Maruja’s beginnings date back to 2014, when Harry Wilkinson and Matt Buonaccorsi, then still in high school, began making music together. But their sound and style would only take on the trappings of their current productions when they evolved into a quartet, with the arrival of drummer Jacob Haynes and saxophonist Joe Carroll. Largely self-taught, they draw their instrumental mastery from relentless improvisation and having scoured the independent scene. Although they hail from Manchester, they are also close to the new and vibrant London jazz scene.
If Nu Metal refers to the fusion of metal and hip-hop, with Maruja, we could talk about Nu Hardcore or Nu Jazz Rock. Indeed, from the incandescent ‘Bloodsport’, the first track of Pain To Power, the saxophone adds to the punk energy of the guitars, mixed with phrasing reminiscent of aggressive rap, with the rhythm allowing only a few rare moments of calm. Other tracks, on the contrary, display atmospheric and ethereal moods with more hypnotic rhythms and a less aggressive saxophone, while maintaining a healthy dose of non-conformism as their focal point. To convince yourself, listen to the first few minutes of ‘Born To Die’ and the slow crescendo that culminates in a noisy eruption.
Perfectly in keeping with the band’s style, the sound of this album is particularly dense, while avoiding being too compact or rough, largely thanks to the saxophone, which softens the wall created by the guitars and percussion. There is an alternation of passages presenting real bursts of energy, where the impact and dynamics of the sound compete for the foreground with acoustic drones, with moments that allow the listener to better appreciate the timbres of the instruments and follow their progression within floating atmospheres, as in the variations of the track ‘Reconcile’ that closes the album.
Artist: L’Antidote Album: L’Antidote Label: Ponderosa Music Records Link: https://lantidote.eu/ Style: Contemporary Jazz
A student in Tirana and then in Italy, Albanian cellist Redi Hasa offers a style ranging from traditional Albanian and Italian music to modern jazz. Influenced by the traditional music inherited from his family, Lebanese pianist Rami Khalifé trained classically and has been involved in contemporary projects close to electronic music. As for Iranian percussionist Bijan Chemirani, he comes from a long line of musicians and has mastered his country’s traditional repertoire, although he is mainly involved in numerous international projects.
Abandoned in 2020 due to the pandemic, the L’Antidote project developed naturally in the following years and stems from a genuine encounter, a place full of gentleness where listening and sharing reign supreme. Each musician brings their artistic background to a joint creation. The structure of the compositions is strongly marked by improvisation and inspiration, while being dominated by contemporary jazz, exuding a Mediterranean heritage that is particularly present on the track ‘Rosée’. The melodic lines take their time to develop and the timbres of the instruments to blend together, with only the tracks ‘Dates, Figs And Nuts’ and “Na Na Na ” take on a livelier rhythm.
An acoustic universe, L’Antidote is adorned with a sound marked by clarity and definition. Fortunately, this highlighting of the instruments is not accompanied by any coldness. The soft vibration of the notes and the particular grain of the percussion, while restrained, are a flavor to be savored when listening to the album. Struck and bowed strings are perfectly differentiated and evolve in the same movement, each musical line complementing the other naturally. The track ‘Desert Plant’ immerses us in a sonic invitation to contemplation, where we are carried away by this enchanting flow.
Artist: John Maus Album: Later Than You Think Label: Young Link: https://johnma.us/ Style: Pop, Electronic
A professor of philosophy and Doctor of political science, John Maus only became truly interested in music in his early teens, swept up by the Nirvana craze. He played in a few punk bands while creating music on a computer, but above all, he studied composition at the California Institute of the Arts. He therefore has a deep knowledge of classical music, particularly medieval and baroque music. It was his encounter with Ariel Pink that confirmed his desire to create music with a strong pop orientation. Marked by his commitment and emotional expression, his live performances forged his reputation. But it wasn’t until his third album in 2011 that critics began to favor him.
With his elastic bass, love of vintage synthesizers and baritone voice, John Maus transports us directly to the New Wave and Gothic spirit of the 1980s. His songs also reveal an interest in liturgical chants, reinforcing the Gothic feel. This penchant is fully embraced in the closing track of the album, ‘Adorabo’. The approach, while dark, remains danceable in the style of Joy Division. His lyrics are reflections on what our society inspires in him, but also marked by the loss of his brother in 2018, inviting us to free ourselves through an ever-present spirituality.
At the beginning of his career, John Maus made a name for himself with lo-fi production, fortunately for audiophiles, an aspect that is much less prominent today. The strong presence of deep vocals and mellow bass favors the low-mid range, which nevertheless remains clear enough to be easily discernible, especially with speakers that have good bass quality. With synthesizers sprinkling little melodies throughout, the sound is a blend of 80s/90s tones and a fresher, more modern production, which further reinforces the importance of counterpoint in pop compositions.
Artist: Jehnny Beth Album: You Heartbreaker, You Label: Jehnny Beth Link: https://www.jehnnybeth.com/ Style: Rock, Hard Rock, Metal
Camille Berthomier was born in Poitiers (France) into a family where art played an important role. Her father, a theatre director, passed on his interest in theatre and cinema to her, and she has appeared as an actress in a dozen feature films and in the series Hostage. But music was not left behind, as she started playing the piano at the age of eight and, influenced by rock and punk during her teenage years, she made a name for herself in several bands, including the duo John & Jehn and the band Savage. She has also participated in prestigious collaborations with bands such as Idles, Tindersticks, The XX and Rone.
For You Heartbreaker, You, her second solo album, she further emphasizes a rock sound that is clearly harder, which can at least be likened to hard rock or even second-generation nu metal. On most of the tracks, there are also obvious influences from industrial rock, reminiscent of the work of artists such as Marilyn Manson and Trent Reznor of Nine Inch Nails. This is particularly evident on the single ‘No Good For People’, where we hear music full of rage, violence and tension, a veritable electric shock carried by devastating guitar riffs.
A mixture of instrumental textures obtained through hardcore playing and industrial sounds, the sound of this album is as raw and rough as it gets. The treatment of the vocals, which are sung exclusively in English, gives them a compressed feel – far from what audiophiles might expect – but above all a rich, catchy texture that fits perfectly with the devastating style of the rock anthems that make up this hard-hitting album. The lulls in the opening bars of a few tracks are only there to prepare for the explosion that follows, so there’s no risk of boredom when you put this record on your turntable.
Artist: Feu ! Chatterton Album: Labyrinthe Label: Universal Music Link:http://feuchatterton.fr/ Style: French chanson
Feu! Chatterton’s career path is fairly classic: three members of the band meet at school, their first songs are released on internet, they play support slots and win various awards. However, when you live in France, it seems unlikely that you haven’t heard one of their songs or heard about them in the media. This is due to the well-deserved success of their previous album, Palais d’Argile, released in 2021, which was of unusual magnitude. But such critical and public acclaim can also weigh on artists’ creativity. Perhaps this is why it took them four years to deliver their new studio album, Labyrinthe.
Feu! Chatterton’s music centers around Arthur Teboul’s lyrics and distinctive interpretation. His recognizable voice and phrasing invite comparison with the great names of French chanson. Instrumentation-wise, the band has taken a much more modern direction, with rock infiltrated by hints of psychedelia and, on this album more than on previous ones, electronic elements that sometimes take the lead. This emphasis is evident on the track ‘Labyrinthe’, which shares its name with the album. While this change may be disconcerting, it would be a shame not to continue the adventure offered by this record, which combines maturity and lyricism.
The vocals and their controlled flights of fancy are the band’s trademark. This is still the case here, with a clear and detailed mid-range. The accompaniment is subtle, laying down a heady carpet for Arthur Teboul on ‘À Cause ou Grâce’, and, in general, the balance between electronic sounds and the pop/rock approach is joyfully successful. The production creates a stable and structured soundstage, the width of which varies depending on the track, adding interest to testing your system on this criterion. It is also pleasant to differentiate the timbres of the synthesizers and other drum machines from those of the acoustic instruments.
