potent as the dance of the rhythms dance and the eighties spiced temptation cast by the synths.
The electro waltz of David F**king Bowie is no mean spirit in stirring ears or appetite either, its gait and energy a calmer but lively instigator swiftly tempting forceful participation from vocal chords. Its celestial meanders allow a breath to be taken though equally it leads to a hankering to be back romping which the song subsequently provides before Spider stands centre stage to call on ears and his flock with Cult Leader. An anthemic hard rock meets glam punk roar again very difficult not to get caught up in it does lacks some of the unique sparks of its predecessors but leaves the listener wanting little.
In turn it is then eclipsed by Pleasure with its gorgeous Slits meets again Au Pairs like dub lit temptation. Within moments the hips of song and listener are swaying in unison, thought locked up in the provocative turns of voice and word as music infuses its own inventive dance into ears and appetite. More than living up to its name, the track is the pinnacle of the album’s theatre but closely matched around it and indeed by that recent single Far Gone. Almost unnerving in its psychosis fuelled canter, bass tones and scything key bred strings cinematically Hitchcock like, it is the driving rhythms and intensity of the song which brings it all gloriously together for another mighty incitement.
As its shaker of electronic coaxing raises the curtain, strings like lures scythe across the senses quickly being joined by Lintern’s equally beguiling vocals. A darker bass tone rumbles in the fore ground, a great distraction soon losing its central grip as more and more hues add to the adventurous story being unveiled. Robustly pungent beats throb as those strings weave sinister suggestion, their rich bait adding to the surges of incessant probing which fire up the senses even more.
Climbing on board, ears are fastened into their seats by the powerful creative straps of opener Poison, its electronic/industrial lift off instantly swarming around the imagination. In turn, it leads to the virulent rock ‘n’ roll heart of the starter where riffs and rhythms are swiftly harrying and enslaving body and instincts, the calmer almost floating tones of Benmussa glazing the infectious exploits with a plaintive Matt Bellamy scented delivery. A compelling groove reinforces the song’s hold, the lively beats of Monaco dancing tenacious across the senses as keys bring cosmic scenery to bear on the imagination. Even in its calmer drifts, the song is forcibly infectious, the trio painting their creative canvas with an array of textures within skilfully woven enterprise.
With the raw essences of metal and punk colluding with electro and industrial revelry, the Freak Injection sound needs little time to infest ears and psyche as EP opener and title track reveals. As soon as its initial electro spiral is joined by distortion kissed vocal coaxing, there is no r escaping the song’s devilry and rebellious intent. Within a breath rhythms are pounding upon the senses like migraine, riffs simultaneously harrying them with their dirty tone as hooks and electronic bait are unleashed with insatiable intent. The vocals of Charlie RED just as swiftly get a hold of ears, her infectious guile and mischief accompanied by the melodic teasing of guitarist MAC-F as Kevin Hapexia’s bass heavily prowls. Continuing to probe with the swinging beats of Anthony bordering on the psychotic at times, the track makes a riveting and body rousing trespass to kick things off, its schizophrenic character increasingly unveiled as its bounds along.