Most Helpful Customer Reviews
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1 of 1 people found the following review helpful:
5.0 out of 5 stars
The Best French Debut Album Since Daft Punk's "Homework", 2 Jun 2007
So now much hyped DJ Ivan Smagghe has officially left Black Strobe, it was to fear this long-awaited debut would not have the same appeal as all those glorious singles that made their reputation. In fact, "BYOC" showcases, if needed, that the whole Black Strobe concept was then and still is now at the core of one man's only mind: Arnaud Rebotini, who decided it was time for his act to get more physical and less club-friendly. Therefore, Black Strobe's current incarnation is a powerful live quartet which occasionally verges on the previous electronic soundings of earlier releases. Smagghe's input on "BYOC", as it was completed before his departure, seems to have "only" consisted in writing lyrics for 7 out of the 9 vocal tracks featured here, and further proof of that is he's not credited as part of the band itself.
If the instrumental overture "Brenn Di Ega Kjerke" (the album's title in Norwegian) or "Buzz Buzz Buzz" recall early stuff like "Innerstrings" or "Italian Fireflies", it's clear here that the purpose has a more organic feel to it, even though Rebotini's songwriting influences still verge more on Depeche Mode and EBM acts such as Nitzer Ebb or Fad Gadget, than on the average rock act's inspiration sources. As an example, next single "I'm A Man", a radical reworking of Bo Diddley's classic, is such a strong electro-rock stomper that next to it, Depeche Mode's "Personal Jesus" almost sounds like Chris Isaak ! But it's not all full bloom experience for our ears here; two delicate numbers, "Girl Next Door" and the exquisite "Lady 13", suggest there must be a heart beating behind the black leather imagery of this all. On the most muscular songs ("Blood Shot Eyes", "You Should Be"), though, Black Strobe sound a lot like Rammstein fronted by Valor, the voice out of Christian Death. No, don't run ! It actually works ! The high level of production and impersonation of "BYOC" makes it the best electro debut to come out of France since Daft Punk's "Homework" a mere ten years back. The only dud here, sadly, is the closing "Crave For Speed", as Rebotini tries (and fails) to croon as gloomily as, say, Nick Cave (or his pal Mick Harvey, more like) and it falls short out of any emotive strike.
Nevertheless, all other tracks here are monsters, as "Shining Bright Star" or "Last Club On Earth", amongst others, should delight any goth fan that fancies to give a go at nightclubbing... and nightmaring, all at once.
Alongside Blonde Redhead's recent "23" (who share with Black Strobe an Alan Moulder participation as mixing engineer, always a good sign), album of the year, no less.
UPDATE JUNE 20th, 2007 : Just saw them live in Paris yesterday, and this band is awesome in that context ! Those of you who attended their recent gig at London's Cargo surely know what I mean. If they come near you, take care... but don't miss them.
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1 of 4 people found the following review helpful:
4.0 out of 5 stars
...kling klang dance rock..., 27 Jun 2007
The French and music. Go together about as well as the French and soap. Or the French and not running away. The honourable exemption clause was always granted to Trust, but beyond that, it's been a scary place, unpopulated by talent. But here's Black Strobe, and their industrially inclined klang dance rock to challenge my preconceptions.
Don't be fooled by the title, unless you want to annoy some black metallers by buying them a gift, for having an opening track called 'Brenn Di Ega Kjerke' (Norwegian for 'Burn Your Own Church') is, I believe, indicative of a sense of humour. Not something that industrial music is known for. At least not deliberately, Revolting Cocks aside.
Once you're into the album proper, it's like a Davy Jones locker of the music world, as Black Strobe seem to have spent their time pilfering huge wodges of other peoples music. However, they have had the common courtesy to then twist it into a hulking great mess of their own making. And I mean that in a good way, for when it is good, it's very, very good. Yes, they're doing the whole Front 242 / Young Gods thing, but with some rather splendid twists and turns, aided by remixer Alan Moulder, a man who has survived working with the Jesus and Mary Chain, Depeche Mode, Nine Inch Nails and Marilyn Manson. A man to whom the denizens of the dark, across the world should be raising statues to. If you could persuade them to come out of their basements.
Another thing I've never associated with the French is a sense of humour. I mean, come on, Jacques Tati? But if this lot aren't extracting huge quantities of urine with every beat then they need to be locked away somewhere very secure. However, they have the good manners to maintain a deadpan zealousness to their music which Andrew Eldritch would be proud of.
You should already know how their cover of Bo Diddley's classic blues, 'I'm a Man', is already single of the year, the blues retooled through the eyes of Goldfrapp and the Glitter Band, but now they may have bettered it with 'The Last Club On Earth', a disco lubricated world which sounds equally enticing and horrific, in equal measures. Imagine if Zodiac Mindwarp had fronted Alabama 3 on E. Be afraid, be very afraid.
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