INTERFERENCE SARDINES

By the time of release of their third album Spot De Rue this writer wasn't really expecting IS to be still alive, but an appearance at the FMPM probably woke them up. With the stame weird artiste taking care of the artwork (but using a fairly different colour scheme), IS's third album is a bit of a deception for this writer. Indeed it seems that the group has decided to increase the vocal's importance and feature them in many more tracks than in the previous two albums.

Right from the bat, we're taken by surprise by the electric guitar and loud bass 's shallow presence playing opposite to one of many of Andréa Bilodeau's many vocal performance, but certainly not her best on this album opening track, Bidibulle. Indeed, she's much better on the Ca Mord-Tu? And the fuzzed-out electric guitar of Philippe Venne joined by Bilodeau's violin can make things worse in case it grates you. Not only have they lost a lot of their fascination (from my part anyway) and can seem to broad-brushing with the almost metallic rework of Zucchini, making them sound like some kind of 5UU meeting Bob Drake production for third successive time on the same sessions. Also the fact that two previous tracks (Café Morue and Zucchini) have been reworked might indicate that IS is maybe short of ideas despite the seven year gap between albums.

Another disappointment is the lack or really long tracks, even if the track "33" can un up to the 6-min+ mark, and some track are indeed enthralling (Ininsolification <<< whatever, right?!?!). But let's face it, this third IS holds little of the raw energy and inventivity of their previous Zucchini or Mare Chrisum. Best to start with one of those two albums than the one here. Most likely this album will get better with time, but after four months I have yet to be able to permeate it.

The RIO is heavily used and we can define the album as RIO/Avant, but we can find several other influences, and the mix of these influences perfectly creates beautiful moments...

The classic and melodious moments can make this album be one of your favorites even if you dislike RIO bands.

Lenghty (8 min+) opener and its Arab influences are a perfect intro to their crazy adventures never far away from chamber music, while the short untitled interlude leads onto a rather inaptly titled Apothéose. Fifth track Langoustine is gypsy-jazz dominated and seventh Ego Sum is a rather quiet affair approaching contemporary classical music (it might just be the highlight of the album). F Suite is much closer to Crimson improv from the Wetton-Bruford era and is a bit startling with its electric guitar and violin (the vast majority of instruments are acoustic on the album). Petit Royaume is the second of three sung tracks, and it is very similar to Nescalier on their debut while surprisingly loud Mon Tang Rustre and Mon Mouton are both notable tracks. Closing track is ending the album in a highly unusual and eclectic fashion and sung in English. Very bizarre and demented track ending after some roughly 10 mins, but ensues two minute of silence before a hidden track (a free form improv) takes over for some six more minutes

Both albums hold a bunch of short (and sometimes untitled) interludes that separate the main tracks with strange humorous ideas. Personally I prefer Zucchini (especially for the crazy closer Fuite), but it is a very tiny difference as both albums are absolutely worthy avant-prog albums.

Some thirteen tracks of which only 2/3 have names or even have the right to be acknowledged their existence on the booklet. But if most of the "non-existing" tracks are audible links/bridges to the following track, they are still very interesting due to the inventive nature of the sounds used. Of which thirteen tracks, only two are suing in a very accessible French - both of them could be rocked-up tangos. To actually talk and describe this album, I cannot do better than refer you to the first paragraph of this review and think of the bands I have named, but the actual real gem is the 13 min closer Fuite: absolutely outstanding crescendo from a demented acoustic track into an incredibly crazied-out electric tune: du très grand art, mon cher Monsieur!! Another highlight is Un Autre Poisson Dans Le Mur, which is closer to RIO and Zappa than Miriodor and is astounding in its execution.

In the RIO/Avant prog category of the ProgArchives, this album is certainly in the top 20 and well above of some genre classics. Highly recommended for its very melodious soundscapes in a genre that is not always melodious by nature.