Sign Up. Emi underdog. However, there's not a single doubt in my mind that the album I found in my mailbox yesterday will suffer from a similar relegation into the 'fairly good' purgatory, for Amesoeurs ' self-titled debut album is even better than I had hoped for it to be.
The first and last full-length album of the French cult band turns out to be the haunting musical observation of modern civilization it was destined to be according to the musicians involved in the project. Hailing from Avignon, a city in France famous for its anti-popes during the middle ages, Amesoeurs could be seen as the anti-pope of post-rock and black metal.
While having many things in common with both genres, Amesoeurs offers an entirely unique sound that is bound to surprise fans of either genre. Even though the band's only other release was a 3-song EP called Ruines Humaines back inthe anticipation of Amesoeurs' first full-length was significant among metal- and post-rock fans alike. Combining two genres that at first seem to share but a few similarities, Amesoeurs offered a depressing and dim view upon the dark side of the modern age: suffocating, polluted air; dirty junkies and hobos; intimidating buildings and a general lack of individuality in every aspect of society - the usual horrors of 'the big city'.
That is not to say Amesoeurs is political band, however. Even though it obviously expressed its revolt for the modern age rather than admiring it, the band portrayed its disgusts through dark poetry, rather than offering possible solutions through some preachy pseudo-political lyrics.
The album continues where the EP left off, conceptually. Although the compositions carry significantly less black metal elements with them on this album, the lyrical core is very much the same, and even executed better, one might say.
Starting out with a haunting instrumental track, the band immediately reveals what it's about: mixing post-rock with black metal elements. The presence of the latter-named element is not very strange, seeing as three of the four members of Amesoeurs are, or have been active in the black metal scene in one way or another.
Even though the opening track is an instrumental piece which maintains pretty much the same melody throughout the whole song, the diversity in style is immediately evident, while sounding completely natural nonetheless. After the impressive introduction, Amesoeurs continues to manifest its diversity through the next couple of tracks.
Song such as Heurt and Recueillement have obvious black metal influences, while not drifting away from the post-rock significantly enough to label the mix as inappropiate. Recueillement in particular is a very interesting track, seeing as a poem by the 19th century poet Charles Baudelaire serves as lyric for this song, and while the band leader, Neige, has often used Charles Baudelaire poems for other musical projects which are often built around an entirely different lyrical and musical conceptBaudelaire's poetry seems just as fitting and natural as it does in Neige's previous efforts to musically portray his work.
Perhaps the most interesting example of the diversity of this album is not the variation in rhythm or melody, but the vocals. Even if Audrey's soothing but sometimes enraged voice is nothing like Neige's enchanting screams, the variation, like with the rest of album, appears as natural and isn't disturbing to those who are somewhat used to the unconventional vocal arts of black metal.
Separated by a piano interlude called 'Amesoeurs Is Dead' in cypher code, referring to the band's then pending departurethe second half of the album is perhaps even darker than the first. Where the first couple of songs are sad and melancholic, the last few songs are more depressing, furious, and even aggressive.
It kind of reminds me of Kurt Cobain, who wasn't a particularly cheery figure himself. The title track is in a way the most post-rocky song of the album, and the influences from Ian Curtis and Joy Division can clearly be heard, without damaging the originality aspect, by the way. The album's closer, sung by Neige, reminds an awful lot of the first two tracks of the Ruines Humaines EP.
Even though the track officially lasts 11 minutes and 16 seconds, the final, dramatic tones fade out after about 5 and a half minutes. While this is certainly bad news to anyone who enjoys this album, the knowledge of their departure hangs like a black cloud over the entire album, and perhaps unintentionally increases the effect the musicians went for when composing and recording this album.
All in all, Amesoeurs is an album that will not be forgotten by those who know how to appreciate it. While the mix of black metal- and post-rock elements might seem a bit intimidating and strange to those who are not familiar with either one of the genres, the album is certainly an absolute success, as it fulfills every ambition expressed by its creators.
It might take numerous listens, the right mood, and perhaps even training to uncover all of Amesoeurs' secrets, but those who are able to lose themselves in its lonely soundscapes will realize that the Avignon quartet has made one of the darkest, yet most beautiful albums of all time. It is on one hand a shame that Amesoeurs has, probably forever, ceased to exist as a band, as I personally feel they could've become a really big band, Yet Amesoeurs does what few other bands have ever succeeded in: leaving us a musical legacy with, in my opinion, not even a single song among it that's not absolutely beautiful.
Amesoeurs is dead. Long live Amesoeurs! Sound: 9 Lyrics: 9 Impression: 8 Overall rating: 8. Amesoeurs decided to split up way back in June ; initially the breakup was effective immediately, however they overcame their bizarrely publicised inner conflicts to record their first and last full length. Angsty, huh? The album is sung in French, so any and all artistic lyrical merit has to be lost to blunt destruction at the hands of Babelfish.
The clean female vocals, however, are frequent and yet never misplaced. Still, it is not of detriment to the record as a whole. The distant melancholia and it's relation to the name can only suggest that the demise of the band is far from ideal for anyone involved. When a release like this becomes so hyped with only a 15 minute EP as a reference point, it is going to be difficult to please everyone. TheWizard Member. Gli Amesoeurs erano stati autori un paio di anni fa di un interessante mini cd intitolato "Ruines humaines", ora grazie all'italiana Code debuttano con questo album omonimo, che dimostra il buon fiuto dell'etichetta nostrana dopo aver dato alla stampe, sempre quest'anno, l'ottimo debut dei Fen.
Oltre all'ottima prova da parte dei musicisti devo citare anche la performance di Audrey S. Per chiudere veramente un bel disco questo debutto degli Amesoeurs, un prodotto originale e ben riuscito, un inizio niente male davvero per questa band francese, ma quando si ha in formazione un artista come Neige non si sa mai cosa aspettarsi, in futuro ne vedremo ancora delle belle Fine della la doverosa parentesi storica; si passa al disco vero e proprio.
Gas in Veins 2. Les ruches malades 3. Heurt 4. Recueillement 5. Faux semblants 6. Trouble Eveils infames 8. Video Girl 9. La reine trayeuse Amesoeurs Band names such as The Cure and Joy Division had been bandied about and we already had both the fantastic Alcest and Peste Noire to contend with and perhaps the viewpoint that Amesoeurs were the bridge between the two.
The first thing that has to strike over this album is the stunning smog filled charcoal artwork, showing a city choked in pollution and no doubt within harbouring human emotions of despondency, negativity and neglect. This is perhaps the template for the music within the CD and at times it is pent up with anger and frustration and at others it is dismal and suicidal. One thing is for sure it is an hour long emotionally packed ride.
Ghostly voices echo in the background of this melee and when the tack finishes you realise you have been holding your breath and are close to choking. Her vocals are at this point beseeching and restrained, certainly not singing at full range but building up with the music. Obviously the lyrics are sung in French too adding to the mystery.
Audrey reaches a deranged croaky squeal amongst this one and sounds as though she is really heurting from inside to expel it. The guitars really sound just like they have fallen out of a time-warp and listening to them here you expect the track to finish with the unmistakeable voice of John Peel mentioning the name of the band with an unmistakable glint of schoolboy glee in his voice, he would certainly have championed this if he had been around today.
Mind you it would take someone forcing a hamburger down his throat to get a scream like Audrey fires out as the track goes into a blistering frenzy. If you are a bit older this should make you want to go and plunder relatives record collections.
This might well be a long review but this is an album that spoke to me in volumes and in this day and age that makes it pretty special in my book so go seek it out. Perhaps the combustion of the band is not such a bad thing as at least they flourished briefly and went out in their prime before withering and dropping dead on the earth.
The Posh bit. Excellent band. Terrible shame they split. Morfeind Member. The album is good just really sporadic. I wish the black metal, post-rock and shoegaze elements were implemented together more instead of individually track by track. I really hope the band stays together, they have a Recueillement - Amesoeurs - Amesoeurs (CD of potential.
The band earned themselves a spot on Last. FM 's homepage after taking the number 2 slot on the Hype lista chart of songs building the biggest buzz around the site, and number 5 slot on the Hype Artist chart!
Voto: 7, Recueillement - Amesoeurs - Amesoeurs (CD. This music band has just released this self-titled album, a first real and much anticipated full length production, but it is very likely that the band members won't form "Amesoeurs" again.
Amesoeurs always was wrapped up in a field of frictions. Anyone who misses this record will be missing out on one of the best musical creations of this decade. It is truly a crushing shame that this appears to be the last creation by Amesoeurs, though I for one will eternally hope that Neige's Alcest begins leaning once again towards their black metal roots, and that Audrey is invited to do some guest vocals.
Until then, Amesoeurs will be one of my desert-island CDs and will undoubtedly remain so for a very long time. Black metal mixed with post punk or post rock seems to be the next big thing in the underground extreme metal scene, and Amesoeurs can be easily considered the cutting edge of a bunch of bands that are trying to expand the limits of this music style.
But in the last years my mind began to open for new ways of approaching the black metal tradition, and now I feel even more interested in this kind of expressions that in mainly purist or kvlt unholy black metal atrocities however I still love a good new traditional black metal album. Three songs in 16 minutes with the perfect combination of agression, melancholy, loneliness, pain, desolation Only with a small defect, it was too short.
As you would imagine my expectations for their debut album were really high. Finally now I can review the final product and, after some weeks of assessment, my verdict is quite negative.
The last subject in my analysis is the proportion between black metal songs and their poppy, gothic, post punk creations. I know that this sound a bit mathematic, and music is a matter of emotions, but that only gives us an overall impression about the weakness of the stuff included in the album. Every Neige project has seemingly been given the KoRn treatment by the underground fans.
Sorry, excuse the joke. When Neige first began his shoegaze inspired black metal projects, such as Alcest, the general consensus was that he is a genius. His revolutionary ideas were praised far and wide. Everybody seemed to be a fan. Nowadays, Alcest and even this creation, Amesoeurs, are treated with contempt by the majority of underground fans and have received, in my opinion, unjustified criticism.
We all do it, I do too. We criticise the hell out of bands who receive a lot of praise, who appear to be verging on mainstream as opposed to sticking with their extreme, underground roots. Amesoeurs have been given the treatment. As a fan of Amesoeurs myself, I take the bands criticism with a pinch of salt.
There are faults when it comes to Amesoeurs, particularly in terms of the individuals behind the music and their childish games.
Its no secret that Amesoeurs have broken-up over something so ridiculous and trivial. I am assuming there must be more to it than what we understand, but the facts still remain, for a band to split up over such trivial nonsense is inane. Amesoeurs, the so-called rip-off merchants of the underground scene have drawn a lot of attention from angry black metal fans. Apparently, a fair chunk of the material on the new record has been stolen from the ideas of other bands.
Is it not acceptable for a band to show their influences openly in the modern world? The problems within the music of this record lie not in what sounds similar to someone else, but within the general content and construction of the songs. Surprisingly, this is something I must have missed in the early days, Audrey also controls the bass, which seems far more prominent and promising than the lead guitars, which comes in the form of two guitarists.
To my ears, there are a number of different sounds on this record. Recueillement - Amesoeurs - Amesoeurs (CD writing is technical and often odd in its multi-purpose approach. Love it or hate it, its refreshing in a world where fans complain a lot about there being too many depressive black metal bands formed straight out of the bedroom in a house owned by the musicians grumpy mother. French black metal darlings Amesoeurs are back.
This self-titled release is their first and apparently, last album, after releasing the Ruines Humaines EP. On offer is a bland arrangement of wimpy modern rock riffs stuffed with sickeningly sweet pop melodies and a bass-drum combination that will work faster than any sleeping pill.
And then there are the vocals. A vital factor which contributed to my dislike of the album was the female vocalist. Neige, the architect of this project, lends his harsh vocals from time to time and is a welcome relief although his screams are too little too late to salvage the music.
I cannot see accustomed black metal listeners digesting this album unless they have a fetish for female vocals. Really, there are thousands of other albums that can genuinely instill a sense of melancholy, despair, nostalgia or anything else that this album may falsely promise to deliver. There really is no better way to describe Amesoeurs' self-titled album than by quoting the words used by the band itself on numerous occasions.
A world of cheap thrills and store-bought lives, with the people living their lives in this world seemingly oblivious to the fact that their lives are not nearly as grand as they struggle to convince themselves. Despite claiming that their music does not carry a specific message, it is still food for thought and seems an appeal for striving towards a life of emotion and feeling in a world that seems to have developed itself to run wholly without.
The main influences, however, are post-punk and black metal and these get combined into a perfect symbiosis which is Amesoeurs' music. Songs vary between upbeat, up-tempo songs and blistering black metal with accompanying screams by Neige. Most of the songs have their own separate feel aggression, dejection, acceptance, etc. This is definitely not a negative point, because each song is good in its own right and there is no real need to have them link up more than they do.
The vocal sections are mainly filled in by Audrey Sylvain, whose voice is lovely and rather nice to listen to. Neige's vocals, on the other Album), on play a small part on the album and what saddens me slightly is that there could have been times where both vocal styles were used together.
Lyrics are all in French and although a lot of potential listeners probably do not speak French, it does not seem like it should be much of a put-off in this case, since the music and the vocals in their own right are more than apt at evoking the right atmosphere and feelings.
The production is incredibly clear, which makes everything as audible as one could possibly wish. On the one hand, this is great, because it makes the music easy to take up and it seems to fit well with the concept of industrialisation and mass production, but on the other hand it may have been taken slightly too far and a tad more dirt on the production might have made everything sound just that much more interesting.
Personally, I think everyone should at least listen to this album once and see how they feel about it. There is a lot to be found on the album and each person may take something else from it. As far as I am concerned, this album could only have been brought forth in our bleak and dark age of industrialism, urbanism and lifelessness and as such it is a near-perfect reflection of just that world. My expectations were not sky high, seeing as a black metal band with a single, unique and highly acclaimed EP or demo releasing a full-length album three years later is usually a recipe for disaster.
Therefore, I got pretty much what I expected. There is a solid quality throughout the album, but it never really takes off. The shoegazing dreamers of French black metal, Neige and Fursy Teyssier, are good at spitting out vast quantities of clean minor-key melodies and complementary fuzzy black metal-chords. However, they and the rest of the music fail to retain the sloppy, Joy Division-esque post-punk atmosphere that the EP was overflowing with, which is quite a loss.
I would never be as bipolar as to say that dirty production is good and clean production is bad when it comes to metal, there are numerous examples overthrowing this narrow-minded doctrine. Any music that smells of post-punk and new wave needs a certain amount of sloppiness, in my opinion, and this album could serve as a textbook example for studio engineers. The immaculate and squeaky clean drums sets a perfect example.
And now that I mention it, the drumming is also quite a general let-down. It encapsulates a feeling that I get from pretty much everything about the music; that the band are trying to force the black metal elements in there just for the sake of it, rather than to let them come naturally. Also, on this record, the band displays an irritating habit of putting washes of random noise in between the songs, which fill no apparent function and evoke no atmosphere or feeling at all.
And also, the vocals. As most of us already knew, Audrey handles most on the vocal duties on the album. Audrey has a smooth and beautiful voice which fits the music extremely well, but on those few painful moments on the album when she tries to scream from the top of her lungs, it sounds ridiculous. In conclusion: I got what I had anticipated, an album well worthy of the Amesoeurs logo on the astonishingly beautiful cover, but not living up to the greatness of the EP.
Any fan of black metal, post-punk, goth or any dark music at all needs to listen to this at least one. It has potential to appeal to a large audience of which, I imagine, a small portion will be black metal fans. Ever since the first time I heard this band, I have been absolutely obsessed with them, listening to the Ruines Humaines EP and the Valfunde split religiously.
So when I heard that they were working on new material, I virtually jumped for joy. This album takes on a one-of-a-kind style, combining the post-punk and shoegaze genres with some black metal. If you enjoyed songs like Faiblesse des Sens and Les Ruches Malades from their previous work, you will surely love this album. That is something that I like about it. They truly are a one of a kind, unique band playing some of the strongest and most inspired music I have ever heard.
The main themes of the music here are modernity and the danger and bleakness of urbanization and the industrial age. Even if you cannot understand French, this is still very inspiring material, as the atmosphere is good at hinting at the themes they are trying to purvey.
All I can say is that I highly recommend this to those who were a fan of the Ruines Humaines EP, especially the songs featuring Audrey on vocals. The majority of the songs on here feature her on vocals, though the music does kick up at points with very strong black metal passages featuring Neige on harsh vocals. If you understand the French language, then this album will be that much more amazing. I found it remarkable how much of an impact Amesoeurs created simply with their 3-track Ruines Humaines EP and the Valfunde split, but this spoke volumes about the quality of the material on offer.
So, anyone who was expecting an hour of shrieking black metal from this Amesoeurs full-length will be deservedly disappointed, especially as the band had apparently expressed an interest in pursuing the sound they achieved with Faiblesse Des Sens.
However, there were still some surprises to be had, both positive and negative from my own point of view. Firstly, I was keen to hear more of Audrey Sylvain's vocals and more songs with an upbeat tempo, and this was delivered in spades, although something I was hoping for was a lot of play-off between Neige's harsh screaming and Audrey's clean singing; unfortunately the two more or less stay within their own songs.
Whilst the songs themselves stand alone as brilliant pieces with great individual character, it feels a little jarring to go to from a beautifully melodic track straight into something abrasive and dissonant, or vice versa.
However, I have to admit a certain delight when I first heard the opening blast beats of Heurt which were completely unexpected, yet Winterhalter, as when playing for Peste Noire, knows how to beat a kit to absolute death. Fast, tight, Album), and massive.
As I mentioned though, the songs have a great individual character to them. This album is full of melody no matter what style the band is playing, even within the walls of guitars backed by pounding drums.
Neige's vocals sound more solid and controlled compared to his previous work. Audrey's singing is gorgeous and ethereal, and even lends an uplifting quality to much of the music. The production job is difficult to critique, the sound is like crystal. Although given the spacious and slightly raw sounds of the aforementioned bands such as Joy Division with strong driving bass lines as Amesoeurs also haveI do wonder how this album would sound if it were recorded in a similar manner.
The bleak grittiness and concrete scum of modernity can be heard in these bands, and Amesoeurs clearly deal with similar sentiments.
Finally, I have a slight disagreement with the review below from March 14 - whilst the title track is indeed absolutely stunning and possibly my favourite too, this has nothing in common whatsoever with post-rock as opposed to post-punk.
This album features none of the organic, laboured build-ups, peaks and releases which are the hallmarks of post-rock. All that aside, I have no hesitations recommending the album to people looking for something a little different. The kult bedroom brigades will probably loathe it and continue their miserable keyboard warrior lives in western suburbia, although I'm hoping that this album will open up ears to new types of music and set a benchmark for this style of black metal.
Amesoeurs say it's all over, but never say never. Rest assured, this much-anticipated album lives up to and beyond the speculation. While not entirely black metal, there is enough of it here for long time fans of Alcest and Peste Noire to be left with a feeling of satisfaction. I don't need to stress the importance Recueillement - Amesoeurs - Amesoeurs (CD this release, nor do I need to continue commenting on the anticipation leading up to its release.
What I do need to elaborate on here is the musicianship, and the progression from the band's first EP, Ruines Humaines. It's quite a step up in the right direction. From the sample opening track they posted on their myspace quite a while back, Gas in Veins is a perfect prelude. It kicks off as a pure instrumental before cutting into Les Ruches Malades.
I must note that the majority of the vocals on this album are done by Audrey Sylvain, the bassist. It's unique that she takes over most vocal duties, because none of her vocal lines are fed through a computer not that one can tell, anywaywhereas Neige's vocal lines are quite processed and have an almost aquatic effect applied to them, which suits the mood nicely.
Neige takes a post-rock approach to the title track, Amesoeurs, which is my personal favorite of the album. Audrey's singing is nothing short of breathtaking here.
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