|Rabit — Les Fleurs Du Mal (Nov. 2nd, 2017)|
Rabit — Les Fleurs Du Mal (Nov. 2nd, 2017)♦» ...dancefloor deconstructed too far ... his second album, Les Fleurs Du Mal. It follows his blistering 2015 debut full~length, Communion, and a handful of EPs that also danced with noise. This new work finds the Houston artist again deep in sonic contemplation, but of a more expansive kind. Lead single “Bleached World” is a wind~chime of a song, with a touch of Vangelis sprinkled on top, and it sinks into the consciousness like the first taste of sea air on an early morning.
♦» “Colour is the key. The eye is the hammer. The soul is the piano with its many chords. The artist is the hand that, by touching this or that key, sets the soul vibrating automatically.” — Wassily Kandinsky.
♦» “La couleur est la clef. L’oeil est le marteau. L’âme est le piano avec ses multiples accords. L’artiste est la main qui, en touchant l’une ou l’autre clef, fait automatiquement vibrer l’âme.” — Wassily Kandinsky.Location: Houston, TX
Format: Limited Edition coloured vinyl — 250 copies only.
Album release: 02 November 2017
Record Label: Halcyon Veil
01. Possessed 3:23
02. Bleached World 3:01
03. Roach 2:20
04. Ontological Graffiti 2:25
05. Dogsblood Redemption 2:18
06. Prayer 1:57
07. The Whole Bag 4:01
08. Humanity’s Daughter 3:46
09. Rosy Cross 3:27
10. Ontological II 2:22
11. Prayer II (Gemme) 2:46
12. Elevation 3:40
♦» “Perhaps the imagination is on the verge of recovering its rights. If the depths of our minds conceal strange forces capable of augmenting or conquering those on the surface, it is in our greatest interest to capture them”. — André Breton
♦» We are promoting a world that is non~sectarian, supporting creative work and representing a place where universal minds, regardless of creeds or dogmas, may abide, attuned with such vibratory forces within as make for love, goodness, justice, and peace, that Nature may continue her creation without interruption or interference.
♦» The Doorway to a Voice and a New Manifestation.Review
Ben Beaumont~Thomas, Thursday 2 November 2017 22.15 GMT / Score: **
♦» In underground clubbing there has been a recent vogue for “deconstructed” tracks; agglomerations of barely rhythmic noise that can prove brutally funky. Rabit, a producer who previously created icy grime~like tracks and blasts of apocalyptic techno, has now deconstructed to the point of collapse, and subsequent tedium. With its whirrs of brooding machinery and foreboding, far~off storms, Les Fleurs Du Mal is more sound design than music, and while second~to~second it is impressively three~dimensional, its sheer abstraction means that genuine terror, sorrow or poignancy never build up. Only the prettily flickering Bleached World and psychosexual drama of Dogsblood Redemption prove diverting. The absolutely devastated humanity is probably the point — is this a dystopia to walk back from? — and hardcore experimentalists may find it immersive, but for everyone else it’s an inadvertent reminder of how rhythm can invest sound with meaning.
by Philip Sherburne, NOVEMBER 10 2017 / SCORE: 7.6
♦» Eric Burton’s latest album is a logical extension of his to 2015 album Communion, an experimental world of dissolving certainty where all light is gradually leached out of the landscape.
Boomkat Product Review:
♦» Fresh from his work on Björk’s upcoming Utopia album, Les Fleurs Dul Mal is the absorbingly grotesque sophomore album by pioneering artist, DJ and label owner Eric C. Burton aka Rabit, who, along with regular collaborators such as Chino Amobi (NON) and Elysia Crampton, is in part responsible for defining the contemporary conflux of avant club, folk and noise musics.
♦» On his solo follow~up to Communion [Tri Angle, 2015], Rabit indulges his fascinations with psychedelic themes in an ambitious attempt to locate his sense of self amid increasingly chaotic environments. The result is a personal milestone for the artist; a riveting tableaux of hyper sensual texture, colour and melody forming a densely detailed and layered prism through which to peer at the abyss between reality and our shared hallucinations.
♦» In aesthetic and intent, Rabit boldly embraces the vacuum left by the late, great Coil; realising a genre~agnostic consolidation of folk, new age, drone and noise tropes transcended thru acousmatic processing and modular synthesis, in this case fittingly provided by erstwhile Coil member Drew McDowell. In the process he potentially triangulates Les Fleurs Dul Mal with records by fellow Coil fiends, Elysia Crampton’s Demon City and Chino Amobi’s Paradiso, who all essentially project bold, new links with Coil’s canon.
♦» Unfolding in 12 movements like some future classical tragedy, Rabit gestures his sounds with a remarkable freedom of rhythmic meter and freehand strokes that belies its meticulous construction below the surface. Cecilia’s vocals and the sharp strings of opener Possessed suggest the spirit of Baudelaire’s text heard at street level, while the dissonant stress of Bleached World — a secret weapon’til now — expresses a beautifully bittersweet anguish, and the recursive curdle of Ontological Graffiti catches in the throat with uncannily emotive effect.
♦» The Whole Bag locates his firmest dembow rhythms, but buried under collapsing sidereal pressure, and Cecelia’s return in closer Elevation perfectly emulates something like new age tristesse, which defines the record’s humanity in the face of such uncompromising synthetic sensations.
|Rabit — Les Fleurs Du Mal (Nov. 2nd, 2017)|